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From  the  Library  of  the 

Fogg  ^useum  of  Art 
Harvari  Univasity 


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TREASUKES  OF  ART 


GREAT  BKITAIN: 

BEING  AN  ACCOUNT  OF  THE  CHIEF  COLLECTIONS  OF 

PAINTINGS,  DRAWINGS,  SCULPTURES,  ILLUMINATED  MSS., 


I. 


BY   DR.   WAAGEN, 

DIRECTOR  or  TBE  BOTAL  OALLERT  OF  PICTURES,  BERLIN. 


IN  THREE  VOLUMES.— Vol.  III. 


LONDON: 
JOHN   MURRAY,   ALBEMARLE   STREET. 

1854. 


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'I- HE 

WILLIAM    HAYES 

Fooa 

ART    MUSEUM 

OF 

HARVARD    UNIVERSITY.      | 

43 

Cr  1 S- 1-. 


LONDON  :    PRINTED  BY  DTILLIAM   CLOWES  AND  SONS,  STAMtORD  hTRKHT, 
AND  CHARING  CROSS. 


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Hi 


CONTENTS  OF  VOL.  III. 


LETTER  XXin. 


Stanstead  House,  seat  of  W.  Fuller  Maitland,  Esq. :  A  Byzantine  picture 
—  Florentine  school  —  Raphael  —  Early  Netherlandidi,  German,  and 
English  schools.  —  Fanshanger,  seat  of  Earl  Cowper  :  Two  Raphael 
Madonnas  —  Fra  Bartolommeo  —  Decline  of  art  in  the  16th  century  — 
Disadyantages  of  painters  —  Miscellaneous  masters  —  Old  oak.  —  Cobham 
Hall,  seat  of  the  Earl  of  Damley :  Venetian  school,  Titian's  Europa  — 
Bolognese  school  —  Neapolitan,  Netherlandish,  French,  and  English 
schools.  —  Wickham  Park,  seat  of  Lord  Overstone.  —  Ashbumham 
Place,  seat  of  Lord  Ashburnham :  Rembrandt.  —  Arundel  Castle,  seat 
of  the  Duke  of  Norfolk :  Miscellaneous  pictures.  —  Petworth,  seat  of 
CJolonel  Egremont  Wyndham Page  1 


LETTER  XXIV. 

Oxford }  The  High  Street  —  Archaeological  meeting  in  1850  —  F6te  at 
Exeter  College  —  Christ  Church  College  —  General  Guise's  ooUection 
of  pictures ;  of  drawings  by  the  old  masters  —  Drawing  by  Raphael  — 
MSS.  with  miniatures  —  Antique  marble  —  Merton  College  —  The 
Radcliffe  Library  —  Ruysdael  in  Worcester  College  —  Collections  of  art 
in  the  University  Galleries  —  Pomfret  statues  —  Casts  presented  by 
Lady  Chantrey  —  English  sculpture  —  Pictures  —  Drawings  by  Raphael 
and  Michael  Angelo  —  Ashmolean  Museum  —  Alfred  Jewel  —  MSS. 
with  miniatures  —  A  Zoology  —  The  Bodleian  Library  —  MSS.  with 
miniatures :  Byzantine,  French,  Netherlandish,  English,  German,  Italian 
—  Wadham  College  —  MSS.  with  miniatures  —  Woodcuts  —  Drawings 
by  Raphael  —  Professor  Johnson's  MSS.  with  miniatures.  —  Blenheim 
Palace :  Collection  of  pictures  —  Rubens  —  Raphael,  the  Virgin  and 
Child  enthroned,  with  saints.  —  Ditchley  Park.  —  Basildon  Park .        44 

LETTER  XXV. 

Winchester  Cathedral  and  College.  —  Salisbury  Cathedral.— Longford  Castle, 
seat  of  Earl  of  Radnor :  Holbeins  —  Iron  chair.— Wilton  House,  seat  of 
Earl  of  Pembroke :  Antique  sculptures  —  Antique  painting — Pictures — 
VOL.  III.  b 


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iv  CONTENl^  OP  VOL.  Ul. 

ItaUan,  German,  and  Flemish  schools — Yandycks  —  Building  by  Holbein. 
—  Stonehenge. — Bowood,  seat  of  Marqois  of  Lansdowne  :  Collection  of 
pictures  —  Baphael  picture  —  Italian,  Spanish,  Netherlandish,  French, 
and  English  schools  —  Grounds  at  Bowood. — Charlton  Park,  seat  of  Earl 
of  Suffolk :  Collection  of  pictures  —  Leonardo  da  Vinci's  "  Vierge  aux 
Rochers  "  —  Miscellaneous  schools. —  Wardour  Castle  —  Stourhead  House 
— Longleat Page  135 


LETTER  XXVI. 

Bath :  its  beauty  and  salubrity.  —  Clayerton,  seat  of  Mr.  Vivian :  Collection 
of  pictures.  —  Bristol :  Church  of  St.  Mary  Redcliffe.  —  Leigh  Court, 
seat  of  Mr.  Miles :  Collection  of  pictures  —  Italian,  French,  and  Spanish 
schools  —  Christ  bearing  his  Cross,  and  Virgin  and  Child,  by  Raphael  — 
Rubens.  —  Blaise  Castle,  seat  of  Mr.  Harford :  Collection  of  pictures  — 
Italian,  French,  and  Netherlandish  schools  —  Pieü^  and  Holy  Family, 
by  Sebastian  del  Piombo  —  Spasimo,  by  Raphael.  —  Enole,  seat  of  Colonel 
Master.  —  Archa9ol(^cal  Society  at  Bristol.  —  Wells  CathedraL  — 
Thirlestaine  House,  seat  of  Lord  Northwick :  Collection  of  pictures  — 
Tuscan  school  —  Virgin  and  Child,  Leonardo  da  Vinci  —  Umbrian-Roman 
school  —  Sdiools  of  Bologna  and  Ferrara  —  Lombard,  Venetian,  Neapo- 
litan, Spanish,  French,  Netherlandish,  German,  and  English  schools  — 
Miniatures,  gems,  enamels,  cameos,  and  coins.  —  Warwick  Castle :  Col- 
lection of  pictures  —  Miscellaneous  schools  —  Antique  sculpture  — 
Limousin  enamels  —  Vases,  &c.  —  Weapons  —  Warwick  Vase  —  Chapel. 
—  Ccmibe  Abbey.  —  Hadzor,  seat  of  Mr.  Howard  Galton  :  Collection  of 
pictures  —  Miscellaneous  schools.  —  Ham  Court,  seat  of  Mr.  Martin.  — 
Worcester  Cathedral.  —  Westwood  Park.  —  Other  collections  in  Worces- 
tershire       174 


LETTER  XXVU. 

Birmingham :  Copy  of  Warwick  Vase.  —  Wolverhampton.  —  Liverpool :  St. 
George's  Hall  —  Cemetery  —  Town  Hall  —  Royal  Institution  —  Collec- 
tion of  pictures  —  Collection  of  casts.  —  Pictures  belonging  to  Mr. 
Naylor.  —  Ince,  seat  of  Mr.  Blundell  Weld:  Collection  of  antique 
sculpture ;  pictures,  miscellaneous  schools.  —  Lowther  Castle,  seat  of 
Earl  of  Lonsdale :  Collection  of  pictures,  miscellaneous  schools    .        228 


LETTER  XXVni. 

Edinburgh :  Beautiful  situation  of  the  city  —  Steele  the  sculptor  —  Pictures 
belcmging  to  the  Royal  Institution  —  The  Torry  marbles  and  bronzes  — 
The  Torry  pictures  —  Scott  monument  —  First  acquaintance  with  whisky 


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CONTENTS  OP  VOL.  III.  y 

—  Calton  Hill  —  Monuments  —  View  firom  it  —  Holyrood  Palace  —  The 
Qoeen's  Drive  —  Heriot's  and  Donaldson's  hospitals — The  University  — 
College  Library  :  Manuscripts  with  miniatures.  —  Library  of  Writers  to 
ihe  Signet :  MSS.  with  miniatures.  —  Mr.  Dennistoun*s  pictures  —  The 
late  Thomas  Duncan  —  Sir  John  Watson  €h>rdon. — Glasgow :  The  College 

—  Hunterian  collection  of  pictures  —  MSS.  with  miniatures. —  Pictures 
belonging  to  the  School  of  Design.  —  Mr.  M'Lellan's  pictures.  —  Trip  to 
the  Highlands. — Garscube,  seat  of  Sir  Archibald  Campbell  :  Pictures.  — 
Hamilton  Palace  :  Collection  of  pictures  —  Daniel  in  the  Lions'  Den,  by 
Rubens  —  Miscellaneous  sdiools  —  Sculpture  —  MSS.  with  miniatures  — 
Greek,  Fraukish,  German,  and  Italian  MSS.  —  Library. — Wishawe,  seat 
of  Lord  Belhaven. — Hopetoun  House,  seat  of  Earl  Hopetoun :  Collection 
of  pictures.  —  Various  collections  in  Scotliuad.  —  Dalkeith  Palace  :  List  of 
pictures Page  266 


LETTER  XXIX. 

York  Cathedral. — Castle  Howard,  seat  of  the  Earl  of  Carlisle :  Collection 
of  pictures  —  Miscellaneous  schools  —  Collection  of  sculpture. — Temple 
Newsam,  seat  of  Mr.  Meynell  Ingram :  Collection  of  pictures. — Nostall 
Priory,  seat  of  Charles  Wynn,  Esq. :  Collection  of  pictures. — Wentworth 
House,  seat  of  Earl  Fitzwilliam :  Collection  of  pictiures. — Wentworth 
Castle:  Pictures. —  Collections  in  Yorkshire       .        •        .        .        316 


LETTER  XXX. 

Chatsworth,  seat  of  Duke  of  Devonshire :  Collection  of  pictures,  drawings, 
MSS.  with  miniatures,  and  sculpture  —  Beauties  of  gardens,  conservato- 
ries, and  grounds. — ^Wooton  Hall,  seat  of  Mr.  Davenport  Bromley :  Col- 
lection of  pictures —  Early  masters 344 


LETTER  XXXI. 

Alton  Towers,  seat  of  the  Earl  of  Shrewsbury :  Collection  of  pictures  — 
Florentine,  Roman,  and  Venetian  schools  —  School  of  the  Carracci  — 
Spanish,  French,  Flemish,  Dutch,  and  German  schools  —  Garden.  —  Oak* 
over  Hall.— Barron  Hill,  seat  of  M.  A.  Whyte,  Esq. :  Small  Raphael 
incture. — ^Eeddleston  Hall,  seat  of  the  Earl  of  Scarsdale:  Collection  of 
pictures  —  Flemish  school  —  Italian  school.  —  Bel  voir  Castle :  Flemish 
and  Dutch  schools  —  Seven  Sacraments,  by  Nicolas  Pousain  —  Murillo. — 
Burleigh  House,  seat  of  the  Marquis  of  Exeter :  Collection  of  pictures  — 
Venetian  school  •—  Spanish,  French,  Flemish,  and  Dutch  schools  — 
English  schod  —  Portraits  of  celebrated  persons.  —  Apethorpe,  seat  of  the 
Earl  of  Westmoreland :  Family  pictures.  —  Fotheringay  Castle  .       381  ' 


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vi  CONTENTS  OF  VOL.  111. 


LETTER  XXXII. 

Holkham  House,  seat  of  Earl  of  Leicester :  Collection  of  sculpture  —  Collec- 
tion of  pictures  —  Drawings  by  old  masters  —  MSS.  with  miniatures. — 
Eetteringham  Hall,  seat  of  Sir  John  Boileau :  Sculpture  and  pictures. — 
Intwood. — Narford,  seat  of  Andrew  Fountaine,  Esq. :  Collection  of  pic- 
tures —  Netherlandish  school  —  Italian  and  English  schools  —  Collec- 
tion of  Majolica  —  MSS.  with  miniatures.  —  Attleborough  Church. — 
Wolterton,  seat  of  Earl  of  Orford  :  Collection  of  pictures. —  Norwich  — 
Picture  in  Cathedral. —  Yarmouth  —  Old  Crome  —  Burgh  Castle. — 
Orwell  Park,  seat  of  Mr.  Tomline  :  Collection  of  pictures,  miscella- 
neous schools     Page  413 


LETTER  XXXra. 

Cambridge :  Eing^s  College  Chapel  —  Trinity  College  Chapel  —  Pictures  in 
Fi tz William  Museum  —  Mesman  Collection  —  University  Library  — 
MSS.  with  miniatures.  —  Althorp,  seat  of  Lord  Spencer :  Collection  of 
pictures.  —  Broughton  Hall,  seat  of  Duke  of  Buccleuch :  Pictures,  cartoons, 
and  tapestries.  —  Glendon  Hall.  —  Collections  in  Northamptonshire.  — 
Wobum  Abbey,  seat  of  Duke  of  Bedford:  Collection  of  pictures  — 
Portraits  of  painters  by  themselves  —  Gallery  of  antiquities  —  Sculpture 
—  Hothouses  —  Pleasure-grounds.  —  Luton  House,  seat  of  Marquis  of 
Bute :  Collection  of  pictures.  —  Architecture  in  England     .        .        444 


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THE 

TREASURES  OF  ART  IN  GREAT  BRITAIN. 


LETTER  XXIII. 


Stakbtead  House,  seat  of  W.  Fuller  Maitland,  Esq. :  A  Byzantine  pic- 
ture —  Florentine  school  —  Raphael  —  Early  Netherlandish,  German» 
and  English  schools. — Panshangeb,  seat  of  Earl  Cowper :  Two  Ra- 
phael Madonnas  —  Fra  Bartolommeo  —  Decline  of  art  in  the  16  th 
century  —  Disadvantages  of  painters  —  Miscellaneous  masters  —  Old 
oak. — CoBHAM  Hall,  seat  of  the  Earl  of  Damley  :  Venetian  school. 
Titian*s  Europa  —  Bolognese  school  —  Neapolitan,  Netherlandish, 
French,  and  English  schools. — Wiokham  Park,  seat  of  Lord  Overstone. 
— AsHBUBXHAM  Place,  seat  of  Lord  Ashbumham :  Rembrandt. — 
Arundel  Castle,  seat  of  the  Duke  of  Norfolk :  Miscellaneous  pictures. — 
Petwobth,  seat  of  Colonel  Egremont  Wyndham. 

PICTURES  IN  STANSTEAD  HOUSE  BELONGING  TO 
W.  FÜLLER  MAITLAND,  ESQ. 

This  accomplished  gentleman,  who  takes  a  leading  part  among 
the  yet  small  number  of  those  connoisseurs  in  England  whose 
taste  is  particularly  directed  to  the  art  of  the  14th  and  15th  cen- 
turies, has  succeeded  in  forming  a  fine  collection  of  pictures  of 
this  class.  Among  them  I  recognised  some  formerly  in  the  pos- 
session of  my  late  fiiend  Mr.  Ottley.  The  day  I  spent  with  Mr. 
Maitland,  in  company  with  our  mutual  friend  Mr.  Bezzi,  in  the 
examination  of  his  pictures  and  the  enjoyment  of  his  domestic 
circle,  was  one  of  the  most  delightful  that  I  passed  in  England. 

As  the  arrangement  of  the  pictures  is  only  temporary,  I  shall 
consider  them  according  to  schools  and  periods. 

The  Byzantine  School. — ^The  Death  of  St.  Ephraim  Syrus : 
corresponding  in  its  principal  features  with  the  engraving  in 
D'A^ncourt  of  the  well-known  picture  in  the  Museo  Qiristiano, 
in  Rome.  It  is  somewjiat  smaller  however,  many  details  are 
missing,  and  the  execution  is  ruder.  It  proves  that  this  was  a 
typical  representation,  doubtless  often  repeated  by  the  Byzantine 

VOL.  HI.  B      ^^^^1^ 

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2  STANSTEAD  HOUSE.  Letter  XXIH. 

painters.  As  th^  life  of  this  anchorite  is  the  subject  in  which 
Byzantine  art  has  displayed  its  most  ori^nal  inventions,  this  pic- 
ture is  of  no  small  interest. 

FLOREI9TINB  SCHOOL. 

Taddeo  Gaddi. — A  small  altar-piece  with  wings.  One  of 
the  most  beautiful  specimens  preserved  to  us  of  this  admirable 
scholar  of  Giotto.  In  the  centre  is  the  Crucifixion,  a  rich  compo- 
sition, with  the  figure  of  the  fidnting  Virgin  particularly  noble. 
On  the  right  wing  below  is  the  Nativity ;  here  the  sarcophagus- 
like form  of  the  crib  in  which  the  Child  lies  is  remarkable.  In  the 
spandrils  of  the  Gothic  arch  are  two  figures  of  prophets  grandly 
conceived,  probably  Micah  and  Zechariah ;  in  the  compartment 
above,  the  crucifixion  of  Peter.  On  the  left  wing  below,  the 
Virgin  enthroned,  with  St.  John  the  Evangelist,  St.  Augustin,  St. 
Peter,  and  St.  Paul ;  in  the  spandrils  again,  two  prophets ;  in  the 
compartment  above,  the  youthfully  conceived  St.  Nicolas  throwing 
a  golden  apple  into  the  room  where  the  three  maidens  are  sleeping, 
according  to  the  well-known  legend.  The  grief  of  the  father  is 
admirably  expressed.  With  the  exception  of  the  St.  Joseph  in 
the  Nativity,  and  the  figure  of  the  enthroned  Virgin,  the  picture  is 
in  excellent  preservation.  Below  the  centre  part,  in  a  thick  coarse 
black  writing,  "  Ano  Dyi  mcccxxxviii.  Florenzia  per  .  .  .  ."  It 
may  be  concluded  that  the  word  Thaddeum  stood  in  the  erased 
part,  as  it  is  thus  that  he  signs  himself  on  a  small  altar-picture  in 
the  Berlin  Museum,  which  in  every  respect  corresponds  closely 
with  this. 

Spinello  Aretino. — ^Two  pictures  of  the  legend  of  a  saint ; 
probably  St.  Catherine.  The  saint,  with  a  crown,  before  her 
judges,  and  again  praying  in  prison  with  four  guards,  has  pre- 
cisely the  character  peculiar  to  this  master. 

FiESOLE. — 1.  The  Entombment  of  the  Virgin.  This  picture, 
which  is  executed  like  a  miniature,  displays  in  the  varied,  finely- 
conceived  heads  of  the  apostles,  and  in  the  noble  countenance  of  the 
Virgin,  all  the  beauty  and  depth  of  the  majster's  feeUng.  At  the  back 
is  an  inscription  by  Lamberto  Gt)ri,  dated  1789,  which  states  that 
this  picture  is  mentioned  by  Vasari  as  a  work  by  Giotto,  in  the 
church  "  Ogni  Santi,"  and  was  subsequently  in  the  hands  of  the 
well-known  Hugford,  who  actually  had  it  engraved  in  his  Etruria 
Kttrice  as  a  work  of  Giotto.  I  mention  Üiis  as  a  remarkable 
-  proof  of  the  scanty  critical  knowledge  of  such  pictures  at  that  time. 

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Lhpteb  XXni.     MB.  MAITLAND'S  COLLECTION.  3 

2.  The  Virgin  in  an  almond-shaped  glory  of  very  pointed  form, 
home  up  by  six  angels  to  heaven.  Below,  kneeling  by  the  sarco- 
phagus, St.  Francis  and  St.  Bonaventura,  painted  on  a  gold  ground, 
and  belonging  to  the  earlier  time  of  the  master.  Both  these  pic- 
tures are  from  the  OtÜey  collection. 

Fra  Filippo  Lippi. — 1.  The  Adoration  of  the  Kings ;  a  rich 
circular  composition.  In  the  high  line  of  horizon,  and  in  the  dis- 
tinctness and  refined  artistic  feeling  of  the  whole  arrangement, 
may  be  recognised  the  influence  of  Lorenzo  Ghiberti's  relief  of 
the  visit  of  the  Queen  of  Sheba  to  Solomon  on  the  celebrated 
doors  of  the  Baptistery  at  Florence,  in  which  this  favourable  style 
of  arrangement  for  large  compositions  was  first  applied.  Two  of 
the  kings  are  kneeling ;  the  Infant  blesang  one  of  them.  The 
variety  in  the  admirably  individual  heads  is  very  astonishing. 
The  delicate  silvery  tones  of  the  ruins,  which  are  in  the  taste  of 
Üie  Renaissance,  and  a  considerable  degree  of  aerial  perspective 
in  landscape  and  sky,  are  evidences  of  the  later  time  of  the 
master.    From  the  collection  of  Mr.  Coningham. 

2.  A  predella  picture.  St.  Peter  and  St.  John  healing  the  lame 
man  at  the  Beautiful  gate  of  the  Temple.  The  scene  is  very  ani- 
mated, and  the  surprise  of  some  Pharisees  standing  by  admirably 
expressed.  The  rich  architecture  is  in  the  style  of  the  pictures  by 
Benozzo  Gozzoli  in  the  Campo  Santo  at  Pisa. 

Sandro  Botticelli. — 1.  The  Virgin  and  St  John  adoring 
the  Infant  which  is  lying  on  the  ground.  The  heads  are  of 
earnest  and  noble  sentiment,  and  the  infant  Christ,  which,  in 
opposition  to  the  usual  heavy  brown  tone  of  the  other  portions,  is 
lightly  and  transparently  coloured,  is  truer  to  nature  in  the  forms 
than  is  usual  with  him.     A  drcular  picture. 

2.  The  Nativity.  A  very  spirited,  and,  considering  the  vehe- 
ment character  of  the  master,  a  most  remarkable  picture.  The 
appearance  of  our  Saviour  excites  among  the  angels  the  highest 
joy ;  twelve  of  them  are  dancing  in  a  circle  in  the  air  ;  two  others 
are  crowning  five  shepherds  with  garlands,  stx  other  angels  are 
embracing  each  other ;  three  devils  are  fleeing  away  in  impotent 
rage.  The  execution  is,  for  him,  slight,  but  full  of  spirit  A 
long  Greek  inscription  on  the  upper  border  contains  the  master's 
name  and  the  date  1511,  whence  it  appears  that  the  picture  be- 
longs to  the  latest  time  of  the  master.    From  the  Ottley  collection. 

Raffaelino  del  Gabbo. — ^I  am  inclined  to  ascribe  an  altar- 

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4  STANSTEAD  HOUSE.  Letter  XXni. 

picture  to  this  painter,  who,  though  a  scholar  of  Filippino  Lippi, 
departed  from  the  style  of  his  master — a  style  first  introduced  in 
Florence  by  Fra  Filippo.  The  subject  is  the  Virgin  with  the 
Child  on  her  lap,  and  two  angels  holding  garlands  of  fruit ;  in 
the  right  wing  St.  Augustin  and  St.  John  the  Evangelist ;  in  the 
left  wing  a  saint  with  a  sword,  and  a  crowned  female  saint,  probably 
St.  Catherine.  The  heads  breathe  a  genuine  religious  feeling; 
that  of  the  Virgin  has  also  the  expression  of  a  tender  melan- 
choly.    The  blue  and  red  of  her  dress  is  very  powerftilly  treated. 

CosiMO  KossELLi. — ^A  large  altar-piece.  Christ  on  the  Cross, 
with  a  splendid  crown  upon  his  head,  in  a  black  garment  richly 
adorned  with  jewels,  touching  the  sacramental  cup  with  his  san- 
dalled feet  In  the  air  are  six  angels  and  eight  cherubim  and 
seraphim,  all  of  great  beauty.  On  the  right  hand,  St.  John  the 
Baptist  and  St.  Dominic  kneeling ;  on  the  left,  St.  Peter  and  St. 
Jerome.  With  the  exception  of  his  fiasco  in  S.  Ambrogio,  I 
prefer  this  to  all  the  other  works  of  the  master.  The  heads  are 
very  animated  and  characteristic,  the  attitudes  noble,  the  drawing 
very  careftil,  the  colouring  warm  and  clear,  the  impasto  of  the 
tempera  painting  most  masterly. 

Domen  [CO  Ghirlandajo. — St.  Dominic  standing  under  a 
tree.  Of  powerful  and  transparent  colouring.  Six  angels  of  de- 
licate action  and  pleasing  heads,  as  well  as  three  saints  in  circles 
below,  are,  to  judge  from  the  drawing,  the  work  of  some  scholar. 
The  same  may  be  said  of  a  picture  of  the  Virgin  reading,  with 
the  Child  blessing  the  adoring  St.  John.  Her  noble  and  delicate 
head,  and  the  childlike  character  of  the  St  John,  are  not  un- 
worthy of  the  master ;  but  the  empty  character  of  the  Child's  head 
and  the  weak  drawing  of  the  hands  betray  the  scholar. 

Francesco  Granacci. — ^The  Virgin  enthroned  with  the  Child, 
and  two  beautiful  adoring  angels.  A  circular  pictiu'e,  which  both 
in  feeling  and  in  the  modelling  of  the  tender  broken  colours  is  of 
the  highest  charm. 

The  OLD  School- OF  Siena  is  also  represented  by  a  pictinre  by 
Sano  di  Pietro  of  very  dramatic  conception,  St.  Peter  restoring 
Tabitha. 

The  point  of  attraction,  however,  of  this  collection,  is  the  picture 
by  Raphael  representing  Christ  with  the  three  Disciples  on  the 
Mount  of  Olives,  which  I  formerly  saw  in  the  GabrieUi  Palace  at 
Rome.  This  beautifrd  work,  which  is  intense  in  feeling,  power- 
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Letter  XXIII.       MR.  MAITLAND'S  COLLECTION.   '  5 

fill  in  colour,  and  most  careful  in  execution,  is  proved  by  Passa- 
vant  to  be  the  same  mentioned  by  Vasari  as  having  been  executed 
for  Guidobaldo  di  Montefeltro,  Duke  of  Urbino,  in  1504.  I  am 
inclined,  however,  to  think  that  Raphael  intrusted  the  execution 
of  the  subordinate  portions,  such  as  Judas  with  his  troop,  and  the 
landscape,  to  his  fellow-pupil,  Lo  Spagna,  whose  somewhat  cool 
tones  and  bright  general  eflFect  I  recognise.  Nor  is  there  any- 
thing strange  in  this,  for,  in  the  same  way  as  several  of  Perugino's 
pictures  show  the  co-operation  of  several  of  his  scholars,  so  we 
may  conclude  that  two  fellow-students  so  closely  allied  as  Raphael 
and  Lo  Spagna  may  well  have  worked  together  on  the  same 
pictm*e.     From  Mr.  Coningham's  collection. 

Franciabigio. — ^To  this  painter,  who  was  first  the  friend  and 
later  the  rival  of  Andrea  del  Sarto,  I  am  inclined  to  attribute  two 
pictures  representing  the  parable  of  the  Vineyard,  h^e  assigned  to 
Andrea  del  Sarto  himself.  The  proportions  have  iot  the  noble 
and  slender  character  of  Andrea,  but  rather  the  clumsy  and 
shorter  forms  of  Franciabigio.  The  reddish  and  heavy  tone  is  also 
a  characteristic  of  this  latter.    The  conception  is  very  animated. 

Early  Netherlandish  School. 

The  Virgin  standing  with  the  Child  on  her  arm ;  above,  two 
angels  holding  a  crown ;  below,  two  angels  playing  on  musical  in- 
struments. A  pictm-e  of  about  four  feet  square,  and  obviously  by 
a  scholar  of  the  Van  Eycks,  though  I  am  not  prepared  to  attri- 
bute it  to  Hugo  van  der  Goes,  whose  name  it  here  bears.  The 
Virgin  is  very  noble,  but,  in  the  attempt  to  make  the  Child  serious 
in  expression,  a  look  of  ill-humour  has  been  given.  The  land- 
scape background  is  of  delicate  tone,  and  the  eflFect  of  the  whole 
of  singular  transparency  and  daylight  freshness. 

HiERONYMUS  Bosch. — St.  John  in  profile.  The  portrait  of  a 
Netherlandish  physiognomy  of  very  insipid  character  is  so  little 
in  unison  even  with  the  lowest  conception  of  the  head  of  the  in- 
spired Evangelist,  as  to  have  the  appearance  rather  of  a  deliberate 
parody.  He  is  represented  looking  upwards  at  the  vision  of  the 
Virgin  and  Child,  to  which  an  angel  is  drawing  his  attention.  In 
front,  to  the  right,  is  an  eagle ;  to  the  left,  one  of  Bosch's  well- 
known  demons,  with  a  good-natured  expression,  and  spectacles  on 
his  nose.  The  background  consists  of  an  extensive  landscape  and 
the  sea.    Inscribed  "  Hieronymus  b  .  .  .  ."    Purchased  in  Rome. 

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6  MR,  MATTLAND'S  COLLECTION.      Lettbb  XXIII. 

Lucas  van  Letden. — ^The  Virgin  standing  with  the  Child  on 
her  arm,  who  is  holding  a  rosary.  An  early  picture  of  this  scarce 
master,  and  treated  in  his  somewhat  reddish  tones.  Most  care- 
fully carried  out,  especially  in  the  richly  wooded  landscape  of  the 
background. 

An  admirable  portrait  of  a  young  man  in  brown  dress  and  cap, 
with  local  yellow  flesh-tones  and  brownish  shadows,  is  here  attri- 
buted to  Holbein.  It  approaches,  however,  very  near  to  Lucas 
van  Leyden,  and  is  perhaps  by  the  hand  of  that  master  in  his 
later  period. 

Patenier. — Scenes  from  the  legend  of  a  canonized  bishop ; 
different  individuals  are  pointing  upwards  to  some  invisible  object. 
A  very  careful  work. 

ScHOREEL. — Portrait  of  an  old  woman ;  of  masterly  execution 
and  animation,  and  of  the  warmest  flesh-tones.  Jud^ng  from  the 
only  authenticated  portruts  by  Schoreel,  in  the  Hotel  de  Ville  at 
Utrecht,  I  am  inclined  to  attribute  the  picture  to  that  rare  master. 

Sir  Anthony  More. — ^The  portrait  of  the  Dr.  Butts  intro- 
duced into  Shaksp^are's  Henry  VULl.  Also  a  portrait  of  his 
wife.  Two  pictures  of  admirable  truth,  and  as  remarkable  for  the 
care  of  tfce  execution  as  they  are  for  transparency  and  warmth  of 
colouring.  As  Dr.  Butts  appears  here  as  an  old  man  with  white 
hair,  these  works  may  be  attributed  to  Sir  Anthony's  earlier  time, 
when  he  retained  the  manner  of  his  master  Schoreel. 

Peter  Neefs. — ^Interior  of  a  church.  Of  great  transparency 
and  predsion  of  execution.  Of  the  middle  time  of  the  master, 
and  inscribed. 

German  Schooi«. 

Holbein. — Portrait  of  a  young  man  in  a  black  furred  coat, 
weighing  gold.  The  ground  green,  with  a  red  stripe.  This  ad- 
mirable picture  exhibits  the  brownish  flesh-tones  of  his  earlier 
period.  The  hands  are  particularly  careful.  The  etkct  of  the 
whole  is  full,  warm,  and  harmonious. 

The  Virpn  nursing  the  Child.  A  most  tender  picture  by  the 
Cologne  master  who  painted  the  Death  of  the  Vir^n  in  the  Gal- 
lery at  Munich — ^there  most  erroneously  denominated  a  Schoreel. 
The  delicate  modelling  of  the  silvery  tones  of  the  flesh,  the  soft 
grey  colour  in  the  drapery  of  the  Virgin,  closely  recall  Quentin 
Matsys,  and  furnish  further  proof  that  this  excellent  painter  must 
have  studied  under  that  master. 

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Leiter  XXm.       EARL  OOWPEB*S  COLLECTION.  7 

English  School. 

Wilson. — An  English  landscape,  with  the  remains  of  a  volcanic 
crater,  is  very  interesting. 

Sir  Charles  Eajbtlake. — ^Eight  studies  of  claawcal  localities 
and  monuments  in  Greece ;  for  instance,  Corinth,  the  Erechtheum, 
&c. :  uniting  a  tasteful  and  true  conception  with  admirable  keep- 
ing and  a  free  and  light  treatment 


PANSHANGEB,  SEAT  OF  EARL  COWPER. 

In  July,  1835, 1  arrived  at  Hertford  on  my  way  to  Pandianger. 
Being  favoured  by  the  finest  weather,  I  set  out  on  foot,  with  a 
guide,  for  this  seat  of  the  Earl  of  Cowper,  who,  as  I  mentioned 
in  page  17  of  my  second  letter,  has  a  very  choice  collection,  con- 
sisting chiefly  of  Italian  pictures,  most  of  which  were  purchased 
by  the  grandfather  of  the  present  Earl,  when  ambassador  at 
Florence.  The  rather  hilly  ground,  richly  wooded,  afibrds  an 
agreeable  diversity  of  views.  The  town  of  Hertford  lies  very 
picturesquely  between  hills  of  agreeable  forms ;  and  here  and 
there  I  saw,  at  a  distance,  beautiful  country-seats,  »tuated  on 
eminences,  to  which  my  attendant  drew  my  attention,  telling  me 
the  names  of  the  ownera  After  walking  through  a  part  of  the 
fine  park,  I  reached  the  mansion,  and  being  provided,  by  the  kind 
intervention  of  the  Duke  of  Sutherland,  with  a  letter  from  Lady 
Cowper  to  the  housekeeper,  all  the  rooms  containing  pictures  were 
opened  to  me,  and  I  was  then  left  to  myself. 

The  coolness  of  these  fine  apartments,  in  which  the  pictures  are 
arranged  with  mudi  taste,  was  very  refreshing  after  my  hot  walk. 
The  drawing-room,  especially,  is  one  of  those  apartments  which 
not  only  give  great  pleasure  by  their  size  and  elegance,  but  also 
afford  the  most  elevated  gratification  to  the  mind  by  works  of  art 
of  the  noblest  kind.  This  splendid  apartment  receives  light 
horn  three  skylights,  and  from  large  windows  at  one  of  the  ends ; 
while  the  paintings  of  the  Italian  school  are  well  relieved  by  the 
crimson  silk  han^nga  I  cannot  refrain  from  again  praising  the 
refined  taste  of  the  English  for  thus  adorning  the  rooms  they 
daily  occupy,  by  which  means  they  enjoy,  from  their  youth  up- 
ward, the  silent  and  slow  but  sure  influence  of  works  of  art  I 
passed  here  six  happy  hours  in  quiet  solituda     The  eilence  was 

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8  PANSHANGER.  Letter  XXIH. 

interrupted  only  by  the  humming  of  innumerable  bees  round  the 
flowers  which  grew  in  the  greatest  luxuriance  beneath  the  win- 
dows It  is  only  when  thus  left  alone  that  such  works  of  art 
gradually  unfold  all  their  peculiar  beautie&  But  when,  as  I  have 
too  often  experienced  in  England,  an  impatient  housekeeper  is 
perpetually  sounding  the  note  of  departure  by  the  rattle  of  her 
keys,  no  work  of  art  can  be  viewed  with  that  tranquillity  of  mind 
which  alone  ensures  its  thorough  appreciation. 

The  historical  painters  of  the  time  of  Raphael  attained  a  per- 
fection with  which  no  others  can  bear  a  comparison.  This  arose 
from  the  happy  balance  of  all  the  qualities  required  in  a  work  of 
art.  Retaining  the  high  requisites  which  characterised  their  pre- 
decessors— genuine  enthusiasm  for  the  spirit  of  the  subject,  sym- 
metrical arrangement,  and  a  feeling  for  a  faithful  and  accurate 
execution  of  the  detmls — they  added  to  these  elements  a  com- 
plete mastery  over  the  materials  of  art  and  the  means  of  expressing 
their  ideaa  The  old  meagreness  and  stifiness  were  succeeded  by 
a  natural  ftOness,  freedom,  ease,  and  grace ;  the  laws  of  linear 
and  aerial  perspective  so  far  observed,  that  every  object  is  cor- 
rectly foreshortened,  rounded,  and  duly  imited  with  its  ground ; 
by  which  the  general  keeping,  the  quality  in  which  the  older  pic- 
tures were  most  deficient,  is  attained.  In  such  subjects  as  required 
symmetrical  arrangement,  the  old  hardness  and  formality  are  no 
longer  apparent,  the  artifice  being  concealed  by  contrasts  and 
alternations  of  opposing  massea  Lastly,  they  have  that  advantage 
over  all  the  works  of  later  periods,  that  the  mastery  attained  in 
all  these  points  is  entirely  unstudied  in  its  application,  serving 
only  to  express  the  subject  with  the  utmost  truth,  clearness,  and 
beauty.  The  painters  of  the  succeeding  epochs,  on  the  contrary, 
frequently  make  an  ambitious  display  of  this  mastery ;  so  that 
the  subject  before  them  is  no  longer  the  end,  but  merely  a  means 
for  exhibiting  their  skill  in  drawing,  chiaroscuro,  and  general 
keeping.  The  striking  efiects  which  they  thus  produce  have 
rendered  their  works  much  greater  favourites  in  England,  gene- 
rally speaking,  than  those  of  the  time  of  Raphael,  in  which 
the  decision  which  characterises  the  forms  is  looked  upon  as  hard- 
nesa  I  will  now  endeavour  to  describe  the  finest  works  in  this 
collection. 

Raphael. — 1.  The  Virgin,  seated  on  a  stone  bench,  looking 
thoughtftdly  out  of  the  picture,  and  holding  the  Child  with  her 

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LsTEER  XXIII.       EARL  COWPER'S  COLLECTION.  9 

left  hand.  The  attitude  of  the  Child,  which,  turning  its  head 
round,  takes  hold  of  its  mother's  neck,  may  be  placed  between 
that  of  the  Madonna  del  Granduca,  where  it  sits  quietly  on  its 
mother's  arm,  and  that  of  the  Tempi  Madonna,  where  she  presses 
it  fondly  to  her  bosonL  In  other  respects,  also,  this  picture  may 
be  placed  between  these  two.  Though  more  slightly  handled,  it 
agrees  with  the  former  in  the  brilliancy  and  lightness  of  the 
general  tona  The  dreamlike  and  highly  interesting  expression 
of  the  Virgin  likewise  recalls  the  feeling  of  Perugino,  while  the 
forms,  especially  of  the  eyes,  with  the  arched  lids,  approach  the 
greater  beauty  and  purity  which  we  find  in  the  Tempi  Madonna, 
and  in  the  Canigiani  Madonna  at  Munich.  The  hands  of  the  • 
Virgin  are  beautifully  formed.  In  the  drapery,  again,  we  find  the 
glowing  red  of  -the  under  garment,  and  the  dark  blue  of  the 
mantle,  with  the  green  lining  peculiar  to  Perugina  The  land- 
scape is  of  a  brownish  green  in  the  middle-ground,  and  of  a  pale 
blue  tone  in  the  distance.  This  is  probably  the  oldest  specimen 
of  the  lighter  mode  of  treatment  with  glazings,  which  Raphael 
had  adopted  from  Fra  Bartolommeo.  The  figures  are  half  the 
size  of  life ;  the  Virgin  to  the  knee&  On  panel,  about  2  ft.  3  in. 
high,  1  ft  6  ia  wida     The  preservation  is  excellent 

2.  The  Virgin  is  looking  with  maternal  tenderness  at  the 
Child,  who,  seated  on  a  cushion  on  her  knee,  and  taking  hold  of 
her  boddice  with  the  left  hand,  looks  out  of  the  picture  with  in- 
fantine joy.  The  background  consists  of  a  blue  sky.  No  other 
picture  by  Raphael  approaches  so  nearly  to  the  Madonna  from 
the  Casa  Colonna,  and  now  in  the  Museum  at  Berlin.  In  both, 
the  same  feeling  for  beauty  and  gracefulness  of  attitude  are  com- 
bined with  masterly  fireedom  and  spirited  handling.  Both  pictures 
are  evidently  taken  from  the  same  model,  and  both  have  a  slight 
tendency  to  afiectation.  If  this  censure  be  applicable  only  to  the 
head  of  the  Virgin  in  the  Colonna  Raphael,  in  this  picture  it 
regards  only  the  head  of  the  Child,  though  not  by  any  means  to 
the  degree  which  the  otherwise  excellent  representation  in  Passa- 
vant's  book  would  lead  us  to  suppose.  The  soft  expression  in 
the  eyes  (the  uyp^'»  of  the  ancients),  which  is  chiefly  produced 
by  the  strong  shadows  under  the  lower  eyelids,  is  particularly 
remarkable.  The  Virgin,  on  the  contrary,  recalls  in  purity  and 
elevation  of  expression  the  Canigiani  Madonna,  and  the  Madonna 
with  the   Palm  in  the   Bridgewatcr  Gallery.     If  the  feeluig  is 

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10  PANSHANGER.  LHTTKRXXin. 

perhaps  less  intense,  the  forms  are  more  grandly  conceived  This 
lovely  picture,  which,  with  the  exception  of  numerous  cracks  and 
the  injured  state  of  the  left  hand  of  the  Virgin,  is  in  excellent 
preservation,  differs  firom  the  Colonna  Raphael  by  a  far  more 
solid  impasto,  a  more  careful  modelling,  and  greater  depth  of  the 
shadows,  as  well  as  by  a  more  powerful,  though  mudi  less  clear 
and  brilliant  general  tona  The  date  MDVIIL  on  the  hem  of 
the  stomacher,  which  is  partly  effaced,  indicates  the  time  when 
the  picture  was  painted,  and  shows  the  eminence  which  Raphael 
had  in  some  respects  attained,  shortly  before  the  commencement 
of  his  grand  career  at  Rome,  on  whidi  he  entered  in  the  course 
of  the  same  year.  For  it  is  to  be  observed  that  Raphael,  during 
his  Florentine  period  (from  1505  to  1508),  had  studiously  kept 
two  objects  in  view.  In  pictures  like  the  preceding,  and  that 
from  the  Colonna  Palace,  he  gave  himself  wholly  up  to  the 
charm  of  graceful  motives,  caught  from  nature  and  fixed  in  his 
fimcy,  so  that  no  strictly  religious  conception  is  to  be  sought  in 
them.  On  the  other  hand,  a  religious  style  of  conception,  united 
with  an  accurate  study  of  nature  in  the  details,  decidedly  predo- 
minates in  another  series  of  pictures,  of  whidi  I  will  mention  here 
only  the  Madonna  del  Granduca,  and  the  Entombment  in  the 
Borghese  Palaca  Finally,  the  blending  of  the  two  tendencies 
is  admirably  seen  in  his  first  frescoes  at  Rome,  the  four  allegorical 
figures  of  Theology,  Poetry,  Philosophy,  and  Jurisprudence,  as  well 
as  in  the  Disputa 

Fra  Bartolommeo. — ^This  is  the  most  beautiful  picture  that  I 
am  acquainted  with  by  this  friend  of  Raphael  The  infant  Christ, 
seated  on  his  mother's  lap,  has  just  given  the  Cross  to  the  little 
St  John,  who  is  standing  by.  The  Virgin,  in  whose  delicate  oval 
face  and  genuine  virgin  expression  the  influence  of  Leonardo  da 
Vinci  is  evident,  looks  upon  St  John  with  tender  compassion, 
while  Christ  regards  him  yrith  an  expression  of  sorrow,  as  if  both 
knew  the  sufferings  which  the  Baptist  took  up  with  this  Crosa  In 
the  averted  profile  of  St  John,  too,  the  expression  is  of  a  painful 
kind ;  yet  his  left  hand  pointing  to  his  breast  indicates  how  will- 
ingly he  receives  the  proffered  CrosSb  This  style  of  conception  is 
strongly  indicative  of  the  enthusiastic  melancholy  tone  of  the 
master's  mind  Joseph  is  seated  on  the  left  hand  of  the  Virgia 
The  background  is  a  beautiful  landscape,  with  a  bright  horizon 
and  a  palm-tree.     The  singular  grace  in  the  leading  lines  of  the 

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Letter  XXni.       EARL  COWPEB'S  COLLECTION.  11 

composition  leads  me  to  conjecture  that  this  picture  was  painted 
in  those  years  when  he  had  so  much  intercourse  with  Raphael 
The  colouring  is  of  extraordinary  warmth  and  depth,  even  for  Fra 
Bartolommeo  ;  the  execution  of  the  details  extremely  careful  in  a 
delicately  blended  manner,  and  indicating  in  the  gfumato  mo- 
delling the  influence  of  Leonardo  da  Vinci  Unfortunately,  the 
body  and  the  right  leg  of  St  John,  and  the  left  hand  of  the  Vir- 
^n  are  injured,  so  that  the  light  ground  is  visible.  On  panel, 
about  5  ft.  high  and  4  ft  wide. 

Andrsa  del  Sarto. — 1.  His  own  portrait:  he  is  standing 
behind  a  table,  and  looking  up  from  a  letter  which  he  is  engaged 
in  writing.  The  conception  is  extremely  animated  and  noble, 
the  tender  melancholy  expression  wonderfully  attractive,  and  the 
finely-drawn  head  very  softly  executed,  in  a  deep,  clear  sfumato 
treatment  The  black  colour  of  his  dress,  the  shirt,  the  table-cover 
with  stripes  of  harmonious  colours,  and  the  dark,  juicy  green 
ground,  are  of  extraordinary  fulness  and  transparency.  This 
picture  ranks  very  high  in  all  respects,  especially  in  the  chiaro- 
scuro, and  is,  without  doubt,  one  of  the  finest  portraits  of  the 
painter's  later  period. 

2.  The  portrait  of  a  woman,  of  middle  age,  with  noble,  digni- 
fied fei^tures,  in  a  red  dress,  with  a  trimming  of  dark  purple  and 
gold,  seated  behind  a  table,  on  which  are  the  writings  of  Pe- 
trarch and  another  book :  she  is  holding  an  open  music-book  in 
her  hand.  On  the  cornice  of  the  architecture  in  gold  letters, 
"  Meliora  latent,"  and  on  the  edge  of  the  table,  "  Tu  dea  tu  presens 
nostro  succurre  laborl"  The  background  is  a  cold  blue  landscape, 
with  a  reddish  horizon.  The  head,  seen  in  a  strong  light,  is  finely 
modelled  in  the  reddish  lights  and  the  greenish  shadows  of  An- 
drea's later  period.  From  unequal  cleaning,  the  head  now  appears 
spotty,  the  neck  and  some  other  parts  are  injured. 

3.  Portrait  of  a  young  man  in  a  black  dress,  with  a  round  hat ; 
the  right  hand  in  his  bosom,  and  the  left  in  his  girdle.  Theground 
a  greyish-greea  This  nobly-conceived,  harmonious,  and  delicately- 
modelled  and  drawn  picture,  is  unfortunately  much  damaged, 
especially  the  handa 

4.  Joseph  making  himself  known  to  his  brethren.  A  predella 
picture;  very  spirited  in  composition,  and  with  free  and  beau- 
tiful motives,  some  of  which  are,  however,  mannered.  This 
circumstance,    with    the    over-slender    proportions,    the    small 

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12  PANSHANGER.  Lettee  XXIH. 

pointed  feet,  and  slight  treatment,  indicate  the  later  period  of 
the  master. 

5  and  6.  Two  companion  pieces,  about  a  foot  and  a  half  square, 
containing  very  rich  compositions  from  some  legend  with  which  I 
am  unacquainted  One  may  perhaps  be  meant  to  represent  St 
Roch  distributing  money  among  the  poor.  Both  are  full  of 
spirit  and  life,  though  not  free  from  mannerism.  The  brilliant, 
rather  motley  colouring  produces  an  effect  resembling  that  of  fresco- 
painting. 

Another  bust-picture  of  an  oval  shape,  supposed  to  be  the 
portrait  of  Andrea  del  Sarto,  and  also  ascribed  to  him,  hangs  much 
too  high,  but  appeared  to  me  to  be  too  heavy  in  tone  and  too 
spiritless  for  hint 

A  picture  of  three  children,  one  of  them  in  the  cradle,  said  to 
be  by  Titian,  is  very  transparent ;  but  hangs  too  high  to  allow  of 
a  decision. 

Various  hypotheses  have  been  brought  forward  to  accoimt  for 
the  decline  of  painting  which  took  place  throughout  Europe 
towards  the  middle  of  the  sixteenth  century.  The  Reformation, 
especially,  is  often  alleged  as  the  principal  cause — but,  in  my 
opinion,  very  unjustly;  for  though,  in  the  countries  where  the 
Reformation  was  effected,  the  demand  for  pictures  must  naturally 
have  greatly  declined,  this  was  by  no  means  the  case  in  Italy,  where 
it  had  little  or  no  success ;  at  all  events,  it  would  be  difficult  to 
prove  any  considerable  influence  from  the  Reformation  on  the 
religious  feeling  of  the  people  and  artists  in  Italy  before  the  year 
1550.  And  yet  the  decline  of  the  art  from  1530  to  1550  is  more 
striking  there  than  anywhere  else.  Nor  did  this  decline  by  any 
means  extend  to  the  treatment  of  religious  subjects  only,  but 
to  the  conception,  and  to  the  scientific  and  mechanical  parts  of 
painting  generally.  The  main  reason  for  this  change  may,  there- 
fore, be  rather  sought  in  the  total  and  imiversal  change  in  the 
modes  of  thinking  which  took  place  from  that  time  among  the 
nations  of  Europe,  in  consequence  of  the  general  diflusion  of  the 
art  of  printing.  Greek  History  agrees  in  this  respect  with  that 
of  the  middle  ages  in  proving  that  intellectual  education  and 
instruction  were  difiused  through  the  larger  masses,  chiefly  by 
works  of  art ;  while  even  the  small  number  of  individuals  who 
could  afford  the  luxury  of  MS.  books,  were  also  dependent  upon 
art  for  their  means  of  instructioa     The  position  which  art  thus 

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Lettkb  XXIII.       EARL  COWPER'S  COLLECTION.  13 

occupied  gave  to  artists  a  calm  and  elevating  consciousness  of 
their  importance  in  society,  since  it  was  their  part  to  provide  for 
the  gratification  of  so  indispensable  and  universal  an  intellectual 
want  Precisely  because  art  was  necessary  to  education  and  in- 
struction, the  artists  were  impressed  with  the  necessity  for  the 
utmost  possible  distinctness  and  beauty  in  the  treatment  of  the 
subject,  since  otherwise  the  end  they  had  in  view  would  not  have 
been  attained.  This  was  the  reason  why  the  art  of  the  Greeks, 
as  well  as  of  the  middle  ages,  attained  so  great  a  perfection, 
and  preserved  for  so  long  a  time  its  vitality  and  its  purity. 
But  when,  at  the  beginning  of  the  16th  century,  the  art  of  print- 
ing rendered  the  difiusion  of  knowledge  so  easy  and  general, 
books  soon  took  the  place  of  art  as  the  principal  means  of  all 
intellectual  education.  Hitherto  pictures  had  exercised,  by  means 
of  the  fancy  and  the  sense  of  beauty,  an  indirect  influence  upon 
the  understanding;  henceforward,  language  acted  directiy  upon 
the  understanding  itself.  This  kind  of  influence  is  far  more 
penetrating,  decided,  and  extensive,  but  also  more  partial.  With 
the  unlimited  dominion  which  it  gradually  acquired,  the  demand 
for  intellectual  instruction  by  means  of  the  senses  by  degrees  dis- 
appeared, and  the  consequence  was  that,  in  the  end,  even  the 
faculty  of  rightiy  understanding  a  work  of  art  was  also  lost  His- 
torical painting,  also,  having  once  sunk  from  the  position  which 
that  elevated  intellectual  importance  had  given  it,  lost  also  its 
ancient  simplicity;  nay,  degenerated  into  the  mere  handmaid 
of  all  the  perverse  tendencies  of  the  times,  and  thus  gradually 
became  a  common  and  unmeaning  article  of  luxury,  with  no  merit 
but  a  certain  boldness  in  its  scientific  and  mechanical  part. 

Other  circumstances  also  have  tended  more  and  more  to  the 
disadvantage  of  artists  up  to  the  present  time.  Among  the 
Greeks,  art  and  life  went  hand  in  hand.  All  the  external  cir- 
cumstances of  life — for  instance,  costume — were  of  such  a  nature 
as  to  fulfil  those  laws  of  beauty  and  taste  which  the  highest  aims 
of  the  art  require.  The  artist,  therefore,  possessed  the  immense 
advantage  of  carrying  on  his  studies  involuntarily  in  the  living 
world  around  him,  while  the  public  exercises  in  the  Palaestra  gave 
him  every  opportunity  for  observing  the  nude.  If  the  outward 
forms  of  life  had  not  in  the  middle  ages  this  purely  plastic  cha- 
racter, yet  the  feeling  for  the  picturesque  found  nourishment  in 
other   respects;   in  architecture,  in  the   various  costumes,  and 

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14  PANSHANGER.  Letteb  XXIII. 

in  the  richness  and  variety  of  the  materials  employed  But 
such  ugliness,  deformity,  and  tastelessness  has  gradually  arisen 
in  the  whole  external  world,  that  the  historical-painter  is  com- 
pelled to  be^  his  work  by  total  abstraction  from  the  reality 
with  which  he  is  surrounded,  in  which  he  can  find  nothing  cor- 
responding with  his  aim.  He  must  create  firom  his  fancy  alone, 
and  complete  the  details  with  the  wretched  and  inanimate  assist- 
ance of  models,  and  with  draperies  artificially  thrown  over  lay 
figures.  K  we  consider  what  is  required,  under  such  circum- 
stances, to  create  a  work  of  art  which  shall  produce  in  every 
part  the  impression  of  an  intellectual,  animated,  and  momentary 
action,  we  ought  to  be  filled  with  the  greatest  admiration  for  an 
artist  who  produces  such  a  performance,  and  look  with  indulgence 
on  occasional  imperfections.  Besides  this,  the  position  of  an  his- 
torical painter  with  respect  to  the  public  is  unhappily  still  essentially 
the  same  as  in  the  last  centuries ;  for  whatever  boast  may  be  made 
of  the  increasing  interest  in  the  fine  arts  among  the  most  civilized 
nations  of  Europe,  it  has  been  usurped  principally  by  the  other 
branches  of  painting,  conversation-pieces,  landscapes,  &c,  and 
may  be  considered — ^with  few  exceptions — only  just  active  enough 
to  allow  art,  like  a  game  at  whist  or  ombre,  a  place  among  the 
various  amusements  of  mankind.  Even  this  kind  of  interest  is 
confined  to  a  proportionably  small  circle;  for,  not  to  speak  of 
the  lower  classes  of  the  people — ^the  peasant  and  the  mechanic — 
there  are,  in  what  are  called  the  educated  orders,  a  hundred  to  one 
for  whom  the  fine  arts  have  no  existence.  How  remote,  then,  are 
we  still  from  being  able  to  call  them  a  general  intellectual  want  I 

If,  therefore,  considered  on  the  whole,  the  interest  felt  for  the 
productions  of  modem  art  be  still  insignificant  and  superficial,  it 
must  be  remembered  that  this  interest  is  still  rarer  as  respects 
the  works  of  earlier  periods,  and  becomes  scarcely  discernible 
when  the  object  is  to  comprehend  them  in  their  historical  con- 
nexion. Deeply  sensible,  therefore,  as  I  am  of  the  great  dignity 
of  studies  connected  with  the  history  of  art,  the  purpose  of  which 
is  to  trace  the  revelations,  as  it  were,  of  the  Divine  spirit  as  seen 
in  the  forms  of  art,  in  their  modifications  peculiar  to  difierent 
nations,  in  their  changes  at  difierent  times,  and  in  their  manifold 
and  important  influences  on  humanity,  it  often  appears  to  me  to 
be,  in  these  days,  as  fruitless  as  the  labours  of  the  DanaXdes.  And, 
as  every  mind,  not  dead  to  the  sense  of  its  high  calling,  must 

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Lkttbb  XXin.       EARL  OOWPER'S  COLLECTION.  15 

estimate  the  value  of  its  existence  according  to  the  degree  in 
which  it  has  benefited  its  fellow-creatures,  the  discouraging  feeling 
often  steals  over  me,  that  I  have  lived  in  vain.  Only  the  occasional 
experience  that,  in  spite  of  the  universal  apathy  and  barbarism  as 
regards  art  and  its  development,  the  feeling  for  it  in  its  more  pro- 
found and  serious  acceptation  has  been  awakened  and  cherished  in 
a  few,  and  the  conviction  thence  arising,  that  the  capacity  for  this 
expression  of  mind,  which,  it  must  be  remembered,  can  be  supplied 
by  nothing  else,  is  not  wholly  extinct,  can  afford  me  some  con- 
solation in  such  gloomy  reflectiona 

Of  the  later  epochs  of  the  Italian  School  there  are  some  fine 
specimens. 

Giovanni  Battista  Moronl — Portrait  of  a  man  looking 
round  ;  this  has  all  the  delicate  and  animated  conception  peculiar 
to  this  great  portrait-painter,  as  well  as  his  clearness  and  delicacy 
of  colouring.     The  ground  is  a  light  grey. 

A  Cupid,  here  called  Annibale  Carracci  ;  but  so  strongly 
impressed  with  the  character,  as  well  as  the  brilliant  colouring, 
of  DoBfENicHiNo,  that  I  cannot  hesitate  to  ascribe  it  to  him. 

Guido  Renl — ^A  Sibyl,  half-length,  is  distinguished  by  an 
elevation  of  feeling,  delicacy  of  treatment,  and  a  harmony  in  the 
bright,  dear,  and  yet  warm  tone,  above  most  of  the  other  repeti- 
tions of  the  subject  which  are  met  with. 

GuERCiNa — ^The  Return  of  the  Prodigal  Soa  Figures  the 
size  of  life ;  with  more  feeling  in  the  heads  than  usual,  and  exe- 
cuted with  particular  care  in  his  powerful  manner ;  the  shadows, 
however,  have  become  dark. 

Salvator  Rosa. — 1.  A  mountamous  sea-coast  with  figures  of 
fishermea  In  subject,  transparency, — especially  of  the  bright 
blue  sea — and  careful  execution,  this  is  one  of  the  most  important 
works  of  the  master. 

2.  Another  large  landscape,  with  horsemen,  is  also  carefully 
executed ;  but  it  wants  keeping,  as  the  foreground  and  middle 
distance  have  become  dark. 

3  and  4  Two  smaller  rocky  landscapes,  with  banditti,  are 
remarkably  spirited. 

Carlo  Dolce. — 1.  The  Nativity.  It  is  well  known  that  his 
fuller  compoffltions  are  rare.  Here  he  has  evidently  attempted  to 
imitate  Correg^o  ;  and  has,  at  least,  attained  great  transparency. 
The  delicate  execution,  and  the  expresaon  of  the  chatacters, 

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16  PANSHANGER.  Letter  XXIIL 

recommend  this  picture,  which  is  about  i      10  in.  high,  and  2  ft 
6  ia  wide. 

2.  Christ  taking  the  Cross  from  Joseph.  Figures  the  size  of 
life.  This  picture,  too,  is  distinguished  firom  others  of  the  master 
by  the  agreeable  composition  and  truth  of  feeling.  The  careful 
execution  is  combined  with  great  clearness  and  warmth  of  colouring. 

3.  The  portrait  of  his  wife ;  half-length,  with  hands.  More 
animated  than  might  have  been  expected  from  him ;  and,  with 
the  bright  colouring  and  careful  execution,  very  pleasing.  Of 
other  schools  I  remarked  the  following  specimens : — 

Nicolas  Poussin. — The  portrait  of  the  celebrated  sculptor  Du 
Quesnoy,  called  H  Fiammingo,  in  an  arm-chair.  Poussin,  it  is 
well  known,  did  not  paint  many  portraits ;  and  it  was  therefore 
interesting  to  me  to  see  the  refined  feeling  for  nature  evident  in 
the  conception,  and  a  colouring  of  the  flesh  pale  indeed,  but  for 
him  unusually  clear,  with  a  careful  executioa  -  The  hands  are 
admirably  drawa 

Rembrandt. — 1.  The  portrait  of  Marshal  Turenne,  galloping 
on  a  mettlesome  grey  horse  with  a  richly-ornamented  bridle.  The 
vigorous  full  face  is  shaded  by  thick  dark-brown  hair.  The  back- 
ground represents  a  town,  with  a  coach  and  some  persons  on.  foot. 
The  spirited  head  is  painted  in  a  full  reddish  tone ;  the  whole 
picture  treated  with  masterly  breadth,  in  a  deep  but  clear  tone. 
The  horse,  however,  is  rather  wooden.  This  picture,  the  size  of 
life,  struck  me  as  very  remarkable,  it  being  the  only  equestrian 
portrait  by  Rembrandt  with  which  1  am  acquainted.  On  canvas, 
9  ft  5  ia  high,  5  ft  10  in.  wide. 

2.  The  portrait  of  a  young  man.  Standing  behind  a  table 
covered  with  a  carpet,  on  which  are  two  books,  he  is  in  the  act  of 
taking  a  red  cap  from  a  nail  in  the  wall  Admirably  painted  in 
a  golden  warm  tona     Inscribed  with  the  name  and  1644. 

The  two  last  pictures  are,  in  my  opinion,  not  advantageously 
placed  in  the  same  room  with  those  of  the  Italian  school  Their 
removal  would  heighten  the  harmony  of  the  impression,  and  their 
great  value  would  be  still  more  apparent  if  placed  with  other 
works  of  tae  Flemish  school 

Vandyck. — ^Family-picture.  Duke  John  of  Nassau,  with  his 
consort,  are  represented  sitting  in  a  magnificent  hall ;  a  son  lean- 
ing upon  his  mother,  three  daughters  standing  before  them,  the 
eldest  with  a  rosa     They  are  all  richly  and  magnificently  attired. 

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Letter  XXIII.  COBHAM  HALL.  1 7 

A  landscape  forms  tl  Background.  This  is  one  of  the  finest  of 
Vandyck's  large  pictures.  It  is  dated  1634,  and  painted  in  the 
warm,  deep,  brown-reddish  tone  of  the  flesh  which  he  employed  at 
that  time,  and  combines  the  elegance  of  his  later  pictures  with  a 
careful,  delicately-blended  execution.  The  duchess  is  coloured 
with  great  tenderness,  and  the  duke  with  much  power ;  the  children 
with  a  delightful  clearness  of  tona  On  canvas,  9  fL  6  ia  high, 
8  ft.  6  in.  wide.  In  the  year  1741,  5000  florins  were  paid  for 
this  picture,  then  in  the  Van  Swieten  collection  at  the  Hague. 
Now  it  would  perhaps  fetch  thrice  the  sum  in  England.  It  is 
well  known  by  Baron's  engraving. 

Jan  Both. — A  large  waterfall  in  a  rocky  landscape.  A  mag- 
nificent picture,  in  a  warm  evening  light,  but  rather  monotonous 
in  colour. 

Van  Somer. — The  portrait  of  Lord  Bacon  ;  half-length.  The 
very  sensible  and  intelligent  countenance  is  painted  with  much 
clearness  and  care  in  a  warm  tone. 

Wilson. — A  sunrise  in  a  romantic  country,  with  a  rock  crowned 
by  a  castla  This  poetically-composed  and  carefully-painted 
picture  has  unhappily  become  very  dark ;  so  that,  as  often  happens 
with  pictures  of  the  English  school,  it  does  not  answer  the  ex- 
pectations which  are  raised  by  the  fine  engraving. 

The  fine  view  into  the  park,  where  the  beauty  of  a  large  sheet 
of  water  is  added  to  the  judiciously-employed  advantages  of  the 
hilly  ground  and  of  the  most  luxuriant  vegetation,  induced  me, 
after  I  had  finished  my  inspection,  to  take  a  walk.  On  this 
occasion  I  saw  an  oak  which  is  celebrated  for  its  size.  Though 
I  may  perhaps  have  seen  others  equally  large,  I  do  not  recollect 
any  one  whidi  sends  forth  such  a  forest  of  branches  in  all  direc- 
tions. Even  independently  of  the  thought  that  many  generations 
who  were  refreshed  under  the  shadow  of  this  giant  have  passed 
away,  while  the  tree  still  flourishes  in  unimpaired  vigour,  such  a 
sight  always  fills  me  with  a  certain  solemnity  of  feeling ;  so  that 
I  can  perfectly  understand  the  religious  veneration  with  which 
such  trees  were  regarded  by  our  primeval  ancestors. 


COBHAM  HALL,  SEAT  OF  THE  EARL  OF  DARNLEY. 
I  was  indebted  to  Lord  Malmesbury  for  an  introduction  to  the 
noble  possessor  of  the  treasures  of  art  preserved  in  Cobham  Hall. 

VOL.  III.  c 

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18  COBHAM  HALL.  Letter  XXIH. 

Not  having  been  able  to  avail  myself  of  this  privilege  during  my 
visit  to  England  in  1850,  I  was  the  more  glad  to  make  good  the 
omission  in  1851,  when,  accompanied  by  my  friend  Sir  Charles 
Eastlake,  I  was  most  kindly  received  by  Lord  Darnley,  who  him- 
self did  the  honours  of  his  fine  collection. 

The  mansion  is  approached  by  a  gateway  in  that  bold  Gothic 
taste  which  is  called  in  English  the  Tudor  style.  The  older  and 
larger  portion  of  the  house  is  built  of  brick,  in  the  Elizabethan 
style — the  date  1582-1594 — with  which  the  centre  and  other  por- 
tions, added  by  Inigo  Jones,  by  no  means  harmonise.  The  chief 
part  of  the  collection  was  formed  by  the  purchase  of  a  number  of 
pictures  firom  the  Orleans  Gallery,  and  also  by  that  of  the  Vetturi 
Gallery  from  Venice,  brought  to  England  by  Mr.  Slade. 

As  the  present  Earl  proposes  great  and  very  desirable  alter- 
ations in  the  arrangement  of  the  pictures — ^the  chefs-d'oeuvre  of 
the  Italian  school  being  placed  in  an  imoccupied  side  room,  whilst 
many  of  very  inferior  value  occupy  the  gallery — ^I  shall  emune- 
rate  the  pictures  according  to  schools.  The  most  valuable  belong 
to  the  Venetian  and  the  Netherlandish  schools,  but  there  are 
many  interesting  specimens  of  the  Neapolitan,  Bolognese,  French, 
and  English  schools,  nor  are  the  Spanish  and  German  quite 
unrepresented. 

Venetian  School. 

Titian. — 1.  The  pearl  of  the  collection,  in  my  opinion,  is 
Europa,  represented  crossing  the  water  on  the  bull.  The  action  of 
the  Europa  is  very  animated,  the  landscape  very  poetical.  The 
equally  spirited  and  broad  treatment  bespeaks  the  later  time  of  the 
master,  in  which  we  detect,  in  some  respects,  the  influence  of  Paul 
Veronese.  In  the  left  comer,  in  gold  capital  letters,  are  the 
words  "  Titianus  pinxit."  The  great  warmth  and  power  of  the 
colouring  is  somewhat  lost  in  the  present  neglected  state  of  the 
picture.  The  admirable  sketch  for  this  picture  which  I  saw  at 
Yarmouth  in  1850  in  the  possession  of  Dawson  Turner,  Esq., 
has  since  been  sold. 

The  following  pictures  here  also  bear  the  name  of  Titian : — 
2.  Venus  and  Adonis.  The  same  copiposition  of  which  there 
are  so  many  repetitions,  of  which  I  need  only  mention  those  in 
the  National  Gallery  and  in  the  Camuccini  collection  at  Rome, 
but  with  this  difference,  that  Cupid  is  here  not  represented  sleep- 
ing, but  in  the  act  of  going  away.     Formerly  in  the  Mariscotti 

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Lbttbe  XXIir.    EARL  OF  DARNLEY»S  COLLECTION.  19 

Palace  at  Rome.  Spiritedly  treated,  and,  where  not  disfigured 
by  retouches,  displaying  great  power  and  transparency  of  colour. 

3.  A  Christ,  half-length ;  of  noble  character,  and  of  extraordi- 
nary warmth  in  the  full  body  of  colour.  From  the  Vetturi,  and 
formerly  in  the  Rinuzzino  collection. 

4.  A  male  portrait,  animatedly  conceived,  and  transparent  in  the 
warm  tone  of  the  colour ;  the  modelling  of  the  cheek,  however,  is 
somewhat  empty.    Inscribed  "  Titianus  fe." 

*  Portrait  of  Ariosto ;  half-length  figure,  nearly  in  profile  ;  agree- 
ing essentially  with  the  fine  portrait  in  the  Manfrini  collection  at 
Venice.  But  the  tone  of  the  flesh  is  heavier  here,  and  the  grey 
colour  of  the  dress  unites  too  much  with  the  grey  ground,  while, 
in  the  Manfrini  picture,  the  brown  tones  of  the  dress  stand  out 
decidedly  from  it     Inscribed  "  Titianus." 

5.  Danae  and  the  golden  shower ;  a  composition  difiering  totally 
from  the  well-known  one  in  the  Museo  Borbonico.  It  is  too  feeble 
in  the  drawing,  especially  of  the  Cupid,  and  too  heavy  in  colouring, 
for  Titian. 

6.  Venus,  with  Cupid  holding  a  mirror  before  her,  a  composition 
frequently  repeated  by  the  school  of  Titian,  seems  to  have  been  a 
very  good  picture  originally.  The  present  condition  of  the  work, 
however,  permits  of  no  decide4  opinion.   From  the  Orleans  Gallery. 

Portrait  of  Titian  and  of  his  friend  Don  Francesco  del  Mosaico ; 
a  feeble  and  slight  copy.     From  the  Orleans  Gallery. 

Of  two  pictures  here  ascribed  to  Giorgione,  the  one  representing 
Caesar  receiving  the  head  of  Pompey,  of  a  frieze-like  form,  is  a  well- 
composed  work  of  a  decorative  character,  and  spiritedly  painted 
in  a  golden  tone.  It  hangs  too  high  to  permit  of  an  opinion, 
especially  as  it  appears  to  have  been  much  restored.  The  other 
picture,  Milo  of  Crotona  torn  by  lions,  though  bearing  the  name 
of  Giorgione  when  in  the  Orleans  Gallery,  betrays,  both  in  its 
cold  colouring  and  exaggerated  conception  of  forms,  the  period  of 
the  decline  of  art  in  Italy. 

The  same  may  be  said  of  the  combat  of  Hercules  and  Achelous, 
the  latter  in  the  form  of  an  ox,  and  which,  when  in  the  Orleans 
Gallery,  bore  the  name  of  Pordenone. 

Andrea  Schiavone. — A  Flagellation.  Without  knowing  that 
the  picture,  here  denominated  a  Titian,  had  been  before  attributed 
to  Schiavone,  I  had  already  convinced  myself,  in  1850,  of  its  being 
a  particularly  fine  and  careful  work  by  that  maater,  who  evidentiy 

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20  COBHAM  UALL.  Letter  XXIII. 

availed  himself,  in  the  composition,  of  the  well-known  picture  by 
Sebastian  del  Kombo  in  the  church  of  S.  Pietro  in  Montorio  in 
Rome. 

Tintoretto. — Juno  and  the  infant  Hercules,  or  the  creation 
of  the  Milky  Way.  Although,  as  so  frequent  with  this  master, 
the  lines  of  the  composition  are  not  happy,  yet  the  motives  are 
animated,  the  colouring  warm,  deep,  and  transparent,  the  execu- 
tion solid  and  masterly.  On  canvas,  4  ft.  8  in.  high,  4  ft.  1  in. 
wide.     From  the  Orleans  Gallery. 

Paul  Veronese. — 4.  Four  allegorical  representations  of  rather 
obscure  import.  From  the  Orleans  Gallery :  each  5  ft.  10  in. 
square.  As  respects  keeping,  drawing,  and  masterly  painting, 
they  belong  to  the  best  works  of  this  great  master.  One  of  them, 
representing  an  old  man  trying  to  hold  back  a  warrior  from  a 
sleeping  woman,  while  Cupid  leads  him  on,  is  very  erroneously 
denominated  "  Le  Respect "  in  Crozat's  work.  The  picture 
appears  rather  to  exemplify  the  triumph  of  passion  over  reason. 
It  is  particularly  attractive  for  warmth  and  colouring.  The  same 
may  be  said  in  a  still  higher  degree  of  the  second  picture,  called 
L'Amour  Heureux,  where  Cupid  is  leading  a  man  and  a  woman 
to  an  undraped  female  figure  seated  on  a  globe,  and  holding  an 
oak- wreath  over  the  head  of  the  woman.  The  two  others — the  one 
called  Le  Degout,  with  Cupid  chastising  a  male  figure  with  his 
bow,  while  two  women,  one  holding  an  ermine,  are  hurrying 
away ;  and  L'Infidelite,  with  an  undraped  female  seated  between 
two  men,  giving  a  hand  to  the  one  and  a  letter  to  the  other — are 
neither  so  happy  in  composition  nor  so  warm  in  colouring.  These 
pictures  are  from  the  collection  of  Queen  Christina  of  Sweden. 

The  Triumph  of  Bacchus,  a  frieze-like  composition,  though  deco- 
ratively  treated,  is  an  interesting  picture  of  the  good  time  of  the 
Venetian  school.    It  hangs  too  high,  however,  for  a  decided  opinion. 

Alessandro  Veronese. — ^Diana  and  Endymion.  One  of  his 
small  and  elegant  pictures,  painted  on  marble. 

The  Florentine  School  is  only  represented  by  a  very  large 
picture  by  Carlo  Dolce,  purchased  by  the  present  Lord.  In  the 
centre  is  the  Virgin  with  the  Child,  represented  as  a  small  picture, 
with  saints  adoring  at  the  sides.  It  is  of  very  careful  execution, 
in  the  well-known  taste  of  this  master. 

A  fine  specimen  of  Sassoferrato's  praying  Madonna,  of  warm 
tone  and  careful  finish,  is  the  only  work  of  the  Roman  School. 

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Letter  XXIII.    EARL  OF  DARNLEY»S  COLLECTION.  21 

BoLOGNESE  School. 

Annibale  Carracci. — ^The  Toilet  of  Venus,  in  a  beautifiil 
landscape.  This  picture  belongs  to  that  department  of  cheerful 
materialism  of  which  the  school  has  produced  such  pleasing  ex- 
amples. The  composition  is  happy,  the  colouring  transparent  and 
warm,  the  execution  careful.  Crozat  rightly  recognises  in  this 
picture  the  source  of  the  manner  of  Albano.  From  the  Orleans 
Gallery. 

Guido  Reni. — 1.  Liberality  and  Modesty  are  the  titles  of  two 
undraped  female  figures  of  youthful  aspect — the  one  giving  jewel- 
lery to  the  other.  Between  them  is  the  figure  of  Cupid  flying  down. 
The  heads  are  pleasing,  but  of  little  expression.  This  picture 
difiers  from  two  examples  of  the  same  composition,  in  the  collec- 
tions of  the  Duke  of  Devonshire  and  of  Lord  Spencer,  in  its 
warmer  colouring  and  careful  completion.  9  ft.  4  in.  high,  6  ft. 
10  in.  wide. 

2.  The  daughter  of  Herodias  with  the  head  of  St  John 
Formerly  in  the  Colonna  Palace  at  Rome.  An  insipid  specimen 
of  an  often-repeated  composition ;  grey  in  colouring  and  weak  in 
modelling. 

3.  The  head  of  St  Francia  Noble  in  form,  and  unusually 
warm  in  feeling  and  in  colour. 

4.  The  head  of  the  repentant  Magdalea  A  delicate  and 
beautiful  specimen  of  a  subject  so  often  repeated  by  Guido. 

Albano. — ^Mercury  pointing  out  to  the  banished  Apollo  his 
place  among  the  herdsmen  and  flocks  of  Admetus.  Above  is  Uie 
assembly  of  the  gods.  Carefully  executed  in  his  golden  tones : 
2fl  lOia  high,  3  ft.  4  ia  wide. 

GuERCiNO. — 1.  A  Sibyl  A  good  and  transparently-coloured 
specimen  of  this  often-recurring  composition :  here  painted  with 
slight  alterationa 

2.  His  own  portrait,  with  brush  and  palette.  Very  like  the 
picture  in  Hampton  Court 

ScHiDONE. — ^The  Transfiguratioa  The  representation  of  this 
scene  difiers  here,  but  not  successfully,  from  the  traditional  form. 
The  Apostles  in  the  lower  part  are  well  coloured.  The  whole 
produces  a  transparent  and  agreeable  eflect,  without  satisfying 
any  higher  moral  or  religious  feelinga 

Marc  Antonio  Franceschini. — I  am  inclined  to  attribute  to 

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22  COBHAM  HALL.  Lettkb  XXTII. 

this  master  the  Magdalen  reading,  holding  a  scroll  A  whole- 
length  figure  of  much  merit ;  here  designated  by  the  name  of 
Niccolo  Regnari. 

The  following  pictures  are  also  deserving  mention : — 
MiCEUiLANGELO  DA  Caravaogio. — Esau  Selling  his  birthright 
to  Jacob  for  a  mess  of  pottage.     This  picture,  which  has  been 
anonymous  here,  I  am  inclined  to  consider  a  good  specimen  of 
this  head  of  the  Naturalüti. 

DoMENioo  Feti. — A  family  of  five  persons,  one  of  whom  is 
making  lace,  while  a  girl  is  knitting;  although  here  denomi- 
nated a  Spanish  picture,  it  appears  to  me  a  capital  picture  by  this 
master,  who  sometimes  treated  such  subjecta 

Neapolitan  School. 

Salvator  Rosa. — 1.  Pythagoras  teaching  the  fishes.  This 
takes  a  distinguished  position  among  the  historical  pictures  by 
this  master,  for  the  happy  arrangement  and  the  characteristic 
nature  of  the  heada  If  the  colouring  of  his  figures  be  deficient 
in  truth,  as  is  usually  the  case,  it  is  nevertiieless  of  great  power, 
and  the  execution  particularly  spirited.  This  picture  was  brought 
from  Italy  by  Gavin  Hamilton,  and  passed  at  first  into  the  pos- 
session of  M.  Desenfans.  Mr.  Slade  next  acquired  it,  and  from 
him  Lord  Damley  purchased  it     4  ft.  3  ia  high,  2  ft.  2  in.  wide. 

2.  The  Death  of  Regulua  A  spirited  composition,  well  known 
by  his  etching ;  of  very  powerful  colouring,  but  in  some  parts 
much  darkened.  Formerly  in  the  Colonna  Palace.  5  ft  2  in. 
high,  7  {L  3  in.  wida 

8.  Jason  pouring  the  sleeping  charm  over  the  Dragon.  A 
somewhat  mannered  composition ;  become  very  black ;  also  etched 
by  the  master  himself.    2  fL  3  ia  high,  2  fL  wide. 

4.  The  birth  of  Orioa  Three  figures  are  expressing  their 
astonishment  at  the  new-bom  infant.  Of  great  energy  of  con- 
ception, but  so  darkened  as  to  be  ahnost  unenjoyable.  3  ft  8  ia 
high,  3  ft.  8  in.  wide. 

LucA  GioRDANa — ^The  Adoration  of  tiie  Shepherds.  The 
Italians  say  of  tiiis  very  gifted  but  most  unequal  painter,  that  he 
painted  with  tiuree  brushes ;  one  gold,  one  silver,  and  the  other 
lead.  This  picture,  no  less  in  composition  than  in  transparency 
of  colouring  and  careful  execution,  may  be  said  to  be  painted 
with  the  golden  brush. 

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Letteb  XXin.      EARL  OF  DARNLEY'S  COLLECTION.  23 

Of  two  pictures  called  Democritus  and  Ileraclitus,  and  in  the 
Orleans  Gallery  ascribed  to  Spagnoletto,  I  will  only  remark 
that  they  are  highly  unattractive  and  mannered  productions,  dark 
and  untrue  in  colouring,  and  totally  unworthy  of  that  master. 
They  proceed,  probably,  from  one  of  those  degenerate  Neapolitan 
painters  so  numerous  in  the  Museum  and  in  the  churches  of  Naples. 

Netherlandish  School.. 

A  so-called  Holbein,  a  supposed  portrait  of  a  Reformer  in  a 
fur  cap  and  brown  furred  dress,  is,  in  my  opinion,  an  admirable 
portrait  by  Roger  van  der  Weyden  the  elder,  when  he  still  re- 
tained'so  much  of  the  manner  and  the  brownish  tone  of  his  master 
John  van  Eyck,  that  I  should  be  inclined  to  attribute  it  to  John 
van  Eyck  himself,  did  not  the  hands  bear  the  characteristic  impress 
of  Roger  van  der  Weyden. 

Another  male  portrait,  erroneously  denominated  a  Lucas  van 
Ley  den,  and  no  less  erroneously  supposed  to  be  the  portrait  of  Calvin, 
is  a  somewhat  later  but  good  work  of  a  master  unknown  to  ma 

RuBBN& — 1.  The  Queen  Tomyris  dipping  the  head  of  Cyrus 
into  a  vessel  of  human  blood.  This  celebrated  composition  of  17 
figures  as  large  as  life,  the  best  engraving  of  which  is  by  Paulus 
Pontius,  is  a  splendid  specimen  of  the  peculiar  manner  in  which 
Rubens  treated  such  a  subject.  In  the  whole  picture  there  is  a  feel- 
ing of  repose  and  a  pomp  of  costume  agreeing  with  the  habits  of  the 
Orientals.  At  the  same  time  the  eflFect  is  marvellously  striking ; 
and  the  contrast  between  the  tender  and  transparent  colouring  of 
the  Queen  and  her  four  women,  with  the  powerful  glowing  tones 
of  the  men,  very  happy.  If,  on  the  one  hand,  the  colouring  of  the 
male  figures  shows  the  influence  of  Titian,  the  arrangement  of  the 
subject  evidently  shows  that  of  Paul  Veronese,  with  whom  Rubens 
may  be  said  to  have  a  strong  affinity.  From  the  Orleans  Gallery : 
6  ft  8  in.  high,  11  fl.  9  in.  wide. 

2.  Children  blowing  soap-bubbles.  Of  wonderful  charm  of 
nature ;  painted  with  an  admirable  body  in  a  delicate  transparent 
golden  tona     Upon  wood,  2  ft  2  in.  high,  1  ft  9  ia  wide. 

3.  A  lion-hunt  Three  men  fighting  with  two  lions ;  a  most 
spirited  though  slight  sketch,  which  must  have  been  much  exposed 
to  the  sun  from  the  cracks  with  which  it  is  covered.  The  compo- 
sition is  known  by  Moyreau's  engraving. 

4.  The  triumphal  entry  of  Henry  IV.  after  the  battle  of  Ivry. 


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24  COBHAM  HALL.  Letter  XXIII. 

An  animated  sketch  for  the  great  picture  in  Florence.  Rubens 
has  here  availed  himself  most  happily  of  many  portions  of  Andrea 
Mantegna's  triumphal  procession  in  Hampton  Court.  1  ft.  7  in. 
high,  2  ft.  8^  in.  wide. 

5.  Jupiter  giving  up  the  world  to  the  domination  of  Love : 
here  represented  under  the  figures  of  Venus  and  Cupid.  '  A  very 
spirited  sketch.     1ft.  7i  in.  high,  1  ft  2  in.  wida 

Other  pictm*es  here,  bearing  the  name  of  Rubens,  I  am  not 
inclined  to  acknowledge  as  his.  This  applies  more  especially  to  a 
wild-boar  hunt ;  various  portions  of  which  are  taken  from  the 
picture  in  the  collection  of  the  late  King  of  the  Netherlands. 
The  execution,  however,  is  by  the  hands  of  Rubens'  pupils,  and 
shows  great  inequality  of  skill ;  the  chief  group  being  of  great 
merit,  while  otiier  parts,  especially  the  figures  in  the  background, 
are  ruda 

Vandyck.— Of  the  pictures  here  attributed  to  this  master,  I 
can  only  mention  the  two  following  as  genuine : — 

1.  Portrait  of  the  Duke  of  Lennox.  Full-length  figure  as  a 
shepherd ;  in  blue  dress  and  yellow  mantle ;  a  shepherd's  crook 
in  his  hand.  Carefully  executed  in  a  subdued  brownish  tone, 
with  an  inscription  on  a  rock — "Me  firmior  amor."  7ft.  3 in. 
high,  4  ft.  5  in.  wide. 

2.  Lord  Bernard  and  Lord  John  Stuart,  the  sons  of  Esme  Duke 
of  Lennox.  Whole-length  figures,  the  size  of  lifa  Although  I 
prefer  the  picture  of  these  same  individuab  in  the  collection  of 
Earl  de  Grey  in  essential  respects,  yet  this  also  is  a  beautiful 
original,  and  exhibits  many  beneficial  alterations,  especially  in  the 
colours  of  the  dresses. 

Jacob  J0RDA.ENS. — A  girl  feeding  a  parrot;  behind  her  an 
ol^  maa  The  girl  is  unusually  pretty  for  Jordaens.  The 
colours  are  of  a  dazzling  power  and  freshness,  such  as  I  have 
seldom  seen  in  this  master.  Formerly  in  the  Choiseul  collection, 
and  engraved  when  there :  3  ft  4  ia  high,  2  ft.  8  ia  wida 

SNTDERa — 1.  A  stag-hunt  A  spiritedly-composed  and  admi- 
rably-executed work.   6  ft.  9  ia  high,  11  ft  wide. 

2.  A  beautiful  landscape,  of  singular  freshness  of  tone,  with 
the  fable  of  the  hare  and  the  tortoise. 

3.  Studies  for  heads  of  staga  Very  animated:  4  ft  high,  6  ft.  wide. 
Sir  Peter  Lely. — Dorothea  Countess  of  Sunderland,  Waller's 

Sacharissa.     One  of  the  good  works  of  this  unequal  painter. 

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Lettee  XXUr.      EARL  OF  DARNLEY'S  COLLECTTO  25 

French  School. 

Francois  Clouet,  called  Janet.  I  am  inclined  to  attribute 
to  this  master  a  portrait,  the  size  of  life,  in  white  dress,  inscribed 
"Francois  Due  d'Alenqon,  age  de  xviii  Ana  le  xix  jour  de 
Mars,  Ana  1572,  Fils  de  Henry  IL  du  nom  Roy  de  France." 
It  is  so  placed  between  two  windows  as  not  to  admit  of  an  accu- 
rate opinioa 

Nicolas  Poussin. — 1.  A  nymph  on  the  shoulders  of  a  satyr. 
Also  a  satyr  with  a  basket  of  fruit,  a  Cupid,  &a  Painted  in 
the  cold  brick-red  tone  of  the  earlier  time  of  Poussin,  and  known 
by  the  elegant  mezzotinto  engraving.  2  ft.  8  in.  high,  2  ft;.  3  ia 
wide. 

2.  A  pendant  to  the  above.  Cupid  kissing  a  nymph,  and  a 
satyr  bringing  fruit  Also  spiritedly  composed,  and  more  attractive 
in  colour.     Both  pictures  formerly  in  the  Lansdowne  collectioa 

3.  A  small  sketch  of  Bacchanalian  children  is  also  worth  notice. 
The  Flight  of  Pyrrhus,  a  repetition  of  the  well-known  picture 

in  the  Louvre,  of  very  dark  colour,  is,  in  my  opinion,  doubtfriL 
The  height  at  which  it  is  placed  allows  of  no  decided  judgment 

Lebrun. — The  carrying  off  of  the  bride  of  Pirithous,  and  the 
fight  of  the  Centaurs  and  Lapithae.  An  excellent  and  remark- 
able picture  of  the  master,  in  which  he  has  aimed  to  compose  in 
the  manner  of  Nicolas  Poussia  The  treatment,  it  is  true,  is  less 
spirited,  but  careful  and  unusually  transparent,  especially  in  the 
landscape. 

Of  the  Spanish  School  I  may  remark  the  portraits  of  a  prince 
and  princess,  whole-length  figures,  the  size  of  life,  by  the  favourite 
court- painter  Juan  Panto  ja  de  la  Cruz,  of  the  later  time  of 
Philip  II.  and  the  earlier  time  of  Philip  III.  This  painter  adopts 
that  highly-finished  smooth  style  of  portraitiure  which  Angelo 
and  Alessandro  Bronzino  had  carried  to  the  utmost  extent  in 
Italy.  He  is,  however,  powerful  in  colour.  From  the  inscription 
on  both  pictures,  "  Ju :  Pantoja  de  la  X  fadebat  Vallesoleta  X 
1609,"  it  appears  that  they  were  painted  the  year  before  his 
death,  in  his  58th  year.  Judging  firom  the  known  portraits  of 
the  Archduke  Albert  of  Austria,  Stadtholder  of  the  Netherlands, 
and  his  consort  Eugenia  Isabella,  I  am  not  inclined  to  think 
that  these  personages  are  here  represented.  6  ft  9  in.  high,  3  ft. 
4  ia  wida 

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26    '  EARL  OP  DARNLEyS  COLLECTION.      Lktteb  XXIH. 

English  School. 
Sir  Joshua  Reynold& — 1.  SamueL     This  is  the  title  given 
to  the  picture  of  a  very  pretty  boy  looking  upwards,  with  a  ray  of 
light  falling  upon   him.     Of  warm  transparent   colouring  and 
pleasing  execution. 

2.  Portrait  of  Lady  Frances  Cole,  as  a  child,  with  a  dog.  In 
every  respect  one  of  the  finest  pictures  of  the  master.  Here  we 
find  the  whole  naivete  of  his  conception,  the  deep  glow  of  his 
flesh-tones,  and  the  transparency  of  his  brown  hair.  The  land- 
scape of  the  background  is  one  of  the  finest  specimens  of  his  skill 
that  I  know.  The  picture  is  engraved :  4  ft.  7  in.  high,  3  ft  8  in. 
wide. 

3.  Portrait  of  Mrs.  D.  Monk,  three-quarters  length ;  it  has  all 
the  charm  of  his  beautiful  female  portraita 

4.  The  Countess  of  ClanwilUam,  niece  of  John  third  Earl  of 
Damley.     Also  a  masterly  work. 

Gainsborough. — 1.  Miss  McGill,  daughter  of  the  first  Lord 
Damley,  and  afterwards  Countess  of  Clanwilliam.  A  companion 
to  the  last-named  picture  by  Sir  Joshua,  and  a  particularly  pleasing 
and  careful  work. 

2.  A  female  portrait ;  bust-size.  Of  great  clearness  and  delicacy 
of  colouring. 

Among  the  objects  of  interest  in  the  mansion,  I  cannot  omit  a 
large  antique  bath  of  the  finest  red  oriental  granite,  which  the 
Italians  call  corallina     It  adorns  the  gallery. 

After  enjoying  these  treasures  of  art.  Lord  Damley  led  us  to 
some  of  the  most  beautiful  points  in  the  fine  park,  where  the 
grandeur  of  the  trees  and  the  full  verdure  of  the  meadows  delighted 
our  eye& 

On  taking  our  departure  his  Lordship  favoured  me  with  a  copy 
of  *  A  Day's  Excursion  to  Cobham  by  Felix  Summerley,'  which  is 
drawn  up  from  various  sources,  and  has  been  the  more  acceptable 
to  me  as  I  find  the  writer  agreeing  in  most  of  my  conclusions.  I 
learnt  from  this  work,  though  too  late  to  profit  by  the  information, 
that  no  less  than  13  brasses  are  in  the  church  at  Cobham,  repre- 
senting members  of  the  fisonily  of  Cobham  and  Brook,  formerly 
possessors  of  Cobham  Hall ;  the  dates  extending  from  1354  to 
1529.  Eleven  other  brasses  refer  chiefly  to  the  masters  of  Cob- 
ham CoUega 


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Letter  XXHI.         LORD  OVERSTOI^'S  COLLECTION.  27 

WICKHAM  PARK,  BROMLEY,  SEAT  OF  LORD  OVERSTONE. 

Although  I  had  not  the  opportunity  of  personally  inspecting 
this  collection,  yet  I  am  desirous  of  adding  a  short  description  of 
such  specimens  of  it  as  were  exhibited  in  the  British  Institution  in 
1850  and  185L 

Claude  Lorraine. — "The  Enchanted  Castle."  This  is  the 
name  of  a  most  poetical  landscape,  in  which  a  castle  upon  a  rock 
on  the  seashore  is  very  conspicuous.  The  cool,  aerial  tone,  and 
the  whole  treatment,  indicate  a  somewhat  late  period  of  the 
master.     A  discreet  cleaning  would  greatly  improve  this  picture. 

MuRiLLO. — 1.  St  Veronica.  Of  elevated  feeling  and  delicate 
colouring,  but  not  very  correct  in  the  drawing,  the  right  nostril 
not  being  rightly  foreshortened. 

2.  The  Virgin  and  Child,  as  I  understand,  cut  out  of  Marshal 
Soult's  great  picture  of  the  Glorification  of  the  Virgin,  where  the 
&iling  portion  has  been  filled  up  by  a  modem  hand.  Warm  and 
transparent  as  is  the  colouring,  and  careful  as  is  the  execution,  the 
heads  are  too  r^listic  to  excite  much  interest,  the  more  so  as  they 
are  not  animated  by  that  look  of  inspiration  which  Murillo  was 
frequently  so  successful  in  imparting. 

Jan  Steen. — An  alchemist  Very  animated,  but  somewhat 
heavy  in  tone,  and  not  of  the  usual  lively  interest  which  charac- 
terises his  pictures. 

Isaac  Ostadb. — A  party  before  a  tavern  door;  very  pic- 
turesquely composed,  and  spiritedly  treated  in  his  deep  golden 
tones. 

Rembrandt. — A  portrait  of  the  highest  merit  by  this  master 
is,  I  Widerstand,  in  this  collectioa 


ASHBÜRNHAM  PLACE,  SEAT  OF  THE  EARL  OF  ASHBURNHAM. 

Of  the  admirable  pictures  belonging  to  Lord  Ashbumham's 
collection,  offered  for  sale  in  1850,  only  the  tiiree  following  chefs- 
d'oeuvre  were  bought  in  ;  so  that  in  all  probability  they  are  now 
again  in  Ashbumham  Place. 

Rembrandt. — Portraits  of  Rainier  Anslo  and  his  mother. 
He  is  sitting  by  a  table,  on  which  are  books  and  a  lamp,  and 
turning  to  converse  with  his  mother,  seated  next  him.  This  pic- 
ture came  from  Sir  Thomas  Dundas's  collection.  The  figures  are 
fiill-length,  and  life-dze,  and  altogether  it  is  one  of  the  most  im- 


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28  LORD  ASHBÜRNHAM'S  COLLECTION.     Letter  XXIII. 

portant  works  in  the  department  of  portrait-painting  that  we 
possess  by  Rembrandt  The  simple  truth  of  nature,  the  luminous 
tone  of  colour,  the  very  careful  execution,  all  prove  that  it  belongs  to 
the  early  time  of  the  master — about  1632-35.  It  has  a  great  affinity 
with  the  Shipbuilder  and  his  wife  in  Buckingham  Palace,  although 
not  quite  equal  to  it.  In  that  picture  the  heads  and  the  general 
treatment  are  still  more  animated,  and  the  figures  in  better  propor- 
tion to  the  space,  while  here  the  space  only  suffices  to  hold  them. 

Teniers. — A  village  festival  A  numerous  crowd  within  the 
closed  court  of  a  tavern ;  three  men  and  three  women  dancing  to 
the  sound  of  a  fiddle  and  bagpipe.  In  the  foreground  five  jollycom- 
panions,  one  of  whom  is  holding  up  his  glass.  Inscribed  and  dated 
1648.  3  ft.  9  ia  high,  5  ft.  9  in.  wide.  This  is  one  of  the  most 
important  pictures  of  this  class  by  Teniers.  Also  from  Sir 
Thomas  Dundas's  collection.  The  distribution  of  the  groups  is 
very  happy ;  the  motives  very  varied  and  humorous ;  the  heads 
very  animated ;  the  effect  of  the  whole  sunny ;  and  finally,  the 
colouring  as  powerful  as  it  is  transparent 

Albert  Cuyp. — A  beautiful  landscape  of  considerable  size, 
enlivened  by  a  piece  of  water.  Near  the  gateway  of  the  ruins  of 
a  castle  is  a  horseman ;  not  far  from  him,  upon  a  road,  a  country- 
man. A  mild  warm  lighting  is  admirably  sustained.  The  picture 
is  in  Cuyp's  second  manner. 

The  pictures  above  described  became  Lord  Ashburnham's  by 
inheritance.  He  has  formed  a  collection,  however,  of  MSS.,  with 
miniatures  of  different  nations  and  periods,  which  is  unquestionably 
the  first  private  collection  of  the  kind  in  the  world,  and  also  sur- 
passes, with  few  exceptions,  all  public  collections.  Among  other 
purchases  he  has  made,  was  that  of  the  well-known  collection  of 
M.  Barrois,  a  Belgian,  which  contained  the  most  valuable  trea- 
sures of  Netherlandish  art  As  I  have  been  for  many  years  col- 
lecting the  materials  of  a  history  of  miniature-painting,  the  study 
of  this  particular  collection  was  the  principal  inducement  for  my 
visit  to  England  in  1850.  The  Honourable  Mr.  Ashburnham,  in 
whom  I  found  an  ardent  lover  of  art,  and  a  most  amiable  man, 
had  the  goodness  to  intercede  for  me  with  his  brother.  Lord  Ash- 
burnham. The  invitation  I  received,  however,  was  limited  to  one 
day  only,  which  would  not  have  sufficed  to  ^ve  me  the  most  super- 
ficial view  of  the  miniatures,  being  coupled,  at  the  same  time,  with 
the  condition  of  my  not  publishing  any  remark  on  the  collection, 

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Letter  XXIII.  AEUNDEL  CASTLE.  29 

inasmuch  as  his  Lordship  was  engaged  in  a  work  upon  it  I  was 
therefore  obliged,  though  with  a  heavy  heart,  to  relinquish  my 
design,  as  my  only  object  was  to  have  contributed  to  the  history 
of  art  by  a  report  of  the  treasures  contained  in  this  collectioa  I 
have  felt  myself  called  upon  to  make  this  statement,  in  order  to 
meet  the  just  reproach  of  connoisseurs  interested  in  these  subjects 
for  not  having  seen  so  celebrated  a  collectioa 


ARUNDEL    CASTLE. 

A  CONGENIALITY  of  tastc  led  my  firiend  Mr.  Peter  Cunningham 
to  accompany  me  in  an  excursion  to  Arundel  Castle,  the  seat  of 
the  Duke  of  Norfolk,  and  Petworth,  that  of  Colonel  Wyndham 
Egremont,  to  whom  it  was  bequeathed  by  the  late  Lord  Egremont, 
in  whose  company  I  once  passed  several  days,  which  his  varied 
acquirements  and  amiable  manners  have  impressed  on  my  memory. 
The  permission  to  see  all  over  Arundel  Castle  is  very  seldom 
given,  and  we  therefore  made  the  most  of  the  favour  granted  to 
us.  The  castle  is  a  modem  building  in  Gothic  taste,  with  a  rich 
portal  in  the  Romanesque,  or  what  the  English  call  the  Norman 
style.  Of  the  old  castle,  only  the  ruins  of  a  grand  tower  still 
survive,  at  the  top  of  which  is  a  very  stately  rookery,  whence  there 
is  a  fine  view  of  the  castle  and  of  the  surrounding  country.  I 
proceed  to  examine  the  pictures  according  to  the  apartments  they 
occupy. 

The  small  Nortii-East  Drawing-room. 

Holbein. — Christine,  daughter  of  Christian  IL  of  Denmark, 
and  widow  of  Francesco  Sforza,  Duke  of  Milan,  who  died  in  1535. 
Whole-length  figure,  the  size  of  life,  in  black  dress,  with  a 
bluish  background,  on  which  is  a  large  scroll  with  an  inscriptioa 
As  this  portrait  was  executed  for  Henry  VIII.,  and  doubtless 
with  a  view  to  becoming  acquainted  with  the  exterior  of  the  lady 
before  requesting  her  hand,  and  as  this  ofler  of  marriage  could 
only  have  taken  place  in  1538  or  1539,  inasmuch  as  he  lost  Jane 
Seymour  in  1537,  and  married  Anne  of  Cleves  in  1540,  this  pic- 
ture must  have  been  painted  in  one  of  those  yeara  It  shows 
great  transparency  of  colouring,  and  a  refined  drawing  of  the 
hands.  It  is  well  known  that  this  lady  declined  the  advances  of 
Henry,  and  married,  in  1541,  Franz,  Duke  of  Lothringea 

Vandyck. — 1.  Portrait  of  Charles  L,  half-length  figure.     Thi» 

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30  ARUNDEL  CASTLE.  Letter  XXIII. 

appears  to  me  not  sufficiently  able  in  touch  for  Vandyck,  so  that 
I  am  inclined  to  consider  it  a  good  copy  by  one  of  his  scholars. 

2.  The  companion  to  it,  the  portrait  of  Henrietta  Maria,  is  still 
more  doubtful 

The  great  D&awino-boom. 

Vandyck. — 3.  Henry  Howard,  Earl  of  Arundel,  in  armour, 
half-length  figure.  Very  carefiilly  executed  in  a  decided,  brown- 
ish tona 

Thomas  Howard,  second  Duke  of  Norfolk,  and  his  Duchess, 
Mary  Fitz-Alan ;  whole-length  figures,  life-size.  These  are  ascribed 
to  Holbein,  but  i^pear  to  me  too  feeble  in  drawing  for  him,  and 
also  some  years  later  in  costume  than  the  date  of  his  death. 

James  Howard,  Lord  Mowbray  and  Maltravers;  called  a 
Vandyck,  but  hung  too  high  to  admit  of  an  opinioa  It  appears, 
however,  too  heavy  in  colouring  and  too  hard  in  the  outlines 
for  him. 

Holbein. — ^The  Duke  of  Norfolk,  with  both  the  sta£&  of  office. 
Among  the  various  examples  of  this  jMcture,  this  itf  one  of  the  best 

Van  Somer. — Thomas  Howard,  Earl  of  Arundel,  and  his 
lady,  Alathea  Talbot  Whole-length  figures ;  good  specimens 
of  this  second-rate  master. 

MORNING-BOOM. 

Vandyck. — 4.  The  same  personages  as  in  the  last-named  pic- 
ture, represented  seated,  and  to  the  knees.  He  is  pointing  with 
one  hand  to  a  great  globe  next  him;  she  is  holding  a  circle. 
Both  are  richly  attired  The  conception  is  very  natural,  and  the 
execution  careful,  in  a  full  brownish  tone. 

Sir  Thomas  Lawrence. — ^The  present  Duchess  of  Norfolk ; 
half-length  figure ;  most  animatedly  conceived,  and  of  good  colour. 

The  Earl  of  Surrey,  the  poet,  beheaded  by  Henry  VIII. ;  under 
an  arch,  entirely  surrounded  with  allegorical  figures ;  at  the  sides, 
two  armorial  bearings.  Inscribed,  "William  Strote."  This 
artist,  whose  name,  properly  speaking,  is  Street,  formed  himself 
obviously  in  manner  of  execution  and  conception  from  Holbein, 
with  whose  later  portraits,  which  are  somewhat  grey  in  the  flesh 
tones,  he  shows  much  affinity. 

Long  Gallery. 
The  effect  of  the  groined  ceiling  and  of  the  red  velvet  hangings 
in  this  room  is  very  rich  and  imposing. 

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Lbttbb  XXIII.  PETWORTH.  31 

Vandyck. — 5.  Thomas  Howard,  Earl  of  Arundel,  and  his  son, 
Lord  Maltravers,  as  a  boy.  The  father  is  in  armour,  with  the 
baton ;  the  son  is  dressed  in  silk.  To  the  kneea  This  picture 
has  something  grand  in  the  conception  and  in  the  brownish  tones. 
The  execution  is  very  masterly. 

Here  is  also  a  less  remarkable  example  of  the  Holbein  picture 
of  the  Duke  of  Norfolk  and  the  two  sta& 

Dining-room. 

Vandyck. — 6.  Henry  Howard,  in  black  dress ;  almost  to  the 
knees ;  admirably  modelled  in  a  very  warm  Titianesque  tona 

Gainsborough.  —  2.  Two  portraits  —  members  of  the  family ; 
whole-length  figures,  life-fiize ;  of  considerable  artistic  valua 

Finally,  there  are  two  large  and  fine  landscapes  by  Artois, 
with  figures  by  TENiERa 

From  Arundel  Castle  we  took  the  road  to  Petworth,  by  Eig- 
ner, partly  for  the  purpose  of  visiting  Mr.  Hawkins,  who  possesses 
the  marvellously  beautiful  bronze  relief  of  Paris  and  Helena,  and 
also  admirable  impressions  of  Albert  Durer*s  etchings,  and  partly 
for  the  purpose  of  seeing  the  Roman  mosaic  pavements,  which  have 
been  discovered  there.  Unfortunately  Mr.  Hawkins  was  gone  to 
London.  The  mosaic  pavements,  which  are  well  protected  from 
the  weather  by  some  houses  built  over  them,  show,  by  the  extent 
of  space  which  they  occupy,  that  some  considerable  building,  per- 
haps a  villa,  existed  in  the  Roman  time.  The  mosaics  contain 
some  figure  of  good  motives,  but  the  execution  is  somewhat  rude. 
The  ornaments  are,  however,  partly  of  very  beautiful  designs, 
aQd  many  of  them  may  be  immediately  distinguished  as  the 
originals  of  tiie  entwined  forms  met  with  so  constantly  in  the 
border  decorations  and  initials  of  the  Irish,  Anglo-Saxon,  and 
Prankish  MSS.  of  the  8th  century. 


PETWORTH,  SEAT  OF  COLONEL  EGREMONT  WYNDHAM. 

It  was  a  matter  of  great  regret  to  me,  on  first  publishing  the 
result  of  my  researches  in  England,  not  to  be  able  to  give  any 
account  of  so  well-known  and  so  highly-prized  a  collectioa  You 
may  therefore  guess  the  satisfaction  it  afibrds  me  to  be  able  now 
to  make  good  this  omissioa     High  as  were  my  expectations,  they 

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32  PETWORTH.  Letter  XXIII. 

have  been  far  surpassed,  this  collection  being,  both  in  extent  and 
value,  one  of  the  finest  in  England.  While  it  possesses  admirable 
specimens  of  all  schools,  its  strength  consists  in  pictures  of  the 
Netherlandish  school,  including  a  number  by  Vandyck,  several  of 
which  belong  to  his  finest  chefs-d'oeuvre.  Few  collections  also 
possess  so  many  genuine  pictures  by  Holbein  as  thia  Finally, 
it  presents  the  most  admirable  view  of  the  English  school  from 
Hogarth  to  the  best  living  masters.  The  Vandycks  came  into 
the  Wyndham  family  by  the  death  of  Lady  Elizabeth,  sole 
daughter  and  heiress  of  Jocelyn  Percy,  elevenüi  Earl  of  North- 
umberland, Sir  William  Wyndham  being  afterwards  created  Earl 
of  Egremont*  The  bulk  of  the  collection,  however,  was  formed  by 
the  late  Earl  of  Egremont,  a  zealous  friend  of  art  and  artists,  and 
by  his  father.  It  was  the  last-named  nobleman  who  purchased, 
by  means  of  Gavin  Hamilton,  a  considerable  number  of  antique 
sculptures,  of  which,  being  of  no  high  order,  and  chiefly  restored 
works  of  the  Roman  time,  I  omit  fiirther  mention.  The  most 
remarkable  specimen  is  a  repetition  of  the  group  of  Marsyas 
teaching  the  young  Olympus  to  play  on  the  Pan's  pipe,  purchased 
by  the  late  Earl 

A  very  polite  reception  awaited  my  companion  and  myself  and 
we  were  allowed  the  undisturbed  study  of  the  many  treasures  of 
art,  for  which  the  whole  day  was  barely  sufficient  An  engage- 
ment in  London  unfortunately  prevented  our  remaining  the  night. 

As  it  is  hardly  to  be  expected  that  the  present  arrangement  of 
the  pictures  will  undergo  any  material  alteration,  I  consider  them 
in  the  order  which  they  occupied  in  the  rooms ;  and  where  any 
question  could  arise  as  to  which  picture  I  mean,  I  add  the  number 
with  which  it  is  marked. 

First  Room. 

School  of  Giovanni  Bellini. — ^Thus  I  am  inclined  to  name 
a  small  male  portrait  with  a  kind  of  peruke,  of  lively  conception 
and  good  colouring. 

Van  Cleef. — 1.  A  male  portrait  of  his  excellent  mode  of  con- 
ception and  his  warm  and  transparent  colouring,  erroneously  entitled 
a  Holbein,  and  as  erroneously  the  portrait  of  Sir  Thomas  More. 

Two  well-known  compositions  by  Andrea  del  Sarto,  and 
attributed  to  him,  I  believe  to  be  good  old  copies,  such  as  Jacobo 
da  Empoli  is  known  to  have  made. 

♦  Sec  W.  Carpeiiter*8  Pictorial  Notices,  p.  36. 

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Lbttbb  XXIU.    col.  WYNDHAM'S  COLLECTION.  33 

Sir  Peter  Lely. — 1.  Jocelyn,  eleventh  and  last  Earl  of  North- 
umberland, as  a  boy.  This  picture  approaches  Vandyck  in  anima- 
tion of  conception,  power  of  colouring,  and  refinement  of  feeling 
in  treataient 

Rembrandt. — 1.  This  picture,  which  is  remarkable  for  truth 
of  conception,  and  warmth  and  transparency  of  colour,  I  consider 
to  be  an  excellent  work  of  the  master.  It  purports  to  be  a  por- 
trait of  Percy  Earl  of  Northumberland,  though  the  Netherlandish 
style  of  physiognomy  does  not  well  agree  with  the  nama 

Titian. — 1.  Portrait  of  a  woman  in  a  brown  dress  (No.  332)  has 
something  bold  in  the  ponception  :  the  colouring  is  very  powerful. 

Claude  Lorrainel — 1.  This  picture,  which  Woollett's  mas- 
terly engraving  has  made  universally  known,  is,  in  point  of  size, 
freshness  of  the  silvery  morning  tones,  carefulness  of  execution, 
and  delicacy  of  gradations,  one  of  the  most  important  works  of 
the  middle  period  of  the  master. 

Sib  Joshua  Retnold& — 1.  The  Virgin  and  Child.  Evidently 
two  portraits,  and  of  uncommon  warmth  and  transparency  of 
colouring. 

Holbein« — L  A  female  figure  with  a  ring  on  one  finger. 
Painted  upon  canvas,  which  is  unusual,  in  his  latest  time,  and 
very  delicately  modelled. 

Lucas  van  Leyden. — ^A  female  portrait  Judging  from  con- 
ception and  treatment,  this  is  a  genuine  specimen.  It  is  a  pity 
that  so  rare  a  work  of  art  has  sufiered  by  cleaning. 

Philip,  surnamed  le  Bel,  son  of  Maximilian  I.,  Emperor  of 
Germany,  and  of  Mary  of  Burgundy,  and  father  of  Charles  V., 
with  the  Golden  Fleece.  A  good  contemporary  picture  of  the 
Van  Eyck  school. 

Vandyck.  —  1.  Algernon  Percy,  Earl  of  Northumberland, 
standing  next  the  chair  on  which  his  Countess,  Lady  Anne  Cecil, 
is  seated.  Next  to  her  their  daughter,  a  very  lovely  child  of 
about  six  years  old.  To  the  knees :  4  ft.  4  in.  high,  5  ft.  8  ia 
wida  Although  the  easy  arrangement,  the  true  and  elevated 
conception,  the  careftd  execution  and  warm  and  deep  colouring 
render  this  picture  very  attractive ;  yet  I  understand  that  a  repe- 
tition in  Ha^eld,  the  seat  of  the  Marquis  of  Salisbury,  is  finer  still. 

Tintoretto.— Male  portrait  Bust  size.  Of  great  animation^ 
and  in  his  lightest  reddish  tones. 

Sib  Joshua  Reynoldä— 2.  The  portrait  of  Woodward,  the 

VOL.  III.  i> 

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34  PETWORTH.  Letter  XXIII. 

comedian,  with  a  mask  in  his  hand  Conceived  with  much 
humour,  and  carefully  executed  in  a  transparent  and  warm  tone, 
and  with  a  solid  body. 

Vandtck. — 2.  Sir  Charles  Percy,  in  prime  of  manhood,  in 
armour.     The   baton   in  his  right  hand.    To  the  knees:  4ft. 

2  m.  high,  3  ft  9  in.  wide.  Of  masterly  execution,  in  a  red- 
browni^  tone. 

3.  Anne  Cavendish,  Lady  Rich  ;  a  young  and  beautiful  woman. 
To  the  knees.  Of  the  same  size  as  the  last  The  cool  harmony  is 
here  admirably  carried  out  in  the  rose-coloured  dress,  and  in  the 
ffllvery  tones  of  the  flesh.  The  head  is  less  modelled  than  usual. 
On  the  other  hand,  the  landscape  background  is  particularly  fina 

4.  Mrs.  Porter,  a  beautiful  blonde  of  about  30  years  of  age,  in 
a  blue  silk  dresa  To  the  knees.  Of  the  same  size  as  the  fore- 
going. Of  singular  softness  of  treatment,  and  extraordinary 
transparency. 

5.  Henry,  Lord  Percy  of  Alnwick,  in  full  manhood,  in  black 
silk  dress,  with  landscape  background.  Very  carefully  executed 
in  a  warm  brownish  tone. 

6.  Montjoy  Blount,  Earl  of  Newport, — George  Lord  Goring, — 
and  a  boy,  who  is  tying  the  scarf  of  one  of  the  gentlemen.  Nobly 
conceived,  and  carefully  executed  in  a  full,  warm,  and  very  har- 
monious tone.  Judging  from  the  dated  pictures,  painted  about 
1634-35. 

Titian. — 2.  Portrait  of  a  man  with  a  pen.  Very  poetic  in 
conception  and  feeling,  and  executed  at  an  early  period  of  the 
master  in  a  light  golden^tone. 

Vandyok. — 7.  Thomas  Wentworth,  Earl  of  Straflbrd,  at  about 
40  years  of  age,  in  armour,  with  the  baton  in  his  hand.  In  the 
background  a  troup  of  horsemen.     To  the  knees :  4  ft.  3  in.  high, 

3  ft  7  in.  wide.  The  energetic  and  serious  character  of  this  indi^ 
vidual  is  rendered  with  similar  force  by  the  artist  The  somewhat 
heavy  brownish  flesh-tones  were  doubtiess  true  to  life,  as  they 
recur  in  all  Vandyck's  portraits  of  Lord  Strafibrd,  and  especially 
in  the  fine  picture  at  Wentworth  House,  the  seat  of  the  Earl  of 
Fitzwilliam. 

8.  Henry  Percy,  ninth  Earl  of  Northumberland,  in  advanced 
years,  seated  in  an  arm-chair ;  supporting  his  head  upon  his'  right 
hand,  the  arm  of  which  is  resting  on  a  table.     To  the  knees : 

4  fL  6  ia  high,  3  ft.  lOi  in.  wide.    This  picture  belongs  in  every 

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Lhttbr  XXin.     COL.  WYNDHAM'S  COLLECTION.  35 

respect  to  the  great  masterpieces  of  Vandyck.  The  noble  and 
melancholy  features  tell  the  tragic  history  of  a  whole  life,  and 
the  spectator  hardly  needs  to  be  told  that  this  nobleman  was 
confined  for  16  years  in  the  Tower.  The  arrangement  is  also  as 
easy  as  it  is  conformable  to  style.  The  modelling  of  the  head  is 
very  delicate,  in  a  yellowish  warm  tona 

9.  William  Prince  of  Orange  as  a  child,  with  a  cap  and  feather, 
and  a  yellow  silk  dress ;  next  him  a  greyhound  Whole-length : 
4  &  4  in.  high,  3  ft.  9  ia  wide.  Carefully  executed,  but  unusually 
insipid  and  heavy  in  tone  of  colour. 

Hogarth. — 1.  A  music-master  directing  his  pupils  to  perform 
before  their  parents.  Very  characteristic,  and  carefully  executed 
in  a  warm,  tranqnrent,  and  at  the  same  time  harmonious  tone, 
unusual  in  him. 

Second  Boom. 

Jan  Matsys. — ^Two  men  and  two  .women  playing  cards.  I 
believe  this  to  be  a  careful  and  good  picture  by  the  son  and  pupil 
of  Quentin  Matsys. 

Van  den  Eckhout. — A  corps  de  garde,  four  figurea  Ani- 
matedly conceived  and  warmly  coloured ;  unfortunately  very  dirty. 

Lbnain. — An  old  woman  and  seven  children ;  one  of  them  a 
boy,  playing  the  violin.  This  has  all  the  natural  truth  of  this 
master,  and  is  at  the  same  time  very  transparently  coloured 

Jan  Fyt. — ^Dogs  hunting  wild  fowl.  Spiritedly  and  truly  in- 
vented, and  powerfully  painted. 

Jacob  Ruysdaeu — 1.  A  waterfelL  Poetically  composed,  but  so 
darkened  as  to  be  littie  enjoyabla 

Nicolas  Maas. — An  old  man  upon  a  chair.     Pleasing. 

HoBBEMA. — 1.  A  watermill.  Warm,  but  heavy  in  the  sha- 
dows ;  at  the  same  time  painted  with  a  full  body. 

Paul  Brill. — A  large  and  very  poetic  landscape  of  his  late 
and  best  time,  in  which  he  exercised  so  decided  an  influence  first 
upon  Annibale  Carracci  and  then  upon  Claude. 

Lucas  van  Uden. — A  landscape,  with  very  true  reflections 
in  a  piece  of  water,  belongs  to  the  best  pictures  of  this  excellent 
pmnter,  who  as^sted  Rubens  so  much  in  his  landscape  backgrounds. 

HoBBEMA. — 2.  A  landscape,  with  three  figures  in  the  fore- 
ground, of  warm  and  sunny  efiect.     A  companion  to  the  abova 

Claude  Lorraine. — 2.  Splendid  buildings  on  the  sea-shore, 
retreating  in  fine  perspective  one  behind  the  other.    The  efiect  of 

D  2 

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36  PETWORTH.  Letter  XXIII. 

the  clearest  morniDg  light,  in  the  different  distances,  is  here  given 
with  the  utmost  delicacy  and  transparency  of  gradatioa 

Frank  Hals. — I  am  inclined  to  attribute  to  this  master  an 
excellent  picture  of  a  man  in  a  broad-brimmed  hat,  with  his  left 
hand  on  his  hip,  and  his  eyes  and  cheeks  telling  of  many  a  sacrifice 
to  Bacchus.  Of  great  breadth,  and  spiritedly  treated.  It  is 
marked  No.  383 

Holbein. — 2.  Portrait  of.Edward  VI.  standing  under  a  superb 
canopy,  with  the  date  1547,  the  year  of  his  accession,  and  there- 
fore 10  years  of  age.  Of  pale  local  flesh- tones  and  greyish 
shadows,  as  in  all  Holbein's  portraits  of  this  king,  but  delicately 
modelled. 

Le  Boüroüionon. — ^To  this  master  I  attribute  a  masterly  but 
almost  scenically-treated  winter  landscape. 

TENiERa — 1.  The  Archduke  Leopold,  with  an  ecclesiastic  and 
the  painter,  in  his  picture-gallery  at  Brussels,  of  which  Teniers 
was  the  superintendent.  The  imitation  of  the  different  masters 
in  the  various  pictures  is  very  happy.  The  whole  carefully  exe- 
cuted in  a  warm  tone. 

Van  Goyen. — ^A  landscape  of  great  truth  in  the  representation 
of  the  simple  elements  of  Dutch  nature,  but  in  his  insipid  tone. 
Inscribed  as  No.  394. 

Sir  Joshua  Reynolds. — 3.  Portrait  of  some  well-known  indi- 
vidual whose  name  has  escaped  me.  Head  and  hands  are  deli- 
cate and  of  transparent  colour. 

Gaspar  Poussin. — ^A  landscape,  with  buildings  in  the  middle 
distance ;  in  front  a  man  angling,  and  a  woman.  Besides  the 
beauty  of  composition,  this  picture  attracts  the  eye  by  a  singular 
glow  of  colouring. 

SwANEVELDT. — ^A  landscape.    Refined,  transparent,  and  sunny. 

Staircase. 
Snyders. — ^Two  concerts  of  birds,  of  one  of  which  there  is  a 
repetition  in  the  Berlin  Museum,  and  a  hawk  pouncing  upon  some 
hens.  These  are  beautiful  pictures,  of  that  cheerfulness  and  day- 
light clearness  which  are  the  qualities  that  distinguish  this  master 
before  any  other  who  treats  similar  subjects. 

The  Gallert. 
This  stately  apartment,  which  is  lighted  from  above,  is  particu- 
larly dedicated  to  English  art.   Here  is  the  original  of  Flaxman's 


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Leoer  XXin.     COL.  WYNDHAM'S  COLLECTION.  37 

colossal  group  of  the  Archangel  Michael  piercing  Satan  with  the 
spear.  The  work  of  the  chisel  is  far  more  finished  here  than  is 
usual  with  Flaxman.  The  efiect  of  the  group  in  this  apartment  is 
very  imposing. 

2.  Also  a  shepherd-boy,  in  marble,  by  the  same  master,  belongs 
to  his  best  works.  The  expression  of  rest  is  very  happy  and 
graceful ;  the  head,  in  spite  of  the  insipidity  of  antique  beauty, 
animated ;  the  proportions  noble  and  slender,  the  execution  careful. 
A  dog  next  him  is  less  successful. 

Sir  Peter  Lely. — 2.  The  children  of  Charles  I. ;  whole-length 
6gures.  Finely  executed  in  the  manner  of  Vandyck.  The  hands 
are  also  delicate ;  but  the  reddish-brown  flesh-tones  are  heavier 
llian  Vandyck. 

Hoppneh! — ^Venus  and  Adonis.  Quite  in  the  taste  of  Sir 
Joshua,  and  approaching  him  in  warmth  and  transparency  of  colour. 

Sir  Augustus  Calcott. — ^An  agitated  sea.  One  of  his  best 
pictures  of  this  sort ;  of  great  truth  in  the  movement  of  the  waves, 
and  light  and  clear  in  colour. 

Leslie. — 2.  The  two  well-known  pictures,  GuUiver  with  the 
Brobdignags,  and  Sancho  Panza  with  the'  Duchess. 

Sir  Joshua  Reynolds. — 4.  The  Death  of  Cardinal  Beaufort, 
from  Shakspeare's  Henry  VI.  ELnown  to  me  by  the  engraving ; 
but  the  treatment  is  too  modem,  and  the  horror  too  prosaically 
rendered.  At  the  same  time,  the  picture  is  of  astonishing  power 
and  transparency  of  colour. 

Sir  Joshua  Reynolds. — 5.  The  Witches'  Dance  around  the 
Cauldron.  Very  well  conceived.  Macbeth,  on  the  other  hand,  is  too 
theatrical  and  immeaning.   The  colouring,  however,  has  much  merit 

Turner. — ^The  pictures  here  by  this  master  show  him  in  his 
full  power,  both  in  his  realistic  and  ideal  sphere.  To  the  latter 
belongs  a  highly  poetic  landscape,  1,  with  Echo  and  Narcissus, 
recalling  the  style  of  Caspar  Poussin,  and,  at  the  same  time, 
solidly  executed  in  a  deep  warm  tone.  Of  the  realistic  kind  is  a 
landscape,  2,  with  cows  and  water,  with  the  most  glowing  evening 
sun.  A  depth  and  transparency  of  chiaroscuro,  which  approaches 
Rembrandt,  is  here  combined  with  a  careful  execution.  3.  Also 
an  a^tated  sea,  with  ships,  is  very  spirited  and  powerful,  but  has 
somewhat  darkened.  4.  Another  picture  hanging  dose  by,  a  view 
of  Tabley  House,  in  Cheshire,  with  a  lake,  in  which  the  reflection 
of  the  evening  sky  in  the  still  and  transparent  water  has  a  highly 

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38  PETWOBTH.  Lettke  XXni. 

poetic  charm,  shows  a  soKdity  of  treatment  which  recalls  Cuyp. 
5.  A  view  of  the  Thames  at  Windsor,  admirably  treated  in  a  sub- 
dued tone,  breathes  a  soft  melancholy,  and  gives  an  effect  which 
may  be  classed  between  Claude  and  Van  der  Neer. 

Wilson. — 1.  Still  water,  with  a  rock  and  a  castle,  with  several 
figures.  This  is  one  of  his  choicest  pictures.  The  colouring  is 
warm  and  clear,  the  execution  careful. 

«  Henri  van  Steinwich,  1621."— This  is  the  inscription  upon 
the  Ulterior  of  a  church.  Of  tolerable  size,  and  with  a  power  and 
freedom,  a  clearness  and  breadth  of  treatment,  such  as  are  seldom 
seen  in  this  master.  The  very  cleverly  painted  figures  may  be  by 
Poelemburg. 

LouTHERBURG.— Storm  and  avalanche  in  the  Alps.  Beades 
the  usual  breadth  of  effect  peculiar  to  the  master,  this  picture  disr- 
plays  an  unusually  warm  and  clear  tone. 

Hogarth. — 2.  "The  Cognoscenti."  This  picture  is  full  of 
humour.  Five  persons  are  in  the  most  earnest  argument,  while  a 
monkey  is  seated  at  the  easel.  The  drawing  is,  however,  unusually 
careless,  and  the  treatment  too  sketchy. 

Sir  Richard  Wbstmacott's  chef-d'oeuvre  is  also  preserved 
here — a  relief  representing  a  boy  surrounded  with  bears  and  with 
three  snakes,  with  the  deities  Minerva,  Apollo,  and  Venus  above 
him ;  from  the  passage  in  Horace's  Ode,  "  Non  sine  diis  animosus 
infims,"  &c. 

Turner. — 6.  The  Thames  at  Eton.  Of  admirable  general 
effect,  and  very  solidly  and  brightly  painted. 

Howard. — ^A  wood  of  old  beeches.  Of  great  truth,  and  very 
powerful  and  transparent  colouring. 

Turner. — 7.  This  picture,  Jessica,  from  the  Merchant  of 
Venice,  shows  that  limits  are  assigned  even  to  the  most  gifted. 
It  is  a  truly  fingfatful  piece  of  soene-painldng. 

A  good  copy,  in  bronze,  of  Silenus  and  the  young  Bacchus,  from 
the  fine  marble  group  in  the  Louvre,  is  a  very  ornamental  object 

Hogarth. — 3.  The  well-known  punch-drinking  party.  The 
characters  of  the  heads  are  masterly,  and  appear  so  entirely  to 
have  engrossed  the  artist's  attenti(m  that  he  has  overlooked  two 
vermilion-red  coats,  which  disturb  the  harmony  of  the  picture. 

Northcots. — ^The  Murder  of  the  Princes  in  the  Tower.  This^ 
in  point  of  keeping,  power  of  colouring,  and  care  of  execution,  is 
one  of  the  best  pictures  of  the  whole  set  of  the  Shakspeare  Gallery. 

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LfiPTER  XXin.     COL.  WYNDHAM'S  COLLECTION.  39 

Sir  Joshua  Reynolds. — 6.  A  male  portrait  Most  animatedly 
conceived,  and  executed  not  only  in  a  transparent  and  careful, 
but  also  in  a  true  tone  of  colour. 

Here  is  also  a  careful  copy  in  marble  of  Michael  Angelo's  cele- 
brated Pieta  in  St.  Peter's  at  Rome. 

Opib. — ^Musidora.  The  power  and  transparency  of  colour 
approaches  Sir  Joshua,  but  the  picture  is  emptier  in  the  forms. 

Gainsborough. — 1.  A  landscape,  with  a  shepherd  and  shep- 
herdess in  the  foreground.  Of  very  poetical  inyention,  and  exhibit- 
ing the  artist  in  a  light  previously  unknown  to  me.  Unfortunately 
much  darkened. 

Copley  Fielding. — ^A  view  in  the  county  of  Westmoreland. 
Most  attractive  for  truth  and  for  warm  and  transparent  colouring 
and  careful  executioa 

Gainsborough. — 2.  A  beautiful  dear  landscape,  with  cows, 
sheep,  and  goata     In  his  usual  realistic  style. 

Turner. — 8.  View  of  the  Thames  at  Weybridge.  Very 
attractive  for  the  harmony  of  the  full  deep  colouring. 

9.  The  Thames  at  Windsor ;  the  castle  forming  a  great  mass 
of  shadow ;  in  front  a  flock  of  sheep.  In  this  picture  there  is  a 
feeling  of  melancholy  grandeur. 

Wilson. — 2,  A  landscape  of  great  transparency,  with  still 
water ;  this  picture  breathes  a  peaceful  feeling  of  nature  which  is 
most  attractive. 

Sir  David  Wilkie. — ^Thc  very  spirited  sketch  for  the  Preach- 
ing of  Knox,  in  Sr  Robert  Peel's  collection. 

Besides  these  the  gallery  contains  various  pieces  of  antique  sculp 
ture  of  inferior  value,  also  of  the  modem  English  school,  especially 
busts,  whidi  it  is  not  necessary  for  me  to  mention  further. 

Another  Room. 

HiERONYMUs  Bosch. — ^The  Adoration  of  the  Kings.  A  very 
careful  picture  by  this  peculiar  painter,  and  one  of  remarkable 
colour — ^which  he  often  repeated.  Here  erroneously  attributed 
to  Albert  Durer. 

School  of  Van  Eyck. — ^The  two  wings  of  an  altar-picture 
joined  together ;  the  one  the  Annundation,  the  other  the  donor, 
with  his  patron  sidnt,  probably  St  James.  These  exhibit  an 
excellent  master. 

Van  der  Meulen. — 1.  Travellers  in  a  wood  attacked  by  robbers. 

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40  PETWORTH.  Letter  XXIU. 

Very  lively  in  conception,  and  of  fresh  transparent  colour.    The 
treatment,  however,  too  sketchy. 

Jacob  Ruysdael. — 2.  A  waterfalL  Fresh,  powerful,  and  trans- 
parent, and  of  decided  and,  for  him,  peculiarly  warm  lighting. 

Sir  Joshua  REYNOLDa — 7.  Prince  Boothby,  Esq.  Delicate 
and  animated  in  conception ;  easy  in  arrangement  The  colour, 
unfortunately,  somewhat  faded. 

Sir  Joshua  REYNOLDa — 8.  A  lady,  with  a  letter  in  her  hand, 
sitting  in  a  contemplative  portion.  To  the  kneea  Of  a  refined 
and  peculiar  charm. 

Simon  db  Vliboer. — A  thunderstorm  on  the  sea ;  in  a  warm 
lighting ;  inscribed  with  his  name.  Very  poetically  treated,  and 
one  of  the  best  pictures  by  the  master  that  I  know. 

LuDOLPH  Backhuysen. — A  slightly  agitated  sea  The  water 
very  true,  otherwise  inferior  in  merit 

Dirk  Maar — ^The  Battle  of  the  Boyne.  Animatedly  conceived, 
and  of  unusually  careful  executioa 

Vandyck. — 10.  Portraits  of  Sir  Robert  Shirley  and  his  lady. 
Whole-length  figures,  life  size.  They  appear  to  me  too  feeble  in 
drawing  and  too  heavy  in  colour  for  Vandyck. 

Albert  Cuyp. — 1.  A  view  of  a  hilly  country  near  Nimeguen, 
with  a  shepherd-boy,  three  sheep,  and  a  goat,  in  the  foreground. 
In  the  centre  a  farmer  on  horseback.  A  shepherd  drawing  water 
from  a  stream  on  the  other  sida  3  ft.  9  in.  high,  by  5  ft.  9|  in. 
wide.  This  picture  is  of  the  best  time  of  the  master,  and,  in 
composition,  transparency  of  colour,  and  unusual  richness  of 
detail,  it  is  of  the  highest  merit 

Two  female  portraits,  whole-length  figures,  life  size ;  also  attri- 
buted to  Vandyck.  Neither  of  them  attracted  me,  and  one  of 
them,  at  all  events,  can  hardly  be  by  his  hand. 

RuBENa — 2.  Portraits  of  two  prelates  kneeling  before  a  table  in 
prayer ;  whole-length  figures,  life  size.  Each  picture  6  ft  4  in. 
high,  by  3  fL  9  in.  wide.  Admirable  works  of  the  master.  The 
conception  very  animated ;  the  colouring  luminous,  but  true  and 
subdued ;  the  treatment  very  spirited. 

Kessler. — ^A  painter  who  lived  at  Cologne.  A  male  portrait 
of  merit  Inscribed  "  F.  Kessler  fecit  Oldendorpius,  Aetate  suae 
51,  1624." 

Van  der  Heulen. — 2,  3,  4,  and  5.  Several  good  pictures, 
with  Louis  XrV.  in  one  of  them. 

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Lette»  XXIII.      COL.  WYNDHAM'S  COLLECTION.  41 

Sia  Joshua  REYNOLDa — 9,  A  female  portrait,  in  a  turban ; 
the  hands  folded.     Very  animated  and  refined. 

Rembrandt. — 2.  A  female  portrait.  Hung  too  high  to  permit 
of  an  opinion,  though  at  that  distance  giving  the  impression  of 
being  a  Ferdinand  Bol. 

A  Bedroom. 

Sir  Anthony  More. — Portraits  of  Sir  Henry  Sidney  and  his 
wife,  Maria  Dudley,  father  and  mother  of  Sir  Philip  Sidney; 
whole-length  figures,  life  size ;  inscribed  1553.  These  admirable 
pictures  are  in  a  delicate  tone,  but  that  of  the  lady  has  been 
injured  by  cleaning. 

Another  Room. 

Holbein. — 3.  Henry  VIH. ;  whole-length  figure,  life  size,  in 
splendid  attire ;  taken  quite  in  firont,  in  a  stiff  position.  Painted 
about  1540,  and,  like  the  picture  in  Warwick  Castle,  in  a  trans- 
parent and  delicate  tone. 

HoBBEMA. — 3.  A  dark  wood,  of  deep  and  transparent  chiaro- 
scuro, forming  an  exquisite  contrast  with  a  field  in  full  light. 
Inscribed. 

GuERciNo. — ^Tidings  are  being  brought  to  a  queenly  figure — 
probably  Semiramis.     Of  unusual  warmth  and  clearness  of  tone. 

A  male  portrait,  of  very  noble  conception  and  uncommon  depth 
in  the  warm,  clear  tones.  Painted  about  1550.  I  am  not  able  to 
say  precisely  who  the  master  may  have  beea 

Sir  Joshua  Reynolds.— 10.  TheMarqiiisofGranby.  The  fine 
features  are  very  nobly  conceived ;  the  colouring  true  and  delicate. 

Another  Room. 

Albert  Cuyp. — 2.  Two  horsemen ;  in  his  first,  hard  manner. 

^NGELO  Bronzino. — Portrait  of  a  youth  of  agreeable  physi- 
ognomy, which  is  well  rendered.     The  colouring  transparent. 

Van  Cleef. — 2.  To  this  painter  I  attribute  a  male  portrait  with 
a  letter  in  his  hand,  here  ascribed  to  Holbein. 

Holbein. — 4.  Portrait  of  a  man  with  a  falcon  on  his  wrist.  I 
consider  this  to  be  a  capital  work  of  his  earlier  time,  to  which  the 
decided  brown  tones  were  peculiar. 

Grieff. — Two  hunting  pieces,  with  huntsmen,  dogs,  and  dead 
game.  Of  great  truth,  and  very  carefully  executed,  though  in  a 
heavy  tone. 

Holbein. — 5.  Portrait  of  a  man  with  a  letter  in  his  hand ; 

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42  PETWOBTH.  Lbttbb  XXIH. 

quite  in  front ;  a  scroll  before  him.  A  very  good  picture ;  pwited 
about  1530. 

VsLASQUEZ. — ^Bust  portrait  of  a  man  with  a  white  collar.  Of 
very  energetic  conception,  and  painted  in  a  warm  brownish  tone. 
I  am  inclined  to  attribute  this  to  Velasquez. 

A  male  portrait,  bearing  the  number  180,  has  such  a  charm  of 
delicate  conception  and  warm  colour  that  I  cannot  pass  it  over, 
though  I  am  not  acquainted  with  the  painter.  It  has,  however, 
much  of  Van  Cleef. 

Albert  Cuyp. — 3.  Two  horses,  with  two  men.  In  his  first 
manner. 

Titian. — 2.  The  well-known  Cardinal  de'  Medici ;  standing 
figure.  Nobly  conceived,  and  admirably  painted  in  a  delicate 
subdued  tone. 

Rembrandt. — 3.  His  own  portrait  in  youthful  years.  Some- 
what empty  in  the  forma 

Raphael. — A  male  portrait,  formerly  in  the  Alfani  Palace  at 
Urbina  The  elevated  and  poetic  conception  is  quite  in  his  feeling ; 
also  the  spirited  execution,  in  a  clear  brownish  tone,  agrees  with 
other  portraits  by  him.  unfortunately  this  picture,  like  most  of  the 
others  in  this  room,  hangs  opposite  the  windows,  in  an  unfavourable 
light,  which  was  also  so  diminished  at  a  late  hour  in  the  afternoon 
that  I  must  not  venture  to  give  any  decided  opinion  upon  it 

An  example  of  the  often  repeated  portrait  of  Murillo  by 
himself  appears  to  me  too  empty  in  the  forms  and  too  heavy  in 
colouring  for  him.     Probably  a  repetition  of  his  school 

BoNiFAZio. — ^The  Adoration  of  the  Kings.  Besides  his  usual 
warm  and  transparent  harmony  of  colour,  this  picture  exhibits  a 
closer  finish  of  detail  than  is  usual  with  him. 

Albert  Cuyp. — 4.  View  of  a  stream,  with  a  village  lying  along 
its  opposite  side.  A  ferry  upon  the  water,  and  a  boat  with  sailors  ; 
near  the  shore  some  other  figures.  About  3  ft;,  high  by  5  ft. 
wide.  An  admirable  picture  of  his  second  period ;  rich  in  details, 
transparent  in  colour,  and  of  fine  body. 

Van  der  Heulen. — 6  and  7.  Two  delicately-executed  pictures, 
with  scenes  from  the  life  of  Louis  XIV. 

Another  Boom. 
The  chief  ornaments  of  this  apartment  are  five  Vandyck  por- 
traits of  young,  and,  most  of  them,  beautiftil  women,  half  figures. 


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LHPnxR  XXm.      COL.  WINDHAM'S  COLLECTION.  43 

which  combine  all  his  qualities  of  elegance  of  conception,  trans- 
parency of  colour,  and  spirited  treatment  ^  Four  of  them  are  well- 
known  persons  of  the  first  English  families,  as  follows : — 

11.  Dorothy  Sidney,  Countess  of  Sunderland,  in  black  silk 
dress ;  the  right  hand  resting  on  the  edge  of  a  vase  with  a  flower, 
to  which  she  is  pointing  with  her  left 

12.  Lucy  Countess  of  Carlisle,  daughter  of  Jocelyn  Earl  of 
Northumberland,  in  an  orange-coloured  silk  dress ;  holding  her 
right  hand  under  a  fountain. 

13.  Dorothy  Percy,  Countess  of  Leicester,  in  white  silk  dress, 
seated ;  leaning  with  her  right  hand  on  the  arm  of  the  chair. 

14.  Elizabeth  Cecil,  Countess  of  Devonshire,  in  white  silk 
dress ;  holding  in  her  right  hand  a  bunch  of  rosea 

15.  The  fifth  represents  an  unknown  lady,  seated,  in  a  dark  green 
dress,  touching  with  her  left  hand  the  cover  of  a  table  next  her. 

3  and  4.  Two  portraits  also  by  Sir  Peter  Lely  are  transparent 
in  colour  and  careful  in  execution. 

Jan  Both. — A  landscape,  of  middle  size,  of  fine  composition, 
and  solid  and  careful  executioa 

Albert  Cuyp. — 5.  Cows  grazing  and  resting  by  water.  One 
of  his  transparent  and  careful  picturea 

The  Librart. 

CoRREGGio. — ^The  Virgin  and  Child  and  St  Joseph.  A  beau- 
tiful picture,  in  his  delicate  but  much  broken  tones,  like  the 
*  Vierge  au  Panier '  in  the  National  Gallery. 

MuRiLLO. — ^Monks  discoursing.     Very  delicate  and  spirited. 

Tenierr — 2.  Giving  Bread  to  the  Hungry.  An  excellent 
sketch,  in  his  brownish  manner. 


Not  fiur  from  Petworth  is  the  seat  of  the  Hon.  Robert  Curzon, 
who  possesses  some  interesting  MSS. 


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44  OXFORD.  Lbttbr  XXIV. 


LETTER    XXIV. 

Oxford:  The  High  Street  —  Archaeological  meeting  in  1850  —  F6te  at 
Exeter  College  —  Christ  Church  College  —  General  Guise's  collection 
of  pictures ;  of  drawings  hy  the  old  masters  —  Drawing  by  Raphael  — 
MSS.  with  miniatures  —  Antique  marble  —  Merton  College  —  The 
Radcliffe  Library  —  Ruysdael  in  Worcester  College  —  Collections  of  art 
in  the  University  Galleries  —  Pomfret  statues  —  Casts  presented  by 
Lady  Chantrey  —  English  sculpture  —  Pictures  —  Drawings  by  Raphael 
and  Michael  Angelo  —  Ashmolean  Museum  —  Alfred  Jewel  —  MSS. 
with  miniatures  —  A  Zoology  —  The  Bodleian  Library  —  MSS.  with 
miniatures  :  Byzantine,  French,  Netherlandish,  English,  German,  Italian 
—  Wadham  College  —  MSS.  with  miniatures  —  Woodcuts  —  Drawings 
by  Raphael  —  Professor  Johnson's  MSS.  with  miniatures  —  Blenheim 
Palace  :  Collection  of  pictures  —  Rubens  —  Raphael,  the  Virgin  and 
Child  enthroned,  with  saints — ^Ditchley  Park — Basildon  Park. 

OXFORD. 

Whoever  sees  Oxford  for  the  first  time  has  seen  an  entirely  new 
thing,  and  laid  in  a  store  of  impressions  as  inefiaceable  as  they 
are  novel.  There  b  something  in  the  exclusively  peculiar  charac- 
ter of  this  city  which  I  can  compare  to  no  other  city  I  know, 
except  perhaps  to  Venice.  In  each  the  abundance  of  the  grand 
and  the  beautiful  in  art  is  such  as  to  amount  to  a  kind  of  se- 
cond nature,  to  which  the  imagination  readily  consents.  The 
Gothic  glories  of  Oxford  are  announced  from  afar  by  innumerable 
grey  towers,  spires,  and  pinnacles  rising  from  among  woods  of  the 
richest  verdure.  My  admiration,  however,  knew  no  bounds  when 
I  had  fairly  entered  the  city  and  beheld  one  venerable  and 
magnificent  building  after  the  other  present  themselves  to  my 
astonished  view,  each  different  in  its  grandeur,  beauty,  or  pic- 
^turesqueness,  and  all  forming  a  tout  ensemble  to  which  I  know  no 
parallel. 

The  High  Street  of  Oxford  has  not  its  equal  in  the  world. 
Loitering,  spell-bound,  through  it,  you  would  imagine  that  the 
middle  ages,  with  their  learning,  their  piety,  their  zeal,  and  their 
art,  were  still  in  fiill  freshness  of  vigour.  The  facades  of  their 
colleges  fronting  the  street  are  decorated  with  gateways,  towers, 
and  embattled  walls,  more  after  the  fashion  of  feudal  castles ; 
but  no  sooner  do  you  enter  the  courts,  quadrangles,  and  cloi^ 


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Lbtteb  XXIV.  OXFORD.  45 

ters  within,  than  their  real  conventual  character  becomes  apparent. 
The  principal  features  in  these  colleges  are  the  chapels — more 
properly  churches  in  size — which  vie  with  each  other  in  richness 
of  decoration ;  and  the  hall,  or  common  dining-room,  generally 
a  stately  apartment,  with  walls  and  ceilings  of  carved  oak  of  the 
richest  Gothic  forms,  and  adorned  with  portraits  of  foimder  and 
benefactors.  Nor  must  I  omit  to  mention  the  gardens  attached  to 
each  college,  where  velvet  lawns  and  noble  trees  relieve  the  grey 
tones  and  angular  forms  of  the  buildings,  and  where  sheltered 
lonely  nooks  invite  scholastic  meditation.  How  happy  a  lot  to 
pass  the  most  ardent  years  of  youth  in  peaceful  solitude  amid  such 
scenes,  in  familiar  intercourse  with  the  master-spirits  of  the  past ! 
These  impressions,  under  these  circumstances,  must  be  indelible  ; 
and  I  now  perfectly  understand  the  many  great  donations  and  be- 
quests which  Oxford  has  received  from  olden  times  down  to  the 
present  moment ;  nay,  the  great,  sometimes  extravagant,  attach- 
ment of  so  many  Englishmen  of  the  higher  classes  to  everything 
ancient,  in  political  and  social  life,  may  perhaps  be  closely  con- 
nected with  their  impressions  of  early  youth. 

As  I  wrote  this  in  1835, 1  little  thought  that  I  should  have  the 
good  fortune  to  visit  this  beautiful  city  twice  more,  and  for  a 
longer  time,  in  1850.  On  the  first  occasion  I  repaired  to  Oxford 
by  the  gratifying  invitation  of  the  Archaeological  Society,  whose 
meeting  took  place  from  the  17th  to  the  21st  of  June.  These 
few  days  will  never  be  forgotten  by  me.  Being  most  kindly  in- 
vited by  the  Rev.  Dr.  Chaffers,  Principal  of  Brazenose  College,  to 
take  up  my  residence  in  the  college,  I  led  for  five  days  the  life  of 
a  professor  of  that  university,  and  thus  became  thoroughly  ac- 
quainted with  it — convincing  myself  that  these  learned  gentlemen, 
in  their  cultivation  of  the  mind,  run  no  risk  of  unduly  neglecting 
the  nourishment  of  the  body.  And,  as  one  not  totally  inexpe- 
rienced in  such  matters,  I  am  ready  to  confess  that,  while  the 
presence  of  numerous  individuals  of  the  highest  attainments  gave 
these  dinners  an  intellectual  relish  which  cannot  be  over-estimated, 
yet  that  the  roast  beef  of  Oxford  has  attractions  of  its  own  which 
I  never  found  equalled  elsewhere.  Among  those  indiriduals 
with  whom  I  was  acquainted  previously,  I  need  only  mentiom  Mr. 
Ford,  Professor  Müller,  Mr.  Murray,  and  Mr.  Cunningham ; 
while  among  the  new  acquaintances  I  may  include  Dr.  Wellesley, 
Mr.  Johnson,  the  Professor  of  Astronomy ;  Mr.  Coxe,  the  Librarian 

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46  OXFORD.  Lbttbb  XXIV. 

of  the  Bodleian  Library ;  and  Mr.  Fox  Strangwaya,  brother-in-law 
to  Lord  Lanadowne. 

Among  the  papers  read  on  the  occasion,  I  was  particularly 
gratified  with  that  on  the  study  of  Archieology,  by  my  friend  Mr. 
Newton  of  the  British  Museum,  and  that  on  Äe  Cathedral  of 
Oxford,  by  Professor  Willis  of  Cambridge.  The  fete  that  gaye  me 
most  pleasure,  however,  was  an  evening  party,  at  which  ladies  also 
were  present,  held  in  the  hall  and  neighbouring  gardens  of  Exeter 
College,  the  latter  being  illuminated,  and  which,  in  combination 
with  the  mediseval  architecture  of  the  buildings,  formed  a  most 
delightful  picture.  Here  the  numerous  guests  were  seen  wander- 
ing at  their  ease  on  velvet  lawns,  or  gathered  together  in 
various-sized  groups,  all  umted  in  one  feeling  of  enjoyment  and 
interest.  Among  the  numerous  objects  of  art,  antiquity,  and 
literature  which  were  dii^layed  on  this  occamon,  I  was  particularly 
struck  by  several  MSS.,  with  drawings  and  miniatures  of  great 
value  in  the  history  of  art,  belonging  to  the  celebrated  collector 
Sir  Thomas  Phillips.  As  these  few  busy  days  allowed  me  no 
leisure  for  the  study  of  the  illuminated  MSS.  bequeathed  by  Mr. 
Douce  to  the  Bodleian  Library,  I  was  the  more  grateful  to  Pro- 
fessor Johnson,  whose  congenial  tastes  soon  led  to  a  closer 
intimacy  between  us,  for  an  invitation  to  return  in  the  month  of 
August,  and  take  up  my  residence  under  his  roof,  where  I  ac- 
cordingly spent  eight  very  delightful  days  in  the  study  of  these 
objects,  and  in  the  company  of  his  amiable  lady,  and  that  of 
Professor  Müller. 

It  would  be  in  vain  for  me  to  attempt  to  describe  any  of  these 
grand  institutions  particularly,  on  each  of  which,  with  their  ex- 
ternal beauty  and  internal  treasures,  a  volume  might  be  written. 
I  will  only  observe  that  the  most  imposing  of  all,  from  its  extent, 
is  Christ  Church  College,  founded  by  Cardinal  Wolsey.  Over 
the  entrance  of  the  facade,  which  is  400  feet  long,  and  of  a  pro- 
portionate height,  rises  a  vast  bell-tower ;  passing  under  this  you 
enter  a  quadrangle,  corresponding  with  the  proportions  of  the 
facade,  which  is  peculiariy  striking.  Examples  like  this,  and  like 
the  palace  of  Hampton  Court,  prove  that  Wolsey,  how  much 
soever  may  otherwise  be  objected  to  him,  was  a  man  of  a  very 
magnificent  spirit.  An  entrance-hall,  leading  to  the  great  dimng- 
hall  on  the  right  of  the  quadrangle,  is  remarkable  for  great  rich- 
ness and  delicacy  of  architectural  decoration ;  a  single  slender 

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Letter  XXIV.  CHRIBT  CHURCH.  47 

pillar  suppprts  the  roof^  and  branches  off  into  the  lightest  forms  of 
groining,  like  the  leaves  of  a  palm-tree.  The  buildings  belonging 
to  this  eoUege  are  of  great  magnificence  and  extent,  while  the 
Christ  Church  gardens  are  the  finest  in  Oxford.  Of  a  rather 
numerous  collection  of  paintings  bequeathed  by  General  Guise  to 
Una  college,  the  greater  part  are  of  little  importance.  Among  a 
series  of  pictures  of  the  Tuscan  school  of  the  14th  and  15th  cen- 
turies, which  is  a  rarity  in  England,  there  are,  however,  several 
worthy  of  notice — the  painters  of  which  are  in  part  erroneously 
given ;  of  some  of  them  I  was  able  to  tell  Professor  Buckland,  with 
certainty,  the  real  masters. 

A  picture  by  Annibale  Carracci,  painted  in  a  masterly 
manner,  offended  me  by  the  vulgarity  of  the  idea.  The  artist 
has  here  represented  himself  and  the  other  Carracci,  as  a  family 
of  butchers. 

Many  others,  once  excellent  pictures,  excited  a  painful  feeling 
in  my  mind  by  the  manner  in  which  they  have  been  injured  by 
cleaning.  Among  some  fragments,  said  to  be  of  RaphaeFs  car- 
toons, a  female  head,  from  the  Murder  of  the  Innocents,  is 
the  most  interesting,  and  has  the  greatest  appearance  of  being 
genuine. 

During  my  second  visit  in  1850  I  was  introduced  by  Professor 
Müller  to  the  celebrated  philologist  Gaisforth,  Dean  of  this  col- 
lege, who  had  the  great  kindness  to  show  me  the  collection  of 
drawings  by  old  masters,  bequeathed  also  by  General  Guise  to 
this  college,  and  preserved  in  a  set  of  portfolios.  As  I  entirely 
agreed  with  Passavant's  opinion  of  the  best  of  these — having  his 
work  by  me  at  the  time — and  as  I  had  not  the  time  to  take  notes 
myself,  I  avail  myself  of  some  of  Ins  remarks. 

Raphael. — ^Three  boys  carrying  a  fourth  to  a  tub  ;  on  the  tub 
another  boy  is  seated,  supported  by  two  more.  A  very  beautiful 
pen-sketdi. 

Several  coloured  heads  on  canvas,  jHrobably  designs  for  hangings, 
are  of  the  school  of  RaphaeL  The  same  may  be  said  of  six  leaves 
with  proportions  of  men,  women,  and  children,  erroneously  ascribed 
to  Andrea  Verocchio. 

Portrait  of  Raphael,  at  the  age  of  about  20  years,  probably 
drawn  by  some  youthfiil  friend  of  his  of  no  high  artistic  merit 

GiULio  Romano. — ^A  Bacchanalian  scene :  a  beautiful  drawing 
of  circular  form,  with  several  sketches  of  vases. 

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48  OXFORD.  Letter  XXIV. 

Perino  del  Vaga. — ^A  large  drawing  of  numerous  figures  for  an 
ornament  in  stucco  ;  finely  drawn  with  the  pen.  Another  drawing 
for  a  richly  decorated  candelabra. 

PoLiDORo  DA  Caravaggio. — Pcu-drawing  for  his  so-called 
maschera  d'oro ;  and  some  friezes  by  him  and  Maturino. 

Masaccio. — An  undraped  male  figure  ;  a  study  from  nature, 
heightened  with  white.     Very  beautiful. 

Leonardo  da  Vinci. — The  Vupgin  and  Child,  half-length 
figures,  half  the  size  of  life :  a  masterly  drawing  in  black  and  red 
chalk.  Two  leaves  with  slight  drawings  on  each  side  of  strange 
and  not  easily  understood  allegories,  the  chief  import  of  which 
appears  to  me  the  persecution  of  Virtue  and  Truth  by  the  dif- 
ferent Vices.  A  leaf  with-  studies  for  a  machine.  A  small  horse- 
man about  to  pierce  a  prostrate  figure — on  the  reverse,  drawings 
of  crossbows. 

A  very  fine  portrait  of  Lodovico  Sforza,  in  black  chalk,  life-size, 
also  attributed  to  Leonardo  da  Vinci,  but  probably  the  work  of  one 
of  his  best  scholars. 

Michael  Angeld. — Slight  pen-sketches  for  the  Judgment  of 
Minos,  according  to  Dante.  Two  still  slighter  sketches.  A  large 
leaf  with  anatomical  studies ;  and  the  drawing  of  a  facade  of  a 
small  house. 

Domenico  Ghirlandajo. — ^A  standing  figure  heightened  with 
white. 

Andrea  Verocchio.— A  man  in  armour. 

Baccio  Bandinelli. — A  combat  of  naked  figures :  pen- 
drawinga 

PoNTORMO. — A  sanguinary  combat. 

Andrea  del  Sarto. — ^A  young  man  with  a  bundle  on  his  head. 
A  figure  in  red  chalk  for  the  picture  in  the  Capella  del  Scalzo  in 
Florence. 

GioROioNE. — ^A  large  landscape  with  three  young  men  con- 
versing. 

Paul  Veronese. — A  banquet  of  cardinals.  Indian-ink  pen- 
drawing. 

PoRDENONE. — Amoiini  carrying  on  their  sport  in  letters 
forming  the  word  "  Gabrielles."  On  greenish  paper,  drawn  with 
pen  and  bistre. 

Parmigianino. — ^The  portrait  of  the  painter  Torbido,  drawn 
in  red  chalk,  is  the  most  remarkable  of  several  specimens. 

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Lbtteb  XXIV.  CHRIST  CHURCH.  49 

LoDOVico  and  Annibale  Carracci.  Beautifiil  studies  in  red 
chalk. 

DoMENicHiNo. — A  beautiful  head  look  upwards,  in  black  chalk, 
with  studies  in  red  chalk. 

GuERCiNO. — ^Venus  in  a  shell,  drawn  by  two  Tritons :  a  very 
large  drawing  in  red  chalk. 

Carlo  Maratti. — His  own  portrait :  lightly  and  spiritedly 
drawn  in  black  chalk. 

Rubens. — A  male  head,  strongly  foreshortened,  life-size :  a  mas- 
terly study  from  nature,  in  black  chalL 

Vandyck. — Sketch  for  the  portrait  of  a  girl. 

It  is  much  to  be  desired,  for  the  sake  of  the  connoisseur,  that 
the  above-mentioned  drawings  should  be  gleaned  from  the  mass  of 
not  genuine  or  less  important  specimens,  and  preserved  in  a  port- 
folio by  themselves. 

This  college  also  possesses  several  MSS.  with  miniatures.  One 
of  them,  which  is  decorated  with  English  miniatures  well  worthy  of 
notice,  I  was  not  able  to  sea  A  legend  of  St  Denys  contains  very 
delicate  vignettes  by  a  French  miniature-painter ;  probably  exe- 
cuted about  1470.     The  borders  are  commonplace. 

My  curiosity  was  especially  raised  to  see  the  prayer-book  of 
Cardinal  Wolsey,  a  man  famed  alike  for  his  wealth  and  his  love 
of  the  arts.  It  disappointed  my  expectations,  however.  The 
pictures  in  this  folio  volmne,  some  of  which  are  entirely  from 
compositions  by  Albert  Durer,  and  all  of  which  show  the  decided 
influence  of  his  school,  though  cleanly  executed,  display  but  little 
taste.  The  letters  F.  H.  on  the  one  refer  doubtless  to  the  artist 
The  borders  with  flowers,  &a,  in  the  Netherlandish  taste,  are 
very  pretty,  but  by  no  means  of  the  first  class  as  specimens  of 
ornamentation.  The  armorial  bearings  and  motto  of  Cardinal 
Wolsey  frequently  occur. 

In  the  library  of  Christ  Church  College  is  the  antique  marble 
group  of  a  female  figure  and  a  boy,  found  at  Pella  in  Greece. 
Unfortunately  the  surface  is  so  injured  that  no  idea  can  possibly 
be  formed  of  its  original  state. 

Among  the  chapels  of  the  different  colleges,  that  of  Merton 
College  occupies  the  first  place  in  point  of  architectural  interest 
It  was  completed  about  1280,  and  displays  in  the  interior  fine 
proportions,  and  forms  of  the  noblest  Gothic  taste.  The  groin- 
ing, especially,  is  of  fine  effect,   and  the  windows  still  retain 

VOL.  Ill,  E 

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50  OXFORD.  Letter  XXIV. 

beautiful  painted  glass.  The  roof,  however,  as  is  often  the  case 
in  the  English  Gothic  churches,  is  of  wood.  My  amiable  and 
learaed  friend  Professor  Müller,  who  accompanied  me,  made 
me  acquainted  with  the  discriminating  architect  to  whom  the 
restoration  of  this  edifice  is  intrusted,  and  also  with  a  Fellow  of 
the  College,  who  is  occupied  in  adorning  the  walls  of  the  same 
with  paintings.  I  was  gratified  in  finding  a  man  of  talent,  and 
of  correct  feeling  for  that  ecclesiastical  style  of  painting  which,  in 
such  buildings,  is  the  only  legitimate  style,  and  the  more  rejoiced 
to  see  such  a  work  in  progress,  as  showing  that  the  unfortunate  pre- 
judice which  has  banished  art  fit)m  the  service  of  the  Church,  by 
which  all  cultivation  of  genuine  monumental  art  has  been  hindered 
in  England,  is  now  at  last  giving  way. 

Among  such  buildings  in  Oxford  as  are  not  Gothic,  the  Rad- 
cliffe  Library  is,  in  my  opinion,  the  foremost  This  is  built  of 
hewn  stone,  with  a  fine  dome,  presenting  both  within  and  without 
a  most  imposing  effect,  and  grouping  admirably  with  the  neigh- 
bouring buildings.  The  view  from  the  dome,  which  is  easily 
ascended,  over  town  and  surrounding  country,  is  very  fine. 
Among  various  antique  marbles  preserved  in  this  building,  the  two 
beautiful  specimens  from  Adrian's  villa  at  Tivoli,  presented  by  Sir 
Roger  Newdigate,  are  very  remarkable.  My  attention  was  par- 
ticularly caught  by  a  relief,  let  into  the  wall,  representing  Ugolino 
and  his  sons  in  the  tower,  the  spirited  invention  of  which  may  be 
decidedly  attributed  to  Michael  Angeld. 

Of  the  buildings  in  Oxford  erected  in  the  Italian  style,  the  theatre, 
one  of  the  most  successful  works  of  Sir  Christopher  Wren,  is  the 
most  worthy  of  notice. 

The  various  ways  by  which  the  feeling  of  attachment  for  these 
colleges  is  evinced  by  those  who  have  been  reared  beneath  their 
roofe  was  proved  to  me  in  the  form  of  one  of  the  finest  Rutsdaels 
I  have  ever  seen — a  legacy  to  Worcester  CoUega  Mr.  Farrer, 
the  picture-dealer  in  London,  directed  my  attention  to  this. 
Accordingly,  having  procured  the  kind  introduction  of  Mr.  Wyatt, 
in  whom  I  found  a  most  obliging  companion,  I  examined  this  large 
landscape  with  the  utmost  interest  In  the  centre  rises  a  superb 
oak-tree,  which,  with  other  trees  in  the  middle  distance,  is  indis- 
tinctly reflected  in  a  dark  piece  of  water,  overgrown  with  aquatic 
plants  in  the  foreground.  Upon  a  corn-field,  near  a  sandhill  on 
the  right,  falls  a  gleam  of  sun,  which  also  strongly  ilhunines  a  cloud 

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Lettkb  XXIV.  UNIVERSITY  GALLERIES.  51 

in  the  beautiful  sky,  while  others  seem  to  threaten  raia  Some 
views  of  the  distance  here  and  there,  through  vistas,  are  parti- 
cularly charming.  This  picture,  which  is  equally  attractive  for 
poetry  of  sentiment  and  marvellous  truth  of  nature,  is  carefully 
treated,  and  of  singular  freshness. 

I  proceed  now  to  describe  the  collections  of  art  in  the  uni- 
versity galleries.  The  stately  building  adorned  with  pillars,  which 
was  erected  by  the  well-known  architect  Mr.  Oockerell,  and  in 
which  these  collections  are  preserved,  was  built  partly  by  a  legacy 
bequeathed  by  Dr.  Francis  Randolph,  and  partly  by  the  Univer- 
sity funds. — ^I  take  the  sculptures  first :  these  consist  principally 
of  the  so-called  Pomfret  statues,  which  once  formed  part  of  the 
celebrated  collection  belonging  to  Lord  Arundel,  and  were  pre- 
sented in  1754  by  a  Countess  Pomfret 

The  majority  of  the  129  specimens — two  more  modem  busts 
inclusive — are  much  mutilated,  and  are  also  originally  works  not 
of  the  highest  order  of  the  later  Roman  time ;  a  small  number, 
however,  are  either  of  Greek  origin,  or,  at  all  events,  fine  works  of 
the  best  period  of  Roman  art  Many  of  the  last  mentioned,  which 
are  rather  stowed  away  than  placed  in  a  kind  of  cellar,  deserve 
closer  attention  and  a  better  position.  The  following  struck  me 
as  particularly  interesting. 

The  colossal  statue  of  Cicero  (Na  10)  :  a  work  of  happy 
conception,  of  peculiar  and  fine  cast  of  drapery,  and  admirable 
workmanship. 

The  torso  of  an  Apollo  Sauroctonos :  of  good  workmanship.* 

The  torso  of  an  Esculapius,  half  life-size :  remarkable  for  well- 
cast  drapery. 

A  stele,  with  a  mourning  female  figure  of  beautiful  and  speak- 
ing action  and  admirable  style  of  drapery,  with  two  small  figures. 

Part  of  a  frieze  (No.  97),  with  a  combat  between  a  horseman 
and  a  footman.  The  beautiful  and  animated  motives,  and  the  style 
of  relief,  which  shows  affinity  to  the  monument  of  Lysicrates,  bear 
witness  to  a  Greek  artist 

The  lower  part  of  a  draped  statue  (Na  89),  entitled  a  Venus, 
and  rightiy  so  (the  upper  part  being  a  bad  restoration) :  about 
two-thirds  life-size,  and  resembling  in  action  and  workmanship 
the  statue  of  the  Famese  Flora  at  Naples,  which  I  also  consider 
to  be  a  Venu& 

*  Where  Uie  nnmben  m  not  given  tbej  did  not  appear  on  ihe  marble. 

E  2 

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52  OXFORD.  Letter  XXIV. 

The  torso  of  a  female  statue  (No.  86)  indicates  a  Greek  chisel, 
both  in  the  original  and  beautiful  cast  of  drapery,  and  in  the  good 
workmanship. 

The  torso  of  another  female  statue  (No.  61)  is  remarkable  for 
its  beautiful  action,  for  the  well-formed  feet,  and  for  a  drapery  of 
very  delicate  material. 

A  sacrificial  procession  in  relief  (No.  63).  Very  much  blunted 
by  the  destruction  of  the  surface  of  the  figures ;  but  nevertheless 
well  worthy  of  attention  for  the  beauty  of  the  motives. 

The  torso  of  a  small  Minerva  is  very  characteristic. 

The  most  important  object  here,  however,  is  a  female  bust,  the 
fragment  of  a  statue;  the  drapery  covering  one  breast.  The 
largeness  of  the  forms  and  the  treatment  of  the  marble  show  a 
decided  affinity  to  the  sculptures  of  the  time  of  Phidias,  which 
my  friend  Mr.  Newton  was  the  first  to  point  out  A  plaster  cast 
which  he  had  taken  of  it  has  since  rendered  this  beautiful  frag- 
ment more  known. 

Next  in  importance  are  two  seated  female  figures.  The  one 
called  Melpomene  (No.  1).  The  head  corresponds  with  the  name 
in  the  fine  expression  of  grief,  and,  with  the  exception  of  the 
nose,  is  antique.  The  other,  called  Clio  (No.  3),  is  an  antique 
torso  of  great  animation. 

Finally,  I  may  remark  that  four  circular  altars,  which  are 
classed  as  Roman  in  the  printed  catalogue,  correspond  so  entirely 
in  form,  and  in  the  ornaments  of  oxen-heads  and  garlands,  with 
those  found  in  Delos  and  Olympia,  that  I  have  no  doubt  of  their 
being  of  Greek  origin. 

Besides  these  original  antique  marbles,  a  fine  collection  of  casts 
from  the  finest  antiques  are  also  preserved  here ;  presented  by 
various  public-spirited  individuals,  among  whom  Lady  Chantrey, 
the  widow  of  the  eminent  sculptor,  is  foremost 

Of  modem  sculpture  there  are  also  many  examples. 

A  contemporary  bust  of  King  Henry  VIII.,  which  forms  part  of 
the  donation  of  the  Countess  of  Pomfret,  is  very  animatedly  con- 
ceived, and  of  good  workmanship. 

Of  the  English  school  of  sculpture  of  the  present  time  the 
chief  specimen  is  a  bronze  cast  of  the  finest  work  that  has  been 
produced  of  the  ideal  tendency — namely,  tlie  shield  of  Achilles, 
by  Flaxman ;  while  the  realistic  style  is  richly  represented  in  a 
number  of  busts  by  Sir  Francis  Chantrey,  some  in  marble,  the 

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Letter  XXIV.  UNIVERSITY  GALLERIES.  53 

rest  in  plaster — also  presented  by  Lady  Chantrey.  It  must  be 
interesting  to  the  young  Oxonians  to  have  this  opportunity  of 
becoming  acquainted  with  the  great  celebrities  of  the  last  two 
generations,  and  in  so  worthy  a  form. 

I  next  proceeded  to  examine  the  pictures  which  are  placed  in  a 
stately  and  well-lighted  gallery.  Among  the  pictures  bequeathed 
by  Mr.  Fox  Strangways,  here  are  some  specimens  of  the  Tuscan 
school  of  the  14th  and  15th  centiuries,  well  worthy  of  notice. 

Simone  Martini,  called  Simone  Memmi. — 1.  A  Crucifixion, 
with  St.  Peter,  who  is  nobly  conceived,  and  St  John,  on  either  side. 

2.  Also  a  Pieta,  a  companion  picture. 

Sang  di  Pietro. — The  Virgin  and  Child ;  two  saints,  and  two 
angels.     An  indubitable  picture  to  all  acquainted  with  the  master. 

Benozzo  Gozzoli. — An  Annunciation  of  very  original  concep- 
tion.    Of  the  earlier  time  of  this  admirable  master. 

Fra  Filippo  Lippi. — ^The  procession  of  Virgins  to  the  Temple 
of  Belus ;  a  very  rich  composition.  The  delicate  heads  and  grace- 
ful motives  lead  me  to  attribute  this  to  his  earlier  time. 

Domenico  Ghirlandajo. — ^I  am  inclined  to  attribute  to  this 
master  the  fine  portrait  of  a  youth,  here  assigned  to  Masaccio. 

Two  very  unafiected  portraits  of  boys  in  profile,  also  bearing  the 
name  of  Masaccio,  are  decidedly  not  by  him,  though  I  know  no 
master  to  whom  I  can  assign  them. 

Lorenzo  di  Credi. — ^The  Virgin  and  Child.  Of  delicate  feel- 
ing, but  unusually  pale  in  the  colours. 

The  period  of  Raphael  is  represented  by  copies  from  the  car- 
toons in  Hampton  Court,  by  Henry  Cooke. 

There  are  also  some  valuable  works  of  art  among  the  other  pic- 
tures. But  by  far  the  most  precious  contents  of  this  building  is 
the  collection  of  drawings  by  Raphael  and  Michael  Angelo, 
purchased  by  subscription  of  Mr.  Samuel  Woodbum  for  7000/. ; 
no  less  than  4105i  being  contributed  by  the  present  Earl  of 
'  Eldon.  These  drawings  are  well  placed  in  a  light  and  lofty 
apartment — 70  ft  by  28  ft. ;  nevertheless  they  would  have  been 
seen  to  far  greater  advantage  had  they  been  arranged  according 
to  the  diflerent  periods  of  the  masters,  which — especially  in  the 
case  of  Raphael,  of  whom  there  are  162  specimens,  very  few  of 
which  are  questionable — would  have  given  an  interesting  view  of 
his  development,  both  as  regards  his  art  in  general,  and  also  his 
powers  of  drawing  in  particular.     I  have  only  space  to  notice 

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54  OXFORD.  Letter  XXIV. 

those  which  appeared  to  me  most  characteristic  of  Raphael — add- 
ing the  period  to  which  they  belong  where  I  did  not  find  it  given 
in  the  Catalogue.  I  adhere  to  the  numbers  in  the  Catalogue  as 
published  by  Mr.  Fisher,  Keeper  of  the  Uiliversity  galleries.  As 
that  is  easily  to  be  had,  I  feel  it  superfluous  to  repeat  here  the  de- 
scription of  subjects  and  measurements,  and  the  collections  whence 
each  drawing  was  deriyed. 

2.  The  Resurrection  of  Christ ;  a  bistre  drawing  heightened 
with  white,  a  rich  composition,  containing  no  less  than  ten  guards. 
Judging  from  the  character  of  the  forms  and  the  very  dramatic 
motives,  it  belongs  to  the  latter  part  of  the  third  or  Roman  period. 

5.  The  Almighty  surrounded  with  angels  ;  pen  studies  of  most 
broad  and  masterly  execution  for  the  ceiling  picture  of  the  Al- 
mighty appearing  to  Moses  in  the  burning  bush,  in  the  Vatican ; 
therefore  executed  in  1512.  The  impression  made  upon  Ra- 
phael's mind  by  Michael  Angelo's  subject  of  the  Almighty  sur- 
rounded with  angels,  in  the  Creation  of  Adam,  is  here  very  obvious. 

9.  The  well-known  study  for  the  Disputa,  executed  with  the 
silver  point  on  tinted  paper ;  on  the  reverse  side  of  which  is  a 
Sonnet  by  Raphael  This  drawing  interested  me  much  for  the 
slight  but  feeliög  sketch  of  the  graceful  figure  of  the  kneeling 
youth.  We  see  here  the  first  realisation  of  the  form  as  it  arose 
in  his  mind. 

17.  Study  of  a  head  and  hand,  in  pen  and  bistre.  ITie  feeling 
and  form  of  the  enchanting  head  agree  so  entirely  with  the  style 
of  the  Sposalizio,  that  this  drawing  may  be  assigned  to  1504. 

19.  The  Virgin  with  the  Child  and  St.  John ;  study  for  the 
picture  called  the  Madonna  in  green,  in  the  gallery  of  the  Bel- 
vedere at  Vienna ;  therefore  executed  in  1505.  The  treatment  is 
very  soft ;   the  children  slightly  indicated. 

21.  A  delicate  and  careful  study  for  the  St.  George  in  St. 
Petersburg ;  therefore  executed  in  1506  ;  silver  point  upon  tinted 
paper.     Unfortunately  cut  out. 

24.  The  Adoration  of  the  Kings.  Essentially  the  composition 
for  the  centre  portion  of  the  large  tapestry  in  the  Vatican ;  in 
bistre  heightened  with  white.  In  spite  of  its  injured  condition 
the  hand  of  Raphael  is  very  evident  here.  This  drawing,  there- 
fore, assumes  a  value  as  the  only  existing  proof  of  this  composition 
being  by  Raphael's  own  hand,  which,  it  is  well  known,  is  not  the 
case  with  various  of  the  cartoons  of  this  second  set  of  the  Life  of 


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Lbttkb  XXIV.  DRAWINGS  BY  RAPHAEL,  55 

Christ.  It  belongs  therefore  decidedly  to  the  end  of  1518,  or  be- 
ginning of  1519. 

27.  Men  in  combat;  a  very  spirited  pen-drawing,  which  is 
called  a  study  for  the  fresco  picture  of  the  Victory  over  the  Sara- 
cens at  Ostia,  in  the  Vatican.  I  am  of  opinion,  however,  that 
Raphael  executed  this  drawing  for  some  other  purpose,  and  only 
later  availed  himself  of  it  in  part  for  this  picture.  The  figures 
have  those  slender  proportions  which  Raphael  adopted  from  the 
Florentines,  and  which  he  only  retained  for  a  year  after  his  re- 
sidence in  Rome,  where  he  in  turn  adopted  the  shorter  and  more 
compact  forms  of  the  Roman  people,  as  is  strikingly  seen,  for 
instance,  in  the  cartoon  of  the  Death  of  Ananias  in  1515.  The 
drawing  under  our  notice,  if  a  study  for  that  picture,  could  scarcely 
be  earlier  than  that  date.  It  departs,  however,  very  essentially 
from  the  corresponding  group  in  that. 

29.  Study  for  the  composition  of  the  Rape  of  Helen  ;  pen  and 
bistre.  The  grand  and  broad  proportions  of  this  masterly  drawing 
show  that  they  belong  to  the  later  time  of  the  Roman  period. 

36.  Study  in  black  chalk  of  a  young  man.  Judging  from  the 
style  of  the  forms,  belonging  to  Raphael's  first  period  ;  but  very 
light  and  feeling. 

40.  The  Virgin  and  Child,  and  Baptist.  This  composition  is 
new  to  me.  The  style  of  the  very  graceftd  motives  and  the 
slight  and  spirited  treatment  indicate  the  latter  part  of  the  second 
or  Florentine  period,  therefore  the  first  half  of  the  year  1508. 

41.  Study  of  two  young  men ;  silver  point  on  tinted  paper,  of 
the  Peruginesque  period.  The  figures  have  a  singular  charm, 
especially  the  upper,  kneeling  with  outstretched  arms. 

43.  The  Virgin  and  Child,  and  Baptist;  undraped.  A  very  at- 
tractive composition  of  his  Florentine  period,  thrown  on  the  paper 
with  spirited  slightness. 

44.  Studies  of  two  heads  and  two  hands  ;  silver  point  on  tinted 
paper.  As  appears  fiY)m  a  small  slight  sketch  of  the  Battle  of  the 
Standard  from  Leonardo  da  Vinci's  cartoon,  executed  during  his 
first  residence  in  Florence.  The  conception  of  the  forms  show 
already  the  aim  at  greater  truth  of  nature,  which  he  especially 
acquired  in  Florence,  while  he  still  retained  the  chaste  character 
of  his  Peruginesque  period.  Both  these  qualities  are  seen  in  the 
youthful  head.     1504. 

46.  Study  for  the  youthftd  Phrygian  Sibyl  in  the  picture  in  the 

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56  OXFORD.  Letter  XXIV. 

church  della  Pace.  In  red  chalk.  Of  marvellous  depth  of  feeling 
in  the  head,  and  as  spirited  as  it  is  softly  and  broadly  treated. 
1514.  On  the  reverse,  an  angel  and  a  half-length  figure  from  the 
same  picture. 

50.  Drawing  of  the  statue  of  Minerva  and  of  three  other  sta- 
tues for  the  School  of  Athens  ;  with  silver  point  on  tinted  paper. 
A  masterly  drawing.    1510. 

51.  Portrait  of  Raphael  at  the  age  of  16  at  the  utmost ;  there- 
fore executed  at  the  latest  in  1499.  Black  chalk,  heightened 
with  wliite.  A  real  treasure,  as  bringing  before  us  this  wonderful 
genius  in  the  first  poetical  freshness  of  his  youth,  and  also  proving 
with  what  power  and  freedom  he  already  delineated  and  con- 
ceived the  appearances  of  nature.  A  good  representation  of  this 
drawing  is  contained  in  Passavant's  illustrations  for  his  Life  of 
Raphael. 

56.  Moses  and  thcsons  of  Levi  (16th  chap,  of  Numbers)  ;  bistre, 
heightened  with  white.  An  admirable,  and,  to  me,  new  composition 
from  the  middle  time  of  his  Roman  period.     Slight  and  spirited. 

58.  Jacob  wrestling  with  the  angel;  bistre,  heightened  with 
white.  A  spirited  composition,  contemporary  with  the  drawing  for 
his  Bible,  and  therefore  probably  about  1516. 

60.  A  slight,  but  broad  and  masterly  pen-study  for  the  picture 
of  the  Crossing  of  the  Red  Sea,  and  therefore  of  the  same  time. 

61.  Two  young  men  with  musical  instruments  ;  silver  point  on 
tinted  paper.    Of  his  Peruginesque  period,  and  very  true  in  feeling. 

63.  A  mother  nursing  her  child ;  bistre.  Very  natural :  about 
1505. 

66.  A  woman  with  a  burden  on  her  shoulder,  and  another  help- 
ing a  man  to  raise  a  burden  on  his  shoulder;  pen  and  bistre. 
The  beautiful,  full,  and  undraped  forms  indicate  the  earlier  time 
of  the  Roman  period. 

68.  The  Virgin  reading.  Pen-study  for  an  Annunciation ;  pro- 
bably of  the  latter  part  of  his  Florentine  period,  about  1507, 

70.  Entrance  of  Cardinal  Giovanni  de'  Medici  (Leo  X)  as 
Legate  in  Rorence  ;  pen  and  bistre.  I  agree  with  Passavant  that 
the  invention  and  execution  of  this  otherwise  very  fine  drawing 
belong  to  Francesco  Penni. 

75.  Tobit  and  the  Angel ;  on  tinted  paper,  with  silver  point 
Study  for  that  part  of  Perugino's  altar-piece  for  the  Certosa  at 
Pavia  which  Raphael  executed,  and  which  is  now  in  the  possession 


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Letter  XXIV.  DRAWINGS  BY  RAPHAEL.  57 

of  Duke  Melzi  of  Milan.  Of  delicate  feeling  for  nature,  and  most 
elevated  in  the  expression  of  melancholy  in  the  head  of  the  angel ; 
about  1501. 

79.  A  little  kid  brought  into  a  room  for  sacrifice ;  bistre,  height- 
ened with  white.  Very  interesting  as  an  idyllic  representation. 
Of  angular  animation  and  grace,  and  admirably  drawn. 

83.  Study  for  the  Evangelists  and  a  kneeling  saint.  Very  broad 
and  masterly,  with  indications  of  the  masses  of  light.   Roman  period. 

86.  Sketch  for  the  upper  part  of  the  Disputa ;  in  two  rows.  A 
slight  and  most  masterly  pen-drawing  in  bistre,  heightened  with 
white,  and  the  more  interesting  because  some  of  the  motives,  as 
for  instance  that  of  the  Christ,  differ  from  the  fresco  picture,  and 
yet  are  not  less  beautifrd.     1509. 

89.  Various  studies  for  the  Entombment.  Below,  the  two  figures 
carrying  the  body ;  above,  four  heads.  Very  feelingly  drawn  with 
a  broad  pen.     1507. 

93.  Study  from  nature  for  two  of  the  figures  on  the  steps  in 
the  School  of  Athens  ;  pen,  on  brown  paper.  The  Medusa  head 
also  on  the  shield  of  Minerva  is  here.    Most  masterly.     151Ö. 

94.  Various  studies  for  figures,  architecture,  &c.,  which  I  men- 
tion on  account  of  the  admirable  back  view  of  a  figure. 

95.  Seven  young  men  drinking  wine  at  a  table ;  silver  point  on 
tinted  paper,  and  heightened  with  white.  I  consider  this  drawing 
to  be  a  study  from  life  for  a  Last  Supper,  of  the  latter  part  of  the 
Florentine  period,  about  the  beginning  of  1508. 

The  Virgin  embracing  the  Child.  As  graceful  in  invention 
as  it  is  admirable  in  drawing.  The  touches  of  white  are  some  of 
them  recent. 

99.  Study  of  a  woman.  Very  feelingly  drawn;  about  the 
period  of  the  last-mentioned  pen-drawing. 

101.  Tritons,  nymphs,  and  children.  In  all  ten  children.  Pen- 
drawing.  This  spirited  composition  shows  the  influence  of  Andrea 
Mantegna's  well-known  engravings  of  similar  subjects.  This  is 
most  apparent  in  the  Triton  figure  leaning  back.  I  am  not  dis- 
posed to  agree  with  Passavant  in  assigning  this  to  a  scholar  of 
Raphael.  Judging  from  the  motives  and  character  of  form,  it 
belongs  to  the  period  of  the  Galatea,  and  therefore  within  the 
year  1514. 

102.  An  apostle  for  the  Disputa,  and  other  sketches,  in  black 
chalk,  heightened  with  white.    Of  masterly  execution.    1518. 

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58  OXFORD.  Lettkb  XXIV. 

103.  Study  from  figure  of  a  kneeling  young  man,  probably  a 
St.  Stepben ;  silver  point  on  tinted  paper,  and  admirably  drawn. 
Judging  from  forms  and  motives^  it  appears  to  me  to  belong  to  the 
Florentine  period ;  about  1506. 

104.  Nymphs  and  tritons,  eight  in  number ;  of  the  most  ani- 
mated motives ;  for  a  silver  vessel.  Broadly  and  ftdly  drawn  with 
the  pen  and  most  masterly  in  character ;  about  1514. 

108.  Two  monks  vidth  books,  and  two  lion's  heads.  Lightly  and 
spiritedly  drawn  with  silver  point  on  tinted  paper ;  about  1505. 

109.  Two  studies  for  the  Vir^n  and  Child.  Of  the  latter  part 
of  the  Florentine  period ;  therefore  about  1508.  The  Child  in 
one  of  them  shows  affinity  in  motive  with  that  outstretched  on 
the  lap  of  the  Virgin  in  Raphael's  picture  in  Lord  EUesmere's 
collection. 

110.  The  Coronation  of  the  Virgin ;  doubtless  a  sketch,  tiiough 
altered  in  some  respects  in  the  cartoon,  whence  the  tapestry  was 
executed  which,  on  occasions  when  the  tapestries  were  himg  in  the 
Sistine  Chapel,  took  the  place  of  the  altar-piece.  A  masterly  pen- 
drawing,  of  1515  or  1516. 

113.  The  Vurgin  reading  a  book ;  the  Loifant  standing  before 
her.  A  very  feelingly  executed  drawing,  showing  affinity  in  form 
and  feeling  with  the  Madonna  picture  before  mentioned  in  the 
Belvedere,  and  therefore  executed  probably  about  1505. 

115.  Hercules  Gaulois,  or  Eloquence.  The  discoursing  of 
Hercules  in  the  centre,  and  its  eflect  upon  his  hearers,  are  very 
dramatically  expressed.  A  pen  and  bistre  drawing,  heightened 
with  white,  and  most  carefully  drawn.  It  may  possibly  belong  to 
the  later  Roman  period,  about  1515-16.  I  am  not  disposed  to 
agree  with  Passavant  that  it  is  by  one  of  Raphael's  scholars — 
perhaps  Francesco  Penni. 

116.  Christ  with  the  Woman  of  Samaria.  A  very  spirited 
drawing,  which,  judging  from  the  freedom  of  the  motive  and  the 
frdness  of  the  forms,  may  posübly  belong  to  the  earlier  Florentine 
period,  about  1505. 

117.  The  Adoration  of  the  Shepherds.  A  rich  and  admirably 
drawn,  but  somewhat  cold  composition;  probably,  as  Passavant 
surmises,  by  a  scholar  of  Raphael — ^perhaps  Francesco  Penni. 

118.  David  giving  his  last  cürections  to  Solomon.  A  beautiful 
pen-drawing,  perhaps  originally  intended  for  one  of  the  illustra- 
tions of  his  Bible. 

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Lbtteb  XXIV.  DRAWINGS  BY  RAPHAEJ..  59 

119.  A  Pietk ;  a  beautiful  and  slight  composition,  drawn  with 
the  pen,  of  the  time  of  the  Entombment  in  the  Borghese ;  there- 
fore about  1507  ;  bearing  a  strong  similarity  to  the  drawing  pur- 
chased from  the  collection  of  the  King  of  Holland,  for  the  Louvre. 

120.  The  two  undraped  figures  from  the  Borghese  Entombment, 
which  are  carrying  the  body  ;  carefully  drawn  with  the  pen,  and 
obviously  from  nature.  The  body  itself  only  slightly  indicated  for 
the  sake  of  the  action  of  the  figures.     Very  interesting. 

121.  The  Virgin  with  the  Child,  and  the  Baptist.  A  very 
beautiful  pen-sketch  for  the  picture  of  the  Madonna  del  Car- 
dellino,  in  the  Tribune  at  Florence ;  therefore  about  1506.  But 
instead  of  the  bird  a  book  is  here  given,  and  the  Baptist  is  in  a 
quiet  position. 

124.  The  Entombment;  a  rich  composition  totally  diflering 
from  the  Borghese  Entombment,  but  equally  beautiful  in  motive, 
and  of  the  same  period  ;  in  red  chalk. 

128.  Samson  rending  the  Lion.  A  broad  pen-drawing,  and, 
judging  from  the  short  proportions  of  the  figure,  of  the  late  Roman 
time. 

129.  The  Virgin  and  Child.  Pen-drawing.  The  mouth  has 
still  the  form  peculiar  to  Perugino,  but  the  eyes  have  already  the 
drawing  peculiar  to  Raphael  Of  great  charm  of  expression ;  about 
1503-4. 

131.  Slight  but  most  feeling  pen-sketch  of  Adam,  for  the  Fall ; 
known  by  Marc  Antonio's  engraving.  The  slender  proportions 
and  the  graceful  motive  assign  this  composition  to  the  first  part 
of  the  Roman  period,  about  1509.  On  the  reverse  is  an  Entomb- 
ment, erroneously  termed  the  Death  of  Adonis. 

144.  The  Presentation  in  the  Temple.  This  I  must  decidedly 
attribute  to  Giulio  Romano.  The  picture  executed  from  this 
drawing,  though  with  many  alterations,  is  in  the  gallery  of  the 
Louvre. 

151.  Figures  in  lively  combat ;  nine  on  one  side,  eleven  on  the 
other.  A  spirited  pen-drawing,  here  denominated  Studies  for  the 
Victory  over  the  Saracens  at  Ostia  The  same  observations  apply 
to  this  that  I  made  on  No.  27. 

152.  Various  admirable  studies,  drawn  with  the  pen  on  both 
sides  of  the  paper,  for  the  St  Catherine  in  the  National  Gallery, 
and  therefore  doubly  interesting  for  England.  Also  five  children 
of  singular  grace.     1506. 

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60  OXFORD.  Letteb  XXIV. 

155.  A  study  for  Melpomene,  in  the  fresco  of  Parnassus  in  the 
Vatican.     A  pen-drawing  of  great  feeling.     1510. 

157.  Two  studies  for  the  Virgin  and  Child,  on  each  side  of  the 
paper.  That,  and  the  Child  especially,  on  the  reverse,  shows  much 
aflSnity  with  Raphael's  Virgin  and  Child  from  the  Solly  collection 
in  the  Berlin  Museum  (No.  141).     1501. 

159.  The  angel  appearing  to  the  shepherds.  A  very  feelingly  exe- 
cuted pen-drawing.  Also  a  drawing  in  the  same  style  on  the  reverse. 

160.  Study  for  the  back  of  the  female  figure  in  the  Heliodorus ; 
and  on  the  reverse  two  studies  for  the  woman  holding  two  children 
in  her  lap  in  the  same  picture.  These  first-rate  studies  from 
nature,  in  black  chalk,  are  particularly  interesting,  as  showing, 
from  various  accidents  in  the  drapery,  afterwards  suppressed  in 
the  picture,  that  Raphael  on  such  occasions  adhered  faithfully  to 
the  model  in  every  respect,  and  reserved  the  simplification  and 
idealising  of  the  subject  for  the  picture. 

161.  Two  small  landscapes  on  one  side,  a  third  on  the  other 
side  of  the  paper,  slightiy  drawn  with  the  pea  I  mention  these 
as  specimens  of  the  true  feeling  for  nature  with  which  Raphael 
conceived  such  subjecta  They  belong,  as  also  a  charming  head 
on  the  reverse,  to  his  first  period. 

MlCHA£L   AnOELO's  DRAWINGS. 

1.  The  Last  Judgment ;  most  admirably  executed  with  the  pen 
and  bistre,  and  treated  with  reference  to  picturesque  softness  and 
effect     Only  Charon  in  his  boat  is  of  another  colour.     1532. 

2.  A  study  of  a  Holy  Family  returning  fix)m  Egypt.  Chiaro- 
scuro oil-colour  upon  wood,  with  indications,  in  some  parts,  of  the 
garments  upon  the  undraped  figures.  Of  most  masterly  execution 
in  his  later  time. 

3.  The  whole  ceiling  of  the  Sistine  Chapel,  leaving  out  some 
pictures  at  the  flat  top  of  the  arch ;  in  pen  and  bistre,  executed 
by  the  well-known  miniature-painter,  Don  Giulio  Clovio.  Of  the 
greatest  interest. 

10.  A  male  head  of  the  most  malicious  character.  The  face 
executed  with  singular  mastery  in  red  chalk ;  cap  and  dress  only 
slightly  indicated. 

12.  The  Crucifixion,  with  an  apostle  on  each  side :  an  admir-  , 
ably  executed  study  in  black  and  red  chalk.      Judging  fix)m  the 
broad  and  short  proportions,  and  the  conception  of  single  forms,  of 
the  time  of  the  Last  Judgment — ^between  1532  and  1540. 

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Letter  XXIV.    DRAWINGS  BY  MICHAKL  ANGELO.  61 

17.  Study  from  nature  for  one  of  the  figures  for  the  monument 
of  Lorenzo  and  Giuliano  MedicL  Of  masterly  execution  in  red 
chalk,  with  the  picturesque  softness  peculiar  to  Michael  Angelo. 
About  1526  or  1527. 

18.  An  old  woman  with  a  child ;  with  the  reed  pen  and  of  fear- 
ful truth. 

19.  Three  men — one  of  them  a  soldier — in  animated  quarrel ; 
of  singular  vivacity. 

25.  A  female  figure;  study  from  nature  in  red  chalk;  very 
grand  in  motive,  and  at  the  same  time  very  soft  and  picturesque 
in  execution. 

26.  A  masterly  pen-drawing  for  oae  of  the  Sibyls  in  the  Sistine 
Chapel.     About  1509  or  1510. 

27.  A  study  from  nature  for  his  statue  of  David  before  the 
Palazzo  Vecchio ;  in  red  chalk,  wiih  delicate  modelling  of  the 
separate  portions 

28.  Study  from  nature  of  the  prophet  Jonah  in  the  Sistine 
Chapel  Of  masterly  execution,  in  black  chalk;  very  careful 
About  1509-10. 

29.  Studies  of  horses,  especially  for  that  of  St.  Paul,  in  the 
Conversion  of  that  Apostle,  in  the  Pauline  Chapel,  with  pen  and 
black  chalk.  A  horseman,  only  slightly  indicated  with  the  pen, 
is  particularly  spirited     About  1549. 

32.  Study  from  nature  of  a  female  head,  in  red  chalk ;  showing 
his  characteristic  manner  in  the  conception  and  delicacy  of  model- 
ling. 

33.  Various  studies  for  Samson  slaying  the  Philistines;  very 
masterly,  but  the  very  broad  forms,  and  exaggerated  actions, 
indicate  his  late  time — about  1550. 

34.  Soldiers  fighting,  and  the  Conversion  of  St.  Paul.  Of 
masterly  execution,  with  the  pen  and  bistre ;  about  1549.  The 
supposition  that  the  fighting  soldiers  were  a  study  for  the  cartoon 
at  Pisa  is  erroneous,  this  cartoon  being  executed  at  least  forty- 
three  years  earlier,  when  Michael  Angelo  still  adhered  to  the 
slenderer  proportions  of  the  Florcntinea 

35.  A  female  portrait  in  profile,  finely  drawn  in  red  chalk ; 
very  interesting  as  sho^^ng  to  what  extent  even  such  subjects  as 
these  were  imbued  with  the  austere  and  elevated  melancholy 
peculiar  to  him,  and  apparent  in  some  of  his  sonnets. 

36.  A  careful  drawing  in  black  chalk,  here  taken  for  a  Virgin 


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62  OXFORD.  Letter  XXIV. 

and  Child.  From  the  age  of  the  woman,  however,  I  am  inclined 
to  consider  it  Elizabeth  and  the  infent  Baptist  The  singing 
angels  recall  forcibly  the  already-described  picture  by  Michael 
Angelo  belonging  to  Mr.  Labouchere. 

38.  The  gigantically  treated  Samson,  with  Dalilah  cutting  off 
his  hair.  The  invention  is  very  peculiar ;  motive  and  forms  very 
grand ;  and  the  careful  execution  in  red  chalk  masterly.  Of  the 
same  time'  as  the  ceiling  of  the  Sistine  Chapel — about  1510-12. 

42.  A  study  for  the  Adam  in  the  picture  of  the  Creation  of 
Eve  in  the  Sistine  Chapel.  Of  masterly  execution  in  black  chalk. 
About  1510. 

43.  First  sketch  in  black  chalk  for  an  Annunciation ;  of  very 
peculiar  motive. 

44.  The  Crucifixion;  carefully  executed  in  black  chalk.  Of 
the  same  period  as  the  Last  Judgment 

45.  The  Descent  from  the  Cross;  a  rich  and  very  carefully 
executed  drawing  in  red  chalk,  which,  in  the  prominence  of  the 
forms  and  in  the  exaggerated  violence  of  the  motives,  recalls  the 
frescoes  in  the  Pauline  Chapel. 

46.  Various  sketches  in  black  chalk,  on  three  different  sheets, 
from  the  New  Testament     Some  of  them  very  beautiful. 

48.  Two  rich  groups  ;  studies  of  the  picture  of  the  raising  of  the 
Brazen  Serpent,  in  the  Sistine  ChapeL  Distinguished  both  for  the 
fulness  of  the  original  invention,  and  for  the  soft  and  masterly  finish. 

49.  Various  studies  for  David  and  Goliah.  Pen  and  bistre. 
Judging  from  the  forms,  rather  earlier  perhaps  than  the  Sistine 
Chapel. 

50.  Michael  Angelo,  and  his  friend  Marc  Antonio  della  Torre, 
occupied  on  anatomical  studies,  with  a  dead  body.  We  have  here 
brought  before  us,  in  the  master's  own  hand,  the  scientific  re- 
searches which  Vasari  mentions,  and  which  gave  him  the  prece- 
dence before  all  his  contemporaries  in  knowledge  of  the  human 
structure. 

52.  Study  for  three  figures  from  the  Conversion  of  St  Paul 
This  bistre  drawing  forcibly  realises  that  magnificent  power  which 
the  Italians  term  "  la  terribilita"  of  Michael  Angelo. 

53.  Various  studies  of  male  and  femftle  heads,  in  red  chalk, 
treated  with  the  stump  with  the  greatest  mastery. 

54.  A  woman  playing  with  a  child  standing  on  her  knee; 
study  from  nature  for  one  of  the  figures  in  the  Genealogy  of 

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Lettbb  XXIV.  ASHMOLEAN  MUSEUM.  63 

Christ,  in  the  Sistine  Chapel.  Admirably  characteristic  in  the 
decision  of  the  motives. 

56.  A  demon  carrying  oflF  a  maa  Study  for  the  Last  Judg- 
ment    Admirably  executed  in  red  chalk. 

58.  Study  for  one  of  tiie  figures  in  the  ceiling  of  the  Sistine 
Chapel ;  broad  and  spirited  in  red  chalk. 

61.  Studies  for  various  figures  in  the  lower  part  of  the  Last 
Judgment.     Carefully  executed  in  red  chalk. 

62.  Various  studies :  a  male  figure  in  red  chalk ;  the  rest  with 
the  pen  and  bistre,  thrown  on  the  paper  with  uncommon  spirit 

64.  Study  fix>m  nature  of  a  man  with  open  mouth.  Of  sur- 
prising vivacity,  and  executed  with  great  detail  in  red  chalk. 

67.  The  Descent  firom  the  Cross ;  a  very  grand  and  original 
composition  of  ten  figures,  admirably  drawn  in  red  chalk. 

71.  Various  studies  for  the  monuments  of  the  Medici.  Of  the 
most  masterly  execution  with  the  pen. 

72.  Study  for  one  of  the  figures  on  the  same  monument,  which 
exhibits  the  master-  in  the  full  power  of  his  art ;  admirably  exe- 
cuted with  pen  and  bistre.  Also  various  studies  on  the  reverse 
deserve  notice. 

78.  A  naked  Cupid,  of  most  careful  execution  in  black  chalk. 
Very  interesting  as  displaying  the  original  manner  in  which  the 
master  treated  the  subjects  of  antique  art,  and  also  the  grace 
peculiar  to  himself  which  he  imparted  to  them. 

79.  The  head  of  a  Cupid ;  of  masterly  finish  in  red  chalk,  and 
breathing  an  elevated  feeling  of  earthly  enjoyment  Whether 
these  two  last  studies  were  intended  for  the  statue  of  the  Cupid 
which  he  buried  and  then  disinterred,  and  which  was  admired  as 
an  antique,  is  a  question  which  I  leave  to  its  own  merits. 

ASHMOLEAN    MUSEÜM. 

Among  the  multifarious  objects  belonging  to  the  diflerent  de- 
partments of  science  and  art  preserved  in  this  collection,  the  fol- 
lowing three  especially  attracted  my  attention : — 

The  celebrated  "  Alfred  Jewel,"  a  small  piece  of  gold,  orna- 
mented with  delicate  filigree  work,  and  with  letters  of  contemporary 
character  forming  the  name  Alfred.  The  use  of  this  relic  would 
be  diflScult  to  conjecture. 

A  Bestiarium,  small  folio.  Judging  from  text  and  pictures, 
executed  about  1200,  in  France.    This  is  the  most  remarkable,  in 


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G4  OXFORD— BODLEIAN.  Letter  XXIV. 

an  artistic  sense,  of  all  the  works  now  called  Zoologies  which  are 
known  to  me  of  this  kind,  of  so  early  a  period.  The  greater  part 
of  the  pictures — of  which  each  page  contains  three,  one  over  the 
other — are  representations  of  animals  of  the  most  various  kinds, 
and  some  of  them  very  true  to  nature.  Frequently  they  are 
shown  fighting  with  men,  and  in  some  of  the  pictures  the  latter 
predominate — for  instance,  in  pp.  26  a  and  b.  The  drawing 
is  tolerably  correct  for  the  period,  but  the  proportions,  of  the 
human  figures  generally  too  long.  The  execution,  which  is  in 
very  beautiful  body-colours  of  light  keeping,  is  very  clear  and 
precise;  the  colouring  of  the  animals,  however,  quite  arbitrary. 
The  ground  is  golden  throughout  Some  figures  of  knights  dis- 
play the  chain  armour  and  the  same  form  of  shield  as  in  the 
Bayeux  tapestry.  Late  antique  forms,  as  in  the  Carlovingian 
MSS.,  are  seen  in  the  architectural  accessories.  True  to  the 
spmt  of  the  middle  ages,  this  MS.  so  far  partakes  of  the  character 
of  the  religious  MSS.  of  the  day  that  it  commences  with  the  cre- 
ation of  the  World,  the  Almighty  being  represented  in  the  mosaic 
type  of  Christ  Also,  before  the  animals  commence,  the  Almighty 
is  again  represented  in  an  almond-shaped  glory,  giving  the  bene- 
diction according  to  the  Latin  rite.  I  proceed  to  mention  a  few 
of  the  most  remarkable  pictures.  The  death  of  the  unicorn  in  the 
lap  of  the  Virgin ;  the  little  pig  under  a  tree,  p.  36  a,  which  is 
conventionally  formed  entirely  of  flourishes  ;  and  two  eagles,  p.  56  a, 
which  are  of  surprising  truth  of  nature.  P.  95  b,  at  the  com- 
mencement of  the  treatise  ^  Ysidor  di  natura  hominis,'  is  a  monk 
writing,  under  an  archivolt 

The  French  romance  of  King  Arthur,  folio,  two  columns,  with 
vignettes,  drolleries,  and  border  ornaments,  of  very  mediocre 
artistic  character ;  executed  in  France,  probably  about  1320- 
1330.     A  portion  is  missing  at  the  end. 

The  Bodleian  Library. 
This  library  is  contained  in  a  building  called  the  Schools, 
which  attracted  my  attention  by  the  beauty  of  the  principal  pro- 
portions, as  well  as  of  the  separate  features.  It  is  built  in  the 
old  English  style,  and  forms  a  quadrangle.  Here  the  academical 
examinations  have  long  been  held,  and  over  doors  in  the  quad- 
rangle, leading  to  the  respective  apartments,  are  the  names  of 
the  seven  liberal  arts.    In  the  upper  stories  is  the  celebrated 


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Letter  XXIV.  MSS.  WITH  MINIATURES.  65 

library  founded  by  Sir  Thomas  Bodley,  and  called  by  his  name ; 
the  MSS.  adorned  with  ancient  miniatures,  here  preserved,  were 
one  of  the  many  inducements  for  my  visit  to  Oxford.  Here  I 
met  with  kindness  similar  to  that  which  I  received  at  the  hands  of 
the  librarian  of  the  British  Museum.  Dr.  Bandinell,  whom,  in 
spite  of  his  advanced  age,  I  still  found  very  vigorous,  received  me 
with  great  politeness,  and  presented  me  with  a  copy  of  Douce's 
illustrated  Catalogue,  published  by  the  trustees  of  the  Bodleian 
Library  in  1840,  which  is  of  the  utmost  value  to  me  in  my  studies. 
The  sub-librarian,  Mr.  Cox,  devoted  much  of  his  valuable  time  in 
showing  me  all  the  works  adorned  with  miniatures,  whether  MS. 
or  printed,  so  that  I  was  able  to  make  memoranda  of  all  which 
appeared  to  me  worthy  of  particular  notice.  Both  this  gentleman 
and  Professor  Johnson,  who  has  deeply  studied  the  subject  of 
miniatures,  gave  me  the  whole  benefit  of  their  knowledge  in 
lightening  my  labours,  for  which  I  beg  here  to  return  my  warmest 
acknowledgments.  I  am  sorry  that  the  limits  of  this  book  prevent 
my  noticing  any  but  such  MSS.  as  appeared  to  me  particularly 
important  in  some  respect  or  other. 

MSS.  WITH  MINIATURES  IN  THE  BODLEIAN  LIBRARY. 

I  proceed  to  describe  the  miniatures  in  the  same  course  as  those 
in  the  British  Museum,  taking  first 

The  Byzaktine. 

By  far  the  most  important  is  a  MS.  of  the  Acts  of  the  Apostles 
and  the  Epistles  of  the  Catholic  Canon  of  the  12th  century  (BodL 
Canonici  Graeci,  No.  110),  written  in  octavo,  on  parchment,  in  an 
elegant  Greek  running-hand.  This  is  remarkable  as  proving  how 
long  the  antique  style  of  painting,  both  in  spirit  and  in  mechanical 
process,  was  preserved  in  purity.  Of  the  peculiarities  of  the  Byzan- 
tine school  there  is  hardly  anything  here  except  the  gold  ground. 
The  pictures  of  the  Apostles,  St.  Luke,  St.  James,  St  Peter, 
St.  John,  St.  Luke  a  second  time,  and  St.  Paul,  each  of  which 
fills  a  whole  page,  are  free  and  noble  in  the  motives,  dignified  in 
character,  of  correct  proportions  and  proper  fulness  of  the  forms, 
and,  what  is  very  rare,  with  well-drawn  hands  and  feet.  The  flesh 
has  that  brownish  tone,  the  draperies,  which  are  of  the  purest  antique 
cast,  those  bright  broken  tones,  which  are  met  with  in  the  paint- 
ings at  Pompeii.  In  the  same  manner,  all  is  executed  with  great 
breadth  of  treatment,  and  with  such  firmness  and  fireedom  that  no 
previous  tracing  is  to  be  found  underneath,  as  may  be  seen  in  the 

VOL.  III.  .  ^    r^  T 

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66  OXFORD— BODLEIAN.  Lbtteb  XXIV. 

picture  of  St  Paul,  where  the  colour  has  come  off  in  many  places. 
This  specimen  is  worthy  to  be  placed  by  the  ride  of  the  celebrated 
Greek  Psalter  of  the  10th  century,  and  the  Bible  of  the  Emperor 
Basilius  Macedo,  which  I  saw  in  the  Royal  Library  at  Paris,  and 
which  I  have  already  mentioned. 

The  Homilies  of  St  Gregory  Nazianzen,  a  folio  volume  of  282 
sheets,  in  a  large  minuscule  letter,  doubtless  written  in  the  11th 
century  (Bodl.  Canonici  Graeci,  No.  103).  The  local  Byzantine 
style  is  seen  in  the  long  proportions  and  the  dark  colours ;  two 
different  hands  are,  however,  discernible.  To  the  first,  which  is 
entirely  under  the  bondage  of  this  form  of  art,  belongs  the  picture 
of  St  Gregory  upon  the  titie-page,  witii  the  name  inscribed  in 
gold,  and  a  large  gold  nimbus.  The  conception  of  the  character 
of  head  is  dignified.  He  is  seated  upon  a  chair,  on  a  slight 
pedestal,  and  is  writing  in  a  book  on  his  lap.  It  is  remarkable 
that  the  foot  of  a  light  desk  which  projects  from  a  press  before 
him  is  formed  of  a  fish,  doubtless  in  alludon  to  tiie  early  Christian 
symbol  of  the  Saviour.  The  framework  of  the  picture  already 
shows  the  influence  of  the  Arabian  taste.  The  same  may  be  said 
of  the  decoration  of  the  tide.  Nevertheless,  two  gryphons  and  six 
birds  in  one  circle  also  bear  witness  to  the  influence  of  antique  art. 
The  twelve  Aposties  enthroned,  p.  35  a,  are  not  witiiout  indica- 
tions of  character,  being  treated  somewhat  more  in  the  early 
antique  taste.  These  proceed  obviously  from  the  other  artist 
On  the  other  hand,  the  figures  in  p.  57  a  show,  by  their  sternness 
and  stifiness,  the  first  artist  agaia  P.  79  b  contains  tiie  Nativity 
and  the  Annunciation  to  the  Shepherds 

An  Evangeliarium  (BodL  Clarke's  Cod.  Gr.,  No.  10),  small 
quarto,  167  sheets,  in  a  beautiful  small  minuscule  letter,  probably 
about  the  end  of  the  12th  century.  The  Arabian  influence  predo- 
minates decidedly  in  the  ornamentation,  while  in  the  pictures  two 
different  hands  may  be  again  distinguished,  one  of  which  is  en- 
tirely of  the  late  Byzantine  conventional  class,  while  the  other  is 
formed  upon  the  earlier  and  better  models.  The  first  is  imme- 
diately seen  in  the  two  saints  of  the  titie-page,  which  is  elegantly 
ornamented  with  arabesques.  The  canons  are  divided  on  each 
page  by  three  pillars,  which  are  twisted  in  the  centre.  In  the 
angles  of  the  pediments,  and  of  the  archivolts  (both  of  which  occur), 
are  again  very  pretty  arabesques.  St  Matthew  is  by  the  second 
hand ;  the  head  is  dignified,  the  form  good,  the  colours  on  a  light 

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Letteb  XXIV.  BYZANTINE  MSS.  67 

scala  A  piece  is  cut  out  here.  Joseph's  Dream  and  the  Flight 
into  Egypt,  on  the  opposite  page,  are  again  by  the  first  hand.  St 
Mark,  by  the  second  hand,  is  of  speaking  and  animated  action.  The 
following  pictures  hare,  unfortunately,  been  much  injured.  St 
John,  by  the  second  hand,  is  admirable ;  he  is  represented  as  a 
dignified  old  man,  inclining  forwards,  as  if  listening  in  inspiration« 
Here  too  I  saw  the  well-known  Greek  MS.  of  the  New  Testa- 
ment, long  in  the  possession  of  the  Ebner  fisunily,  at  Nuremburg, 
who,  in  the  year  1819,  sold  it  for  the  very  moderate  sum  of  120 
louis-d'or  to  Mr.  John  Payne,  an  Englishman,  who  jn'esented  it 
to  this  library.  It  is  in  quarto,  elegantly  written  on  fine  parch- 
ment To  judge  by  the  character  of  the  cursive  letters,  it  is  of  the 
I2th  century.  On  the  recto  side  of  the  binding,  which  is  of  solid 
silver,  a  piece  of  ivory,  about  six  inches  high,  is  let  in,  on  which  is 
represented  God  the  Father  on  a  throne,  in  the  mosaic  type  of 
Christ,  very  carefully  carved  in  a  refined  taste,  formed  upon 
antique  principles  The  circumstance  that  the  Almighty  is  ^ving 
the  Benediction  according  to  the  rite  of  the  Romish  Church 
makes  it,  however,  improbable  that  this  relief  originally  belonged 
to  this  MS.  The  many  well-preserved  pictures  which  it  contains 
are,  in  many  respects,  very  important  In  some  we  find  the  pecu- 
liar manner  of  the  Byzantine  school  already  completely  formed. 
The  proportions  are  long,  though  not  so  exaggerated  as  usual ; 
the  folds  of  the  drapery  narrow  and  poor;  the  heads  have  fre- 
quently something  typical  and  stiff  in  the  character ;  the  lights  in 
the  flesh  are  decidedly  yellow.  Yet  much  of  the  antique  style 
is  still  retained.  Many  characters  are  very  expressive  and  dig- 
nified ;  light  broken  colours  prevail  in  tiie  draperies ;  the  lights 
and  shadows  are  given  not  without  knowledge,  and  with  a  certain 
breadth.  In  many  motives — for  instance,  in  the  Angel  releasmg 
Peter — ^the  simple  dignity  and  beauty  of  the  oldest  Christian  spe- 
cimens of  art  are  preserved  in  great  purity.  From  the  whole  we 
perceive  how  much  the  Italians  may  have  learnt  from  the  Byzantine 
painters,  when  their  influence  over  them  became  more  general, 
after  the  beginning  of  the  13th  century.  Among  the  many 
remarkable  things  which  struck  me  in  these  pictures,  I  may  men- 
tion the  twofold  representation  of  St  John  the  Evangelist  On 
the  same  picture  he  appears  once  as  a  youth  sitting  and  writing 
his  Gospel,  the  first  words  ('Ev  dpx^)  of  which  are  legible  ;  then  he 
is  ^own  standing,  old,  and  with  a  grey  beard,  with  his  hands 

F  2 

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68  OXFORD— BODLEIAN.  Letteb  XXIV. 

raised  in  prayer,  in  the  antique  manner,  towards  a  blue  segment 
of  a  circle,  which  is  meant  for  heaven,  from  which  the  hand  of 
God  the  Father,  giving  the  blessing,  appears.  Near  it  is  the 
inscription  6  öeoXoyof  'I a,  that  is,  St.  John  the  Divine.  Elsewhere 
St.  John  is  always  represented  in  the  manuscripts  before  the  15th 
century  as  an  old  man,  and  it  was  not  till  a  later  period  that  he  was 
generally  represented  as  a  young  man.  Here  we  see  a  very  early 
example  of  a  decided  distinction  in  the  two  ways  of  representing 
him ;  viz.,  as  young  when  writing  the  Gospel,  and  old  as  the  author 
of  the  Revelations.  The  ornaments  which  enclose  the  principal 
pictures  have  nothing  antique  in  the  forms,  and  the  glaring  colours 
on  a  gold  ground  indicate  an  Arabian  influence. 
French  Miniatures. 

The  Comedies  of  Terence  (Bodl.  Aust.  F.  2,  13),  a  small  folio, 
in  a  very  beautiful  minul^ule  letter,  one  column,  with  a  notice 
above  the  prologue  that  this  book  belonged  to  St.  Albanus,  who 
suflPered  martyrdom  286  years  after  Christ  At  most,  however, 
this  may  be  considered  a  copy  of  that  work  made  in  the  12th  cen- 
tury. The  drawings,  which  are  executed  with  the  pen  and  the 
point  of  the  brush,  here  and  there  slightly  shaded,  show  great 
technical  skill,  and  indicate  in  every  respect  some  older  model  of 
pure  antique  character.  The  jewelled  ornament  on  the  hem  of 
the  antique  drapery  belongs  to  the  period  of  the  MS.,  to  which 
also  the  too  long  proportions  of  the  figures  on  the  title-page,  the 
too  short  proportions  of  those  in  the  vignettes,  the  small  feet,  the 
large  and  badly-formed  hands,  and  the  mechanical  uniformity  in 
the  antique  cast  of  drapery,  belong.  As  usual  with  all  illuminated 
MSSL  of  Terence,  the  bust-sized  portrait  of  the  author  appears  in 
a  circle  on  the  title-page,  supported  by  two  comic  actors,  while 
the  frontispiece  ,contains  thirteen  comic  masks,  in  four  rows,  m  an 
architectural  framework  of  late  antique  form  In  the  numerous 
vignettes,  which  represent  separate  scenes  from  the  dramas,  the 
speaking  motives  of  the  older  MS.  are  very  purely  retained. 
Fear,  especially,  is  most  successfully  expressed. 

A  work  on  Astronomy  and  Geography,  small  octavo,  with  nume- 
rous pen-drawings,  which,  in  neatness  of  treatment,  has  great 
affinity  with  the  above-described  Terence,  may  also  be  of  French 
origin,  of  the  second  half  of  the  12th  century.  The  ground 
only,  and  occasionally  the  frameworks,  are  coloured.  Pp.  1  b  and 
2  a  contain  four  figures,  of  which  two  are  kings.     In  the  calendar 

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Letter  XXIV,  FRENCH  MSS.  69 

which  follows — each  month  occupying  a  page — only  the  three  first 
months  have  the  occupation  of  the  season  on  the  opposite  page. 
Later  in  the  work  appear  Apollo  on  the  Quadriga,  with  a  crown 
of  golden  stars,  and  Diana  on  the  Biga,  with  the  golden  crescent 
on  her  head.  The  vehicles,  as  in  the  similar  representations  in 
the  well-known  MS.  of  Herrad  van  Landsberg  in  Strasburg,  are, 
doubtless,  according  to  the  fashion  of  the  period,  simple  carts. 
Then  follow  the  twelve  signs  of  the  zodiac  and  other  astronomical 
types — for  instance,  Cepheus  as  an  enthroned  king,  Cassiope  as 
queen,  taken  quite  in  front,  with  uplifted  hands,  and  the  seven 
stars  as  circular  bust-pictures  of  seven  virgina  The  geographical 
part  is  very  remarkable  for  the  numerous  representations,  partly 
of  a  fantastic  character,  of  men,  animals,  dragons,  and  other  mon- 
sters, and  of  plants,  &c 

The  first  part  of  a  Picture  Bible,  from  the  first  book  of  Moses 
to  the  book  of  Job  inclusive,  folio.  Judging  from  the  character 
of  the  pictures,  this  may  have  been  executed  in  France,  about 
1260-70.  It  has  namely  the  same  moderation  in  the  positions, 
the  narrow  folds  of  the  drapery,  and  the  same  solid  body-colours 
laid  on  with  the  brush,  which  are  characteristic  of  the  specimens 
of  the  first  half  of  the  thirteenth  century,  while,  on  the  other  hand, 
it  displays  already  that  type  of  the  broad  heads  with  the  small, 
mean  features,  which,  according  to  my  observation,  does  not  occur 
until  after  1250.  The  motives  are  often  gracefrd.  Dark  blue 
and  a  subdued  crimson  are  the  favourite  colours.  Several  hands, 
and  most  of  them  very  skilful,  may  be  distinguished.  On  two 
stripes  of  the  parchment,  on  the  left  of  the  pictures,  are  always 
the  explanations.  The  title-page  contains  the  First  Person  of  the 
Trinity  enthroned,  in  the  mosaic  type  of  Christ,  as  Creator  of  the 
world,  the  circle  in  the  right  hand,  the  globe,  as  a  disk,  in  the 
left.  In  the  comers,  which  are  formed  of  the  almond-shaped 
glory  which  surrounds  the  Almighty,  and  consists  of  four  seg- 
ments of  drcles,  are  four  angels  supporting  the  sama  Besides 
the  proper  scriptural  event,  many  of  the  well-known  emblematic 
representations  occur  here.  The  pictures  are  too  numerous  for 
me  to  attempt  to  enter  into  any  description.  Later  in  the  work 
the  Almighty  appears  fi^uently  in  the  youthful  type  of  Christ 
Another  portion  of  this  Picture  Bible  is  in  the  British  Museum,  a  third 
in  the  Bibliothöque  Nationale  at  Paris.  All  three  together  form 
probably  the  most  richly  illuminated  work  of  the  kind  that  exista 

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70  ^      OXFORD— BODLEIAN.  Lettbb  XXIV. 

The  Apocalypfle  (Bodl.  Canon.  Bibl.  Latini,  No.  62),  small  folio ; 
the  first  50  leaves  contain  a  picture  on  the  upper  part,  and  the 
text  on  the  lower.  Jud^ng  from  the  type  of  the  heads  and  other 
signs  of  art,  the  pictures  may  have  Jbeen  executed  between  1300 
and  1350.  They  are  essentially  pen-drawings,  in  most  of  which 
the  parchment  itself  is  turned  to  account,  being  slightly  coloiured 
violet,  green,  or  grey  in  the  lights.  Further  on  they  are  entirely 
executed  with  darker  colours  ;  while  in  some  merely  the  pen-work 
remains.  The  invention  is  mediocre;  the  spirit  of  the  Gothic 
period  predominates  in  the  actions.  The  draperies  are  well  cast, 
and  the  drawing  praiseworthy.  P.  1  a,  St  John  reposing,  with 
the  angel  appearing  to  him  with  a  scroll.  Both  of  these  figures 
occur  frequently  at  the  sides  of  the  pictures,  which  they  are  repre- 
sented contemplating.  Such  buildings  as  appear  are  in  the  Gothic 
taste.     At  the  end  b  attached  a  work  by  St.  Bernard  de  Clairvaulx. 

A  Boman  Missal  (Douce,  313),  folio,  416  leaves  ,with  a  powerful 
minuscule  letter  in  two  columns.  Judging  from  text  and  pictures, 
executed  about  1350,  the  last  page  having  been  later  completed. 
From  the  prominent  part  which  St.  Francis  and  St  Clara  here 
play,  it  appears  probable  that  it  was  executed  for  some  Franciscan 
convent  in  the  north  of  France;  most  probably  in  Normandy. 
This  last  supposition  is  strengthened  by  the  circumstance  that 
St  Thomas  of  Canterbury  (a  Becket),  who  was  more  honoured  in 
this  province,  which  had  been  so  closely  attached  to  England  since 
the  11th  century,  than  in  any  other  part  of  France,  appears  in  the 
calendar.  In  point  of  beauty,  originality,  and  abundance  of  pictures, 
this  MS.  is  one  of  the  most  remarkable  specimens  of  the  period. 
The  pictures  are  chiefly  executed  in  chiaroscuro  with  Indian  ink  ; 
a  beautiful  violet  is  also  frequently  introduced,  and  also,  though 
rarely,  a  greea  The  compositions  are  good,  the  motives  free, 
speakmg,  and  animated ;  the  soft  well-distributed  folds  of  the 
drapery  carefully  rounded.  The  already  regularly-formed  though 
somewhat  depressed  mitre,  the  girding  up  of  the  garments, 
the  shoes  with  the  pointed  toes,  all  indicate  the  period  I  assign. 
The  colours  are  applied  with  a  strong  glutinous  vehicle.  Two 
difierent  hands  may  be  distinguished.  To  the  first  may  be  attri- 
buted the  delicate  pictorial  ornamentation  of  p.  1  b,  and  of  the 
page  opposite.  In  the  centre  of  the  first,  in  an  almond-shaped 
glory  within  a  lozenge,  is  Christ  enthroned,  with  the  signs  of 
the  four  Evangelists  in  the  comers.     On  the  border,  in  eight 

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Letter  XXIV.  FRENCH  MSS,  ^  71 

compartments   of  that  Gothic   fonn  of  which    Giotto  availed 
himself  in  the  well-known  Campanile  at  Florence  and  on  other 
occasions,  are  the  four  Evangelists  in  the  comer ;  between  them, 
at  the  sides,  the  Annunciation,  the  Visitation,   the  Adoration 
of  the  Kings,  and  the  Coronation  of  the  Virgin.     In  the  centre 
of  the  oppo^te  page,  in  quite  a  amilar  arrangement,  the  Cm- 
dfixion,  with  the  Saviom*  just  dead — ^the  limbs  meagre,  but  the 
figure  nobly  conceived ;  at  the  sides  the  two  thieves,  the  Virgin, 
and  two  female  saints  and  St  John.     In  the  border,  above,  the 
pelican,  the  well-known  allusion  to  the  Atonement ;  below,  the 
opening  of  the  graves  at  the  death  of  Christ ;  at  the  sides  the 
New  Covenant,  as  a  crowned  female  with  Bible  and  chalice ;  and 
the  synagogue,  or  Old  Covenant,  as  a  female  with  eyes  bound — 
the  tables  of  the  law  and  a  broken  spear  in  her  handa     In  the 
comers,  the  Flagellation,  Christ  before  Pilate,  the  Entombment, 
and  the  Ascensioa     In  the  calendar  that  follows,  occupying  six 
sheets,  appears  the  second  and  much  darker  and  more  powerful 
hand,  with  the  use  of  Indian  ink.     On  the  outermost  side,  in  two 
compartments,  above,  the  occupation  of  the  month  ;  below,  the  sign 
of  the  zodiac     By  the  same  hand  are  also  a  large  number  of  very 
animated  and  original  representations,  chiefly  introduced  into  the 
text  as  vignettes,  or  occasionally  in  the  borders,  where  they  have 
unfortunately  been  in  some  measure  sacrificed  by  too  dose  clipping 
of  the  leaves.     This  artist  has  made  use  of  violet  generally  for  the 
gloriesw    P.  232  b  and  the  page  following  are  again  by  the  first  hand. 
Below  is  Christ  before  Pilate,  a  rich  composition,  within  a  Gothic 
architecture  of  very  peculiar  arches,  decorated  with  small  arches ; 
above,  the  Flagellation  of  Christ ;  on  the  following  page  the  Cmci- 
fixion  again,  with  great  detail    Besides  the  thieves,  the  disciples, 
and  many  spectators,  are  several  horsemen,  one  of  whom,  an  action 
new  to  me,  is  sprin^ng  forward  and  blowing  the  trampet    Pilate, 
who  is  also  present,  has  just  written  the  letters  I.  N.  R.  L  Several 
of  the  figures — ^for  instance,  St  John — are  very  nobly  conceived. 
The  next  page  contains,  above,  the  Descent  from  the  Cross ;  and, 
below,  again  a  rich,  very  beautiful,  and  peculiar  composition,  the 
carrying  away  of  the  body  in  a  large  cloth.     The  page  opposite 
represents  the  sepulchre — conceived  as  a  large  GotUc  tabernacle 
— ^in  which  the  Entombment  is  going  oa    After  this  follow  many 
vignettes  by  the  second  hand,  among  which  is  much  that  is  beau- 
tiful, especially   the  expression  of  pain  in  the  Virgin  at  the 

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72  OXFORD— BODLEIAN.  Letter  XXIV. 

Nativity.  Martyrdoms  of  the  Apostles  and  other  saints  conclude 
the  book. 

The  Old  Testament,  from  the  Proverbs  of  Solomon  to  the  2nd 
Book  of  Esdras,  with  the  annotations  of  Lyranus  (BodL  Canon. 
Bibli.  No.  7),  folio,  320  leaves,  written  in  a  thick  minuscule  letter 
in  two  columns — ^a  transcript  of  about  the  date  1390  of  a  MS. 
executed  in  Paris  in  1338.  In  point  of  artistic  decoration  it  is 
poor  and  of  but  little  value.  The  vignette,  of  the  Judgment  of 
Solomon,  and  the  circular  decorations  and  initials,  are,  however, 
worthy  of  observalioa 

A  Prayer-book  (Bodl.  MisceL  Liturg.),  octavo,  113  leaves, 
written  in  one  column  in  a  large  and  beautiful  minuscule  letter. 
From  the  appearance  of  the  Netherlandish  St.  Lievin  in  the 
unomamented  calendar,  it  is  probable  that  it  was  executed  in 
Picardy,  in  about  1400.  The  pictures  have  that  idealistic  form 
of  art  which  preceded  the  realistic  tendency  of  Van  £yck,  and, 
though  not  very  remarkable,  are  of  some  merit  The  colours  are 
dull,  the  groimds  coloured,  with  golden  ornaments.  P.  13  b,  the 
Crucifixion,  with  the  Virgin  and  St  John.  The  border  of  the  oppo- 
site page  is  richly  adorned  with  creeping  plants  branching  out  into 
golden  leaves  and  knobs.  P.  22  b,  the  Annunciation.  P.  75  b, 
the  Last  Judgment,  in  a  very  simplified  form,  consisting  of  Christ, 
with  the  Virgin  and  John  the  Baptist  at  his  side,  two  angels 
blowing  trumpets,  and  four  heads  of  bodies  rising  from, the  grave. 
P.  71  b  contains  the  OflSce  for  the  Dead.  The  last  picture,  the 
Virgin  and  the  Child  within  a  stone  enclosure,  seated  on  the 
ground,  and  accompanied  by  two  angels,  is  particularly  tender 
and  pleasing. 

A  Prayer-book  (BodL  Miscel.  Litui^.,  No.  96),  octavo,  207 
leaves,  with  a  powerful  minuscule  letter,  in  one  column ;  judging 
from  pictures  and  text,  written  between  1412  and  1420,  and  pro- 
bably in  Picardy.  This  is  indicated,  at  all  events,  by  the 
Netherlandish  saints  Donatus  and  Lambert  in  the  calendar,  which 
occupies  12  sheets.  Also,  the  very  animated  motives  in  the 
occupations  of  each  month  show  the  inmiediate  influence  of  the 
Netherlands.  A  tolerably  ample  indication  of  space  alternates 
with  gold  and  panelled  grounds.  With  the  Annunciation,  which 
occupies  the  whole  of  the  next  page,  begins  another  hand  of  an 
ideal  tendency  and  with  a  more  developed  feeling  for  art  This 
continues  up  to  p.  52  a.     The  motives  are  noble  and  true,  the 

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Lbtteb  XXIV.  FRENCH  MSS.  73 

very  round  heads  of  delicate  character,  the  drapery  well  disposed, 
the  colours  dull  and  cold.  In  the  somewhat  commonplace  exe- 
cution of  the  decorations  of  the  opposite  page,  in  the  taste  of  the 
foregoing  MS.,  those  larger,  beautifully-coloured,  fantastic  leaves 
and  flowers  are  introduced,  which  occur  after  the  year  1400. 
P.  28  a  contains  the  Visitation ;  p.  38  a,  the  Nativity,  the  Virgin 
particularly  refined.  P.  43  b,  the  Annunciation  to  the  Shepherds, 
in  which  a  very  pretty  shepherdess  is  remarkable.  P.  48  a,  the 
Adoration  of  the  Kings,  in  which  the  youthfulness  of  the  paiiies 
shows  the  striving  at  beauty  and  purity.  P.  52  a,  the  Presentation 
in  the  Temple.  After  this  ensues  an  inferior  hand  which  deserves 
no  further  notice. 

A  Prayer-book  (BodL  Canon,  Liturg.,  No.  75),  octavo,  192 
leaver»  written  in  a  large  minuscule  letter  in  one  column.  Also, 
probably  executed  not  far  from  the  Belgian  frontier,  about  the 
year  1420.  Every  page  of  this  MS.  is  adorned  in  the  older 
taste,  with  small  golden  leaves.  In  the  pictures  a  clever  Nether- 
landish artist  and  a  feeble  French  artist  may  be  easily  distinguished. 
The  Annunciation  is  by  the  first,  in  which  the  window  of  the 
room  is  executed  in  silver,  the  rest  of  the  ground  panelled.  The 
rich  border,  although  upon  a  gold  ground,  is  nevertheless  entirely 
composed  of  soft  and  beautifiilly-coloured  tetidrils  and  leaves. 
In  the  Nativity,  which  has  been  much  injured,  that  peculiar 
German  and  Netherlandish  motive  occurs,  viz.  St  Joseph  cooking 
the  Child's  pap.  With  the  Flight  into  Egypt  first  occurs  the 
French  hand.  The  very  rich  border  ornamentation,  with  the  ex- 
ception of  some  small  flowers,  is  treated  quite  in  the  older  sty  la 
The  David  praying  to  the  Almighty  is  again  by  the  Netherlandish 
hand.  Here  those  pointed  trees  occur  which  are  so  characteristic 
of  the  miniatures  of  that  time  ;  also,  what  is  very  rare,  a  silver 
horizon.  In  the  Crucifixion  the  slender  figures  of  the  Virgin  and 
St  John  are  remarkable  for  their  excellent  action.  The  whole 
MS.  has  been  much  injured. 

A  French  translation  of  the  History  by  Justin  (Bodl.  Anch. 
2,  29),  folio,  125  leaves,  written  about  1470  in  a  moderate  sized 
minuscule  letter.  Although  the  twelve  small  pictures  which 
adorn  the  first  leaf,  representing  events  from  the  history  of  Semi- 
ramis  and  Ninus,  and  also  the  portrait  of  Justin  in  a  C,  are 
executed  by  a  skilful  Netherlandish  hand  in  beautiful  colours  of 
a  very  gummy  kind,  yet  I  should  not  have  noticed  the  MS.  on 

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74  OXFORD—BODLEIAN.  Lktteb  XXIV. 

this  account  had  not  the  other  pictures  been  in  many  respects 
extremely  instructive  in  the  secrets  of  miniature-painting.  It  is 
true  that  they  exhibit  a  very  mechanical  French  hand,  of  that 
school  of  which  the  Hours  of  Anne  of  Bretagne  in  the  Biblio- 
theque  Nationale  at  Paris  may  be  considered  to  have  been  the 
highest  point  of  development,  but  for  some  reason  it  happens 
that  the  pictures  in  this  MS  were  never  finished,  so  that  we  are 
enabled  to  see  them  in  different  stages  of  progress,  from  the 
first  preparation  to  the  completed  picture.  Those  drawings  that 
are  done  with  the  pen  are  for  the  most  part  well  composed, 
and  are  so  lively  in  the  motives,  so  incomparably  more  in- 
dividualized than  the  finished  pictures,  that  it  is  obvious  they 
proceed  from  a  £ar  more  skilfrd  hand  than  that  of  the  painter, 
who  by  the  spiritless  and  mechanical  mode  of  his  execution  has 
greatly  diminished  their  merit  We  have  here  a  proof  how  much, 
in  many  cases,  the  labour  of  completing  a  picture  was  divided. 
Various  unfinished  pictures  show  us  that  the  colouring  was  com- 
menced with  the  backgrounds — ^the  sky,  earth,  water,  or  room ; 
next  came  the  shadows  of  the  walls  and  the  leaves  of  the  trees, 
lightly  rendered ;  the  figures,  as  the  principal  parts,  being  reserved 
to  the  last 

A  Prayer-book  (Douce,  311),  large  octavo,  145  leaves,  written 
in  a  beautiful  minuscule  letter  in  one  column,  on  fine  parchment 
The  calendar  contains  the  notice  of  the  Easter  feasts  from  1488 
to  1508,  whence  the  date  of  the  MS.  may  be  fixed  at  about  1488. 
In  respect  of  the  beauty,  truth,  and  elegance  of  the  border  deco- 
rations and  initials,  in  the  fully  developed  taste  of  single  fruits, 
flowers,  jewels,  &a,  upon  delicate  golden  grounds,  this  MS.  is  a 
specimen  of  the  highest  class.  The  pictures,  also,  which,  like  the 
ornamentation,  partake  strongly  of  Netherlandish  influence,  though 
somewhat  poor  in  invention  and  but  moderate  in  drawing,  are  worthy 
of  remark  for  the  great  delicacy  of  their  executioa  P.  1  b  contains 
the  bloodletter  and  his  different  instruments  in  particular  detail 
From  the  various  internal  portions  of  a  dissected  body  of  grey 
colour,  such  as  the  heart,  the  stomach,  &c.,  are  seen  golden  lines 
directed  towards  the  sun,  the  moon,  and  the  five  planets,  with 
an  explanatory  inscription,  such  as  "Sol  regarde  le  stomach." 
Between  the  feet  of  the  body  is  a  fool  with  asses'  ears,  dressed  in 
a  bronze-coloured  stuff;  his  hand,  which  is  very  delicate,  upon 
his  mouth.      In  the  angles  are  the  representations  of  the  four 

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Lbttee  XXIV.  NETHERLANDISH  MSS.  75 

temperaments — the  choleric,  doubling  his  fists  against  a  lion  ;  the 
sanguine,  against  a  monkey ;  the  melancholy,  against  a  pig ;  and 
the  phl^matic,  against  a  sheep.  On  scrolls  are  written  the 
periods  when  it  is  good  for  each  of  these  temperaments  to  be  bled. 
The  ground  is  here  of  a  tender  pink,  the  border  elegantly  en- 
firamed  in  a  Gothic  architectural  design  in  brown  and  gold.  The 
calendar,  which  occupies  six  leaves,  is  entirely  ornamented.  Next 
comes  p.  8  b,  with  the  representation  of  the  Trinity  occupying  the 
whole  page.  The  Krst  Person,  who  is  dressed  in  the  most  delicate 
rose-colour  heightened  with  white,  is  holding  the  Second  Person, 
who  is  pointing  to  his  wounds.  The  expression  of  compassion  in 
the  head  of  the  Father  is  very  tender,  though  somewhat  feebly 
expressed.  The  ground,  which  is  rendered  with  the  mt)st  delicate 
gold,  kid  on  with  the  brush,  gradually  merges  in  a  number  of 
cherubim.  This  representation  refers  to  Trinity  Sunday, "  de  sancta 
tirinitate.''  The  border  ornamentation  is  of  the  most  delicate  and 
beautiful  kind ;  p.  9  a  is  also  admirable  in  this  respect  As  a 
specimen  of  the  initials  I  mention  a  D,  in  the  usual  quadrangular 
compartments,  formed  of  delicate  grey-violet  arabesques,  with  a 
forget-me-not  in  the  fillings-out.  Many  large  pictures  occur  of 
the  usual  class  of  subjects  found  in  Prayer-books  of  this  time, 
and  with  similar  borders. 

NeTHEBLAKDISH  MlNIATUBES. 

A  Prayer-book  (Bodl.  Auct  D.  4,  2).  On  the  cover  of  this 
work,  in  enamel,  and  within  a  border  of  leaf-work  cut  in  metal, 
is  the  Virgin,  with  an  angel  placing  a  crown  on  her  head ; 
on  the  lower  side,  in  similar  workmanship,  the  Annunciation. 
These  figures  belong  decidedly  to  the  first  half  of  the  14th 
century.  The  paintings  also  are  quite  in  the  manner  of  that 
period.  In  the  calendar  are  the  occupations  of  the  month  under 
penthouses  of  Gothic  form,  represented  for  the  most  part  in  some- 
what forced  positions.  Then  follow  on  as  many  pages  five  pictures 
fix)m  the  Annunciation  to  the  Day  of  Judgment,  each  under  two 
Gothic  gables.  These  are  succeeded  by  King  David  in  a  large 
B,  above,  playmg  the  Psalter,  below  with  Goliah ;  and  then  other 
pictures  in  similar  taste.  The  borders,  which  are  ornamented  in 
the  style  of  the  period,  are  very  simple. 

A  Prayer-book  of  that  kind  which  is  termed  in  France  "  les 
OflSces  de  la  Vierge "  (Douce,  144),  large  octavo,  140  leaves ; 
written  in  a  large  and  fiill  minuscule  letter,  as  it  appears  from 

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76  OXFORD— BODLEIAN.  Letteb  XXIV. 

another  MS.  of  a  similar  date  in  1407,  with  broad  border. 
This,  in  point  of  beauty  and  number  of  miniatures,  is  one  of  the 
most  valuable  specimens  of  Netherlandish  art  of  that  idealistic 
tendency  which  preceded  the  realistic  feeling  of  the  Van  Eycks, 
which  began  to  develop  itself  about  15  years  later.  In  the  absence 
of  all  wall  and  easel  pictures  of  that  time,  no  other  MS.  that  I  am 
acquainted  with  gives  us  such  a  high  idea  of  the  perfection  which 
Netherlandish  art  had  also  acquired  in  that  directioa  It  shows 
so  strong  an  affinity  to  several  Prayer-books  of  Duke  John  de 
Berry  of  the  same  period,  now  in  the  possession  of  Count  Auguste 
de  Bastard  in  Paris,  in  which  the  pictures  by  Paul  von  Limburg 
and  his  brother  occur,*  as  to  render  it  probable  that  some  of  these 
miniatures  also  proceed  from  those  masters ;  for  in  the  MS.  now 
before  us  no  less  than  four  different  hands  may  be  (Ustinguished* 
Judging  from  the  number  of  French  saints  in  the  calendar,  it  was 
executed  probably  in  France ;  and,  from  the  whole  style  of  the 
work,  for  some  wealthy  and  considerable  individual  Each  page 
contains  a  rich  border  ornament,  which,  where  there  is  only  text, 
is  quite  in  the  older  style ;  but,  where  pictures  occur,  is  united 
with  ornaments  in  the  later  style  with  very  beautiful  colours.  In 
the  landscape  are  the  pointed  trees  with  light-green  topa  The 
skies  on  the  other  hand,  with  few  exceptions,  are  either  coloured 
with  gold  designs,  or  panelled  in  the  most  delicate  way.  Passages 
from  the  Evangelists,  as  is  frequently  the  case  with  these  books  of 
prayer,  are  at  the  top  of  the  page.  P.  1,  a  St.  John  writing,  at 
the  head  of  his  Gospel,  with  the  eagle  holding  the  inkhom  in  his 
bill.  This,  as  also  the  next  following  larger  pictures  of  almost 
square  form,  and  with  a  small  semicircular  projection,  are  deli- 
cately executed  in  the  style  of  the  French  miniatures  of  the  period, 
and  are  perhaps  by  a  French  painter.  On  the  other  hand,  the 
more  animated  conception,  the  finer  colours,  the  freer  treatment 
of  the  figures  in  the  richly-decorated  borders,  show  the  hand  of  an 
excellent  Netherlandish  artist  The  following  subjects  are  very 
remarkable  in  character  and  motive : — the  eagle,  in  the  comer  of 
the  outer  border,  of  great  truth  of  nature  in  form,  action,  and 
colour,  holding  a  scroll,  on  which  is  written  "St.  Johannes." 
St.  John  in  the  centre,  with  a  golden  chalice ;  and  below,  the  same 
giving  the  benediction,  in  a  wooden  tub,  by  which  is  doubtless 
meant  the  cauldron,  in  allusion  to  his  martyrdom,  in  which  he  is 

♦  See  Kunstwerke  und  Künstler  in  Paris,  p.  338. 

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Letter  XXIV.  NETHERLANDISH  MSS.  77 

frequently  represented ;  also  a  prophet  on  the  lower  border  looking 
upwards,  very  remarkable  in  character  and  motive.  Finally,  on 
the  narrow  border  a  graceful  bird.  P.  2  b,  St.  Luke  cutting  his 
pen ;  on  the  similar  border  two  prophets,  one  of  them  with  a  scroll, 
on  which  are  the  words  "In  illo  tempore  missus  est"  Here, 
however,  begins  a  more  mechanical  hand,  with  two  monsters  and 
many  drolleries  on  the  borders.  P.  5  b,  St.  Mark  writing,  with  a 
long  white  beard.  On  the  border,  which  is  similarly  divided  and 
ornamented  as  the  page  with  St.  John,  is,  below,  by  the  best  hand, 
a  little  naked  boy,  of  full  forms  and  delicate  colour,  upon  a  doe ; 
and  another  upon  a  lion,  of  which  he  is  tearing  open  the  jaws. 
Then  follows  the  calendar,  from  p.  6  a  to  17  b.  The  employment  of 
the  month  and  the  signs  of  the  zodiac,  always  in  two  square  com- 
partments, very  delicately  executed  by  the  best  hand;  on  the 
border  are  drolleries  by  the  mechanical  hand  P.  19  a,  the 
Vir^n,  with  a  small  delicate  and  pale  head,  seen  ander  a  domestic 
aspect,  for  she  is  occupied  at  a  kind  of  loom.  At  the  same  time 
she  is  served  by  an  angel,  who  is  bringing  her  bread,  and  wine  in 
a  silver  vessel ;  the  whole  is  very  poetical  in  feeling.  In  the  border, 
which  is  decorated  with  beautiful  tendrils  with  acanthus-like 
leaves,  is  a  very  gracefid  angel  with  a  harp,  and  another  with  a 
flower-pot  P.  23  a,  the  Vir^n,  very  noble  in  the  expression  of 
pathetic  humility,  with  the  Infant  standing  on  her  lap  with  a 
similar  expression,  reaching  towards  a  basket  with  fruit,  brought 
to  him  by  an  angel  dressed  in  white.  A  seraph  is  looking  down 
from  heaven,  holding  a  golden  crown  above  her  head.  On  the 
border  two  different  angels  and  two  birda  P.  27  a  contains  the 
following  inscription :  "  Factum  et  completum  est  anno  Mccccvir. 
quo  ceciderunt  frondes  Parisiorum."  P.  28  a  is 'entirely  orna- 
mented by  the  excellent  Netherlandish  artist  The  very  delicate 
head  of  the  Virgin  is  here  more  individual  and  warmer  in  colour. 
The  manner  in  which  she  kneels  on  the  chair  is  quite  the  same  as 
in  Roger  van  der  Weyden  the  elder's  beautiful  picture  in  Munich, 
which  proves  that  he  merely  adopted  this  motive.  The  space  of 
the  room,  which  is  in  the  Norman  Gothic  features  in  style,  with 
windows  of  silver  turned  black,  is  well  expressed.  The  border 
surpasses  all  in  richness.  In  the  comers,  with  frameworks  of 
Gothic  form,  and  in  a  circle  in  the  centre  of  the  outer  side,  are 
singing  angels.  In  four  other  spaces  four  prophets,  in  lively 
inspired  action,  three  of  them  with  mottoes.     Finally,  a  naked 

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78  OXFORD— BODLEIAN.  Letter  XXIV. 

child  and  birds.  P.  52  a,  the  Visitation.  Here  commences  a 
new  but  also  excellent  Netherlandish  hand.  The  Virgin  and 
Elizabeth  are  of  slender  forms,  with  the  beautiful  heads  very 
individual  in  character,  and  the  folds  of  the  drapery  very  much 
made  out  in  detail.  The  rocks  in  the  landscape  background  have 
the  conventional  Byzantine  form  ;  otherwise  the  landscape,  in- 
cluding the  sky,  is  already  tolerably  developed.  On  the  rich 
border,  by  the  first  Netherlandish  hand,  are  a  falcon,  a  duck,  and 
three  baskets  of  flowers — a  striking  proof  how  far  the  realistic 
tendency  in  such  subjects  had  already  progressed  in  the  Nether- 
lands. P.  63  a,  by  the  same  hand,  the  Nativity.  The  Child, 
which  is  of  full  forms,  is  resting  upon  cherubim,  which  is  new  to 
me.  Behind  the  Virgin,  whose  cheeks  are  delicately  coloured,  is 
Joseph,  in  speaking  gestures  of  astonishment.  In  the  heavens, 
upon  red  cherubim,  is  the  Almighty,  as  a  white-bearded  old  man ; 
in  the  left  hand  the  golden  globe,  with  the  right  pointing  to  the 
Infant  The  inscription,  "  Hie  est  filius  mens  dilectus,  &c.,"  shows 
the  meaning.  In  the  border,  as  above  described,  singing  angels. 
The  expression  of  the  one  below,  with  a  delicate  profile,  looking 
upwards  full  of  longing  and  humility,  is  quite  admirable.  Next 
him  are  shepherds  in  excellent  actioa  P.  68  b,  the  Annunciation 
to  the  Shepherds,  by  the  former  hand,  and  of  great  animation. 
In  the  circular  projection  are  seraphim,  one  of  them  soaring  down 
with  a  scroll,  on  which  are  the  words  '^  Indicabo  vobis  gaudium 
magnum."  The  landscape  contains  rocks  similar  to  the  last,  but 
the  attempt  to  render  the  light  of  dawn  is  remarkable.  In  the 
lateral  border  are  two  other  shepherds  of  good  action.  Below, 
a  youth  crowned  with  flowers,  lying  in  the  lap  of  his  beautiful 
mistress ;  also  a  well-executed  dog,  and  some  less  successful  sheep. 
In  the  comer  another  man  with  a  wreath,  weaving  a  chaplet 
P.  72  b,  the  Adoration  of  the  Kings,  by  the  same  hand.  The 
Virgin  highly  delicate  and  noble  in  the  expression  of  humility. 
'  The  Child  of  soft  full  forms.  The  vessels  containing  the  gifts 
and  the  crowns  are  of  gold.  In  the  border  above  are  two  prophets 
with  scrolls ;  one  of  them,  who  is  pointing  to  the  Adoration  of  the 
Kings,  is  very  noble.  Below  are  the  kings  on  horseback ;  the  last 
of  them  youthful  and  very  beautiful  Behind  him,  as  an  indication 
of  the  journey,  a  camel  P.  76  b,  the  Presentation  in  the  Temple, 
by  the  same  hand ;  Simeon  is  stretching  out  his  hands,  which  are 
covered  with  his  robe,  to  receive  the  Child.    Also  the  yoimg 

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Letter  XXIV.  NETHERLANDISH  MSS.  79 

maidens  with  doves,  which  occur  in  pictures  of  the  Van  Eyck 
school,  appear  ahready  here.     Upon  the  border  are  three  naked 
children  of  full  forms  and  good  action,  the  lowest  of  which  is 
shooting  with  a  blunt  arrow  at  swans  and  ducks  in  a  silver  pond 
below.     Other  birds  occur.     P.  80  b,  the   Hight  into  Egypt, 
with  a  landscape  as  above,  by  the  same  hand.     In  the  border,  and 
of  great  significance,  is  the  figure  of  Herod  enthroned,  giving  the 
order  for  the  murder  of  the  Innocents ;  below,  two  soldiers  in  the 
armour  of  the  time,  each  killing  a  child ;  finaUy,  two  mothers 
lower  down,  one  of  whom,  with  lively  gestures  and  touching  ex- 
pression of  sorrow,  is  bewailing  the  dead  child  on  her  lap,  the 
other  anxiously  looking  back  and  endeavouring  to  escape  with 
her  children.     P.  105  a.  At  the  beginning  of  the  litanies  is  a 
procession  of  the  same  colour  as  the  three  following  pictures,  very 
delicately  drawn  with  the  point  of  the  brush,  and  shaded  in  Indian 
ink.     Notwithstanding  this  different  treatment,  they  appear  to  me 
in  motives,  feeling,  and  heads,  to  proceed  from  the  same  hand  as 
the  last  pictures.     Below,  the  Pope,  the  Cardinals,  and  others  are 
seen  coming  out  of  a  church.    Then  the  same  Pope  kneeling, 
entreating  the  Divine  aid  in  the  time  of  pestilence,  which  is  shown 
by  the  dead  bodies  around.     Before  him  two  priests  with  banners ; 
behind  these,  priests  and  laity,  in  actions  of  great  freedom,  variety, 
and  beauty.     That  the  prayers  are  not  in  vain  is  shown  by  the 
avenging  angel  of  the  Lord  upon  a  roof  of  a  building  opposite, 
who  is  sheathing  his  sword.    Pp.  108  b  and  109  a  contain  a  long 
procession  from  one  church  to  another,  nmning  through  two  pages. 
Four  priests  carry  the  tabernacle ;  some  of  the  heads  of  the  eccle- 
siastics are  very  dignified.     The  singing  is  expressed  with  a  truth 
not  surpassed  by  Luca  della  Robbia.     P.  110  a,  a  smaller  pro- 
cession of  disguised  figures  scourging   themselves;  behind  are 
palm-trees.     P.  Ill  a,  the  Crucifixion ;  very  nobly  conceived  at 
the  moment  of  death,  although  the  figure  is  too  long  in  the  pro- 
portions.    The  expression  of  grief  in  the  fainting  Virgin,  who  is 
sust^ed  by  St.  John,  a  very  dignified  figure,  is  of  a  depth  and 
beauty  which  recalls  Correggio's  picture  in  the  National  Gallery. 
On  the  other  side  of  the  picture  are  the  guards.     Below,  on  the 
border,  is  St  Helena  in  light  red  robe  of  soft  and  beautiful  folds, 
directing  two  figures  to  dig  for  the  true  cross.     P.  123  a.  The 
Virgin  enthroned,  nursing  the  Child.    Above,  an  angel  with  the 
crown ;  at  the  sides  two  others.    The  ground  consists  of  a  crimson 

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80  OXFORD— BODLEIAN.  Letter  XXIV. 

tapestry,  with  very  delicate  acanthus -like  designs,  producing  a  rich 
and  tasteful  effect.  On  the  border  a  scroll,  on  which  is  "  Ave 
Maria,"  and  four  angels  playing  on  musical  instruments,  one  of 
whom  below  has  a  childlike  and  inspired  expression  which  is  per- 
fectly enchanting.  This  is  by  the  first  Netherlandish  hand.  P.  128  b, 
by  the  same  hand,  the  very  simply-treated  Last  Judgment 
Christ,  in  a  light  crimson  mantle,  is  turning  to  the  Blessed  and 
beckoning  them  to  him,  while  he  turns  away  from  the  Condemned ; 
this  motive  is  very  delicate  and  speaking.  The  Virgin,  in  a  violet- 
white  robe,  is  exceedingly  tender.  Besides  St.  John  the  Baptist 
there  are  two  angels  blowing  trumpets,  a  seraph,  and  two  figures 
rising  from  the  dead,  whose  naked  bodies  are  of  full  forms.  Upon 
the  border,  angels  with  the  instruments  of  martyrdom.  P.  129  a, 
St.  Michael  overcoming  the  Dragon ;  p.  130,  St.  Peter;  p.  131  a, 
the  Conversion  of  St.  Paul ;  and  p.  132  a,  St.  Andrew,  are  tamer 
in  motives  and  gaudier  in  colour,  and  are  the  work  of  the  French 
hand.  The  same  may  be  said  of  St.  John  the  Evangelist,  in 
whose  pale  and  noble  features,  however,  the  expression  of  religious 
yearning  is  admirable.  But  the  first  Netherlandish  hand  returns 
in  the  Stoning  of  St.  Stephen,  p.  134,  and  in  the  beheading  of 
St.  Denys,  p.  135  a.  St.  Nicholas  and  the  three  children  in  the 
tub,  p.  136  b ;  St.  Martin  of  Tours,  p.  137 ;  St  Anthony  the 
Abbot,  p.  138  a,  and  Mary  Magdalen,  of  great  delicacy,  are  by 
the  French  hand.  On  the  other  hand,  the  Martyrdom  of  St. 
Catherine,  which  ends  the  work,  is  by  the  first  Netherlandish 
hand. 

A  Prayer-book  (BodL  auct  D  infra,  2, 13),  large  octavo,  written 
in  one  column  in  a  large  and  full  minuscule  letter,  and  once  in  the 
possession  of  Queen  Mary,  daughter  of  Henry  VIII.,  but  presented 
to  the  library  in  1615  by  Richard  Conort  Judging  fi^m  the  many 
English  local  saints,  such  as  St.  Guthlac,  St.  Dimstan,  &c.,  in  the 
otherwise  almost  unomamented  calendar,  and  also  from  the  bor- 
ders, which  only  occur  on  the  same  page  with  a  picture  and  on 
the  page  opposite,  and  which  are  very  peculiar,  and  for  the  time — 
1460-1470 — very  old-fashioned,  there  is  little  doubt  that  it  was 
executed  in  England.  At  the  same  time  it  is  certain  that  the 
chiaroscuro  pictures  before  each  prayer,  and  occupying  each  a 
whole  page,  were  executed  by  two  excellent  Netherlandish  minia- 
ture-painters of  the  school  of  Van  Eyck,  and  under  the  strong 
influence  of  Roger  Van  der  Weyden  the  elder.     The  folds  of  the 

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Lettbb  XXIV.  NETHERLANDISH  MSS.  81 

<lraperies  have  stiff,  paper-like  breaks,  and  the  architectural  acces- 
sories are  throughout  Romanesque.  1.  Christ  in  the  act  of  bless- 
ing, standing  with  the  globe,  in  a  building.  2.  The  Transfigura- 
tion— the  Almighty  above  with  the  triple  papal  crown,  blessing 
the  Son.  3.  John  the  Baptist  in  the  desert  Here  the  space  is 
dark  green,  the  sky  dark  blue.  4.  The  Death  of  Thomaa  a  Becket 
5.  The  fight  of  St  George  and  the  Dragon,  with  the  Princess  in 
the  pointed  sugarloaf-ehaped  cap.  6.  St.  Christopher  with  the 
Child  7.  St  Anna  with  the  Virgin  and  the  Child  before  her. 
8.  Mary  Magdalen.  9.  St  Catherine  10.  St  Barbara.  11.  St 
Margaret  12.  Christ  on  the  Mount  of  Olivea  On  the  opposite 
page,  by  the  second  Netherlandish  hand,  which  is  more  decided 
but  also  harder  in  the  forms  and  darker  in  the  Indian  ink,  is  the 
Annunciation  in  a  large  D,  a  very  good  representation  :  the  other 
small  pictures  in  initials  are  also  by  the  same  hand.  13.  The 
Betrayal  of  Christ  On  the  page  opposite,  in  a  D,  the  Visitation : 
the  next  picture  is  cut  out  14.  The  Flagellatioa  On  the  page 
opposite,  in  a  D,  the  Annunciation  to  the  Shepherda  15.  The 
procession  to  Calvary.  On  the  opposite  page  the  Adoration  of 
the  Kings.  16.  The  Crucifixioa  The  action  of  the  fainting 
Virgin  is  admirable.  On  the  opposite  page,  in  a  T,  the  Presenta- 
tion in  the  Templa  1 7.  The  Descent  from  the  Crosa  On  the 
opposite  page,  in  a  D,  the  Murder  of  the  Innocents.  18.  The 
Entombment  Both  in  the  composition  and  in  the  heads,  of  great 
merit.  On  the  opposite  page,  in  a  C,  the  Flight  into  Egypt.  19. 
The  Virgin  with  the  Child  in  a  building.  20.  The  Last  Judg- 
ment 21.  The  Office  for  the  Dead.  22.  The  half  globe  with 
the  cross  upon  it  as  the  sign  of  atonement,  in  explanation  of  the 
words  of  the  text,  "  Incipiunt  commendationes  animarum."  Above, 
as  the  consequence,  five  souls  in  the  form  of  infants,  two  of  which 
are  being  borne  up  to  the  Almighty  in  a  cloth.  23.  The  Mass  of 
St  Gregory.     24.  St  Jerome  in  his  cell 

Les  Miracles  de  la  Vierge  (Douce,  No.  274),  folio,  120  leaves, 
written  in  one  column  with  a  very  full  Netherlandish  minuscule 
letter,  with  numerous  very  careful,  well-executed  pictures  in 
chiaroscuro,  of  the  fully-developed  style  of  the  Van  Eyck  school 
ITiese  are,  however,  of  inferior  artistic  value,  namely,  very  empty 
in  the  heads.  I  should  therefore  not  have  mentioned  this  MS. 
were  it  not  for  the  portrait  of  Philip  the  Good,  Duke  of  Bur- 
gundy, kneeling  before  the  enthroned  Virgin  and  Child,  and  pre- 

VOL.  III.  o 

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82  OXFORD— BODLEIAN.  Letteb  XXIV. 

sented  to  her  by  St  Andrew.  This  is  on  the  first  page.  Two 
angels  are  supporting  the  hangings  of  the  canopy,  which  is  worked 
with  pearls ;  another  carries  the  complete  armorial  bearings  of  this 
prince,  for  whom,  judging  from  the  style  of  art  and  the  date, — about 
1460, — this  MS.  may  have  been  executed.  This  forms,  therefore, 
a  fresh  addition  to  the  rich  and  well-known  library  which  belonged 
to  this  prince. 

Seyen  diflPerent  treatises  of  religious  and  moral  import  (Douce, 
No.  365),  folio,  267  leaves,  written  in  one  column  in  a  full  Nethw- 
landish  minuscule  letter,  according  to  a  notice  at  the  end  by 
order  ^^de  dame  Marguerite  de  York,  Duchesse  de  Borgogne, 
par  David  Aubert,  son  Secretaire  indigne,"  in  the  year  1475, 
therefcMre  three  years  before  the  death  of  her  husband,  Charles  the 
Bold.  A  small  number  of  pictiures,  executed  in  chiaroscuro,  in 
the  developed  form  of  the  Van  Eyck  school,  are  remarkable  both 
for  artistic  merit  and  for  the  singularity  of  the  subject  The 
somewhat  long  and  narrow  folds  have  sharp  breaks.  At  the  head 
of  the  first  treatise,  superscribed  "  L'Abbaye  de  St.  Esprit,"  are 
four  gracefril  female  figures  as  a  frontispiece,  with  the  inscription 
**  Verite,  amour  de  puret^,  humilite,  pourete"  (sie).  At  the  head 
of  the  second  treatise,  by  Peter  Van  Luxenberg,  p.  17  a,  who 
sent  this  to  his  sister,  are  seen  the  figures  of  himself  and  his 
sister  conversing  in  a  room.  Above  the  treatise,  "Les  douze 
fleurs  de  tribulation."  P.  115  shows  the  Duchess  Margaret  kneel- 
ing before  a  jricture  of  the  Virgin,  accompanied  by  her  ladies  of 
honour  and  one  young  man.  Here  the  flesh  portions  and  the 
draperies  are  highly  coloured :  the  Romanesque  church,  in  which 
the  scene  is  placed,  is  most  delicately  executed.  At  the  begin- 
ning of  a  treatise  by  Seneca,  translated  mto  French  by  order  of 
Philip  the  Good,  p.  155  a,  appears  the  translator  in  the  fore- 
ground, receiving  the  treatise  fix)m  Seneca,  and  in  the  background 
delivering  his  translation  to  the  Duke.  The  borders  of  this  pic- 
ture only  are  ornamented,  retiuning  still  the  old  style  with  flowers 
and  strawberries  mixed  in  the  later  style,  but  of  somewhat  rude 
execution. 

A  Prayer-book  (Douce,  219-220),  duodecimo,  in  two  volumes, 
with  very  broad  borders,  written  in  one  column  witß  a  full  Nether- 
landish minuscule  letter,  about  the  date  1480,  and,  as  appears 
fix)m  the  golden  fleece  in  the  armorial  bearings,  for  a  person  of 
great  conmderation.    This  work  exhibits  not  only  the  school  of 

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Letteb  XXIV.  NETHERLANDISH  MSS.  83 

Van  Eyck  in  that  most  refined  stage  of  development  which  is  pre- 
sented to  us  in  the  pictures  of  Memling,  but  takes  us  beyond  the 
circle  of  moral  religious  subjects  into  the  land  of  chivalry,  trou- 
badours, sports,  &c.  The  larger  pictures  chiefly  head  the  different 
prayers,  and  show  in  the  whole  conception  of  the  subject,  in  the 
refined  grey  tone  of  the  shadows,  and  in  the  paleness  of  the  lights, 
so  much  affinity  with  the  pictures  in  the  celebrated  Breviary  in  St. 
Mark's  Library  at  Venice,  that  they  are  decidedly  by  the  same  hand. 
On  the  pages  where  pictures  occur,  the  borders  are  ornamented  with 
graceful  flowers  and  fruits,  with  pearls  and  precious  stones,  and  occa- 
sionally medals,  with  the  utmost  delicacy.  The  other  borders  are 
of  an  earlier  style,  and  contain,  generally,  graceful  birds,  one  of  which 
is  holding  the  armorial  bearings  of  the  patron  of  the  book :  occasion- 
ally also  the  borders  be^  with  the  letter  e  in  gold  or  silver,  which 
also  occurs  frequently  elsewhere,  and  refers  doubtless  to  the  name  of 
the  patron.  The  first  picture  of  the  first  volume,  containing  220 
leaves,  which  is  unfortunately  somewhat  obliterated,  represents  St 
Veronica  with  the  cloth  ;  the  next  following,  the  Virgin  and  Child, 
of  singular  delicacy.  The  expression  of  sorrowful  devotion  in  the 
head  of  the  Virgin  is  marvellous :  the  beautiful  Child  is  tenderly 
modelled  from  nature.  Also  the  Martyrdom  of  St  Sebastian  is  a 
highly  animated  and  excellent  representation :  the  same  may  be 
said  of  the  numerous  saints  which  ensue.  Many  of  the  borders 
are,  however,  decorated  with  the  most  spirited  representations  of 
secular  subjects  by  another  and  not  less  skilful  hand,  which  is  very 
warm  in  the  flesh  tones.  Thus  the  first  represents  a  beautiful 
maiden,  before  whom  knights  are  kneeling — a  delicate,  natural, 
and  speaking  representation :  also  a  fowl  of  surprising  truth,  of 
nature.  Not  less  beautiful  are  single  figures  of  huntsmen  with 
falcons  and  dogs,  which  often  occur  on  the  lower  borders.  Christ 
on  the  Mount  of  Olives  and  the  Betrayal  are  conceived  as  night 
scenes  with  great  truth  of  lighting.  Again,  on  the  borders,  is  a 
knight  presenting  a  lady  in  gold  brocade  with  a  large  and  beau- 
tiful bird,  and  two  girls  with  a  dead  golden  bird,  are  very  pleasing. 
Below  are  the  armorial  bearings  with  a  crowned  helmet  and  the 
golden  fleece. ,  At  the  end  is  Chastity,  represented  as  a  maiden, 
with  a  monkey  holding  a  unicorn  with  a  blue  covering,  on  which 
is  the  e  in  gold.  By  the  same  hand  to  which  the  borders  belong 
now  appears  a  picture  occupying  a  whole  page  with  tournaments 
of  animals  and  wild  men,  a  monkey,  &c.,  of  much  humour  and 

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84  OXFORD— BODLEIAN.  Letter  XXIV. 

great  delicacy  of  execution.  Below  is  the  Nativity,  and  again  the 
armorial  bearings  supported  by  two  angels.  The  Adoration  of  the 
Kings  is  particularly  harmonious  in  colouring,  and  sofk  in  execution. 
The  last  picture  in  this  first  volume  agrees  essentially,  even  as 
regards  the  choice  of  colours  and  the  Romanesque  chiu^h,  with  the 
beautiful  picture  by  Roger  van  der  Weyden  the  elder,  in  the  gal- 
lery at  Munich,  there  erroneously  attributed  to  Jan  Van  Eyck. 

The  first  picture  in  the  second  volume,  containing  283  leaves, 
represent  the  horsemen  sent  by  Herod  in  pursuit  of  the  Child, 
who  are  interrogating  a  countryman.  The  landscape  is  here  of 
uncommon  beauty,  and  highly  finished.  On  the  opposite  page  is 
the  Flight  into  Egypt,  with  the  idols  falling  down  before  the 
approach  of  the  Child ;  a  little  picture  of  such  delicacy  that  it 
seems  only  breathed  upon  the  parchment  In  the  Death  of  the 
Virgin  on  a  rose-coloured  bed,  and  in  the  Coronation  of  the 
Virgin,  the  delicacy  of  the  aerial  perspective  is  surprismg.  Highly 
poetic  is  the  frontispiece  to  the  psalm,  "  De  profiindis,"  &c.  Bang 
David  in  golden  armour  sleeping  in  a  crimson  tent.  The  exprea- 
sion  of  care  in  his  head  is  incomparaUe.  In  the  tent  are  two 
guards.  The  last  picture,  an  Entombment,  is  worthy  of  a  great 
master  in  dignified  arrangement,  admirable  keeping,  and  indi- 
vidual heads ;  it  is  one  of  the  best.  On  the  border  are  eight 
admirably  executed  Death's  heads,  and  a  scroll  with  the  words 
"  ce  sera  moy."  Towards  the  end  are  the  arms  again.  This  is 
in  every  respect  a  relic  of  the  highest  class,  and  fortunately  in 
excellent  preservation. 

A  Prayer-book  (Douce,  No.  112),  large  octavo,  169  leaves, 
written  in  one  column  in  a  beautiful  minuscule  letter,  the  date 
doubtless  between  1490-1500.  In  the  53  pictures  which  the 
book  contains,  two  hands  may  be  distinguished.  One  of  them — a 
very  skilful  hand — shows  the  strong  influence  of  Roger  van  der 
Weyden  the  elder,  and  of  his  scholar  Memling ;  but,  judging 
from  the  authentic  miniatures  by  this  latter  in  the  Breviary  of  Car- 
dinal Grimani,  in  St.  Mark's  Library,  Venice,  it  is  not  able  enough 
to  be  mistaken  for  his.  The  title-page  is  by  the  first  hand :  it 
contains  the  head  of  Christ,  and  the  opening  prayer.  The  figures 
in  the  border  are  especially  animated,  the  painting  tender  and 
masterly.  Above  is  Pilate  about  to  wash  his  hands  ;  below,  the 
same  in  prayer  before  the  face  of  Christ,  which  St.  Veronica,  also 
kneeling,  holds  before  him.     On  the  opposite  page,  surrounding 

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Letter  XXIV.  NETHERLANDISH  MSS,  85 

the  text  as  a  border,  is  the  siege  of  Jerusalem,  by  the  other  and 
inferior  hand.  In  front  is  Titus  as  a  knight ;  the  double  eagle 
upon  his  coat  of  mail.  Field-pieces  are  also  here.  Most  of  the 
pictures  are  by  this  hand.  By  the  first  hand  are  only  the  Descent 
of  the  Holy  Ghost ;  Moses  receiving  the  Tables  of  the  Law  ;  the 
building  of  the  Tower  of  Babel  on  the  opposite  page ;  the  Virgin 
and  Child,  a  large  picture ;  and  St  Barbara.  In  the  oflSce  of  the 
Virgin  on  the  opposite  page  are  several  kneeling  figures,  among 
them  a  man  and  a  woman  in  splendid  dresses,  doubtless  the 
patrons  of  the  book,  though  there  are  no  armorial  bearings  in  the 
book.  In  the  centre,  heading  each  portion,  is  a  picture,  and  a 
border  with  appropriate  figures  around.  At  the  Passion,  accord- 
ing to  the  Gospel  of  St  John,  is  a  picture  occupying  the  whole 
page,  and  on  the  border  below  the  guards  falling  prostrate  before 
Christ,  and  the  taking  of  Christ.  All  the  other  pages  have  outer 
side  borders,  the  height  of  the  column  of  the  text,  in  dead  gold, 
with  flowers,  insects,  and  strawberries  upon  it  In  some  the 
ground-colour  is  different ;  for  instance,  grey.  The  lights  of  the 
plants  are  heightened  with  white,  the  hatched  shadows  are  in 
browa  Some  of  the  borders  have  arabesques  in  the  Italian  taste, 
as  for  instance  at  the  beginning  of  the  Gospel  of  St.  Luke ;  or  in 
the  French  taste,  being  combined  with  jewels  and  pearls,  and 
flowers.  This  beautiful  MS.  was  once  in  the  possession  of  Mary 
of  Medicis,  Queen  of  France,  and  was  purchased  by  Mr.  Douce  of 
G.  Fochem,  a  Cathohc  priest  at  Cologne,  who  has  written  his 
name  and  the  date  1813  in  three  different  places. 

A  Prayer-book  (Douce,  No.  223,  select.),  small  octavo,  196 
leaves  of  the  finest  parchment ;  a  fiill  minuscule  letter  in  one 
column  with  a  wide  border,  written  about  1500.  In  the  printed 
calendar  at  the  beginning  are  St.  Bavon,  and  other  Netherlandish 
saints.  This  is  in  every  respect  a  specimen  of  the  finest  kind. 
One  of  the  two  which  have  obviously  been  engaged  upon  it 
shows  much  affinity  with  the  miniatures  attributed  to  Lievin  of 
Antwerp,  in  the  often-quoted  Breviary  in  St.  Mark's  Library.  The 
other  hand  also,  though  more  realistic  and  less  delicate,  is  very 
excellent,  and  warmer  in  colouring.  In  the  exceedingly  delicate 
border  decorations,  besides  the  usual  fruits  and  flowers,  occur 
acanthus  tendrils — white  or  golden — of  admirable  execution.  By 
the  first-named  hand  are  St  Veronica  with  the  cloth ;  very  delicate 
and  tender.  St.  Anthony  and  St  Paul ;  here  much  stress  is  laid  upon 

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86  OXFORD— BODLEIAN.  Letosb  XXIV. 

the  pleasing  landscape.  St  Catherine  standing  upon  a  king ;  a 
slender  figure,  with  a  small  head  of  the  utmost  delicacy.  St  Bar- 
bara about  to  be  beheaded.  St.  ApoUom'a  standing  on  a  table. 
The  Assumption  of  the  Virgin,  with  8  angels  dressed  in  white 
of  the  greatest  delicacy.  By  the  other  hand  are  the  Descent  of 
the  Holy  Ghost,  of  very  dramatic  conception;  the  Adoration  of 
the  Shepherds ;  David  repentant,  which  is  less  successful ;  and  the 
OflSce  for  the  Dead. 

English  Mikiatubes. 

An  Evangeliarium  (Bodl.  Auct.  D  2,  19),  large  quarto,  169 
leaves,  written  in  one  column  in  a  very  powerful  Anglo-Saxon  cha- 
racter, with  an  Anglo-Saxon  translation  between  the  lines  in  very 
small  minuscule  letters.  This  MS.,  which  is  known  by  the  name 
of  "  the  Rushworth  Book,"  possesses  an  abundance  of  pictures  of 
very  secondary  artistic  merit ;  it  belongs  to  the  8th  century,  and 
shows  the  most  decided  imitation  of  Irish  art  While,  however, 
most  of  the  fiaces,  though  very  barbarous,  are  not  so  entirely  arbitrary 
and  arabesque  in  treatment,  they  partake  of  the  same  precision  of 
execution  and  delicacy  of  border  and  initial.  The  prevailing  colours 
are  a  golden  yellow,  a  vermilion,  a  black,  and  that  transparent 
crimson  which  is  peculiar  to  the  English  and  Irish  miniatures, 
though  often  laid  on  thick.  Of  the  representations  of  the  Evan- 
gelists at  the  head  of  each  Gospel,  St.  Matthew  has  evidently  been 
lost.  The  pages  on  which  the  commencement  of  the  Gospels  occurs 
are  richly  adorned,  both  borders  and  initials,  with  delicate  flourishes 
and  dragons.  The  ground  of  the  latter  is  always  black.  On 
p.  1  a,  preceding  St.  Matthew,  the  ornamented  letters  extend  from 
the  beginning  to  the  word  Abraham  exclusive  ;  at  one  comer  are 
two  Inrds'  heads ;  on  the  upper  border  a  rude  humcm  head  seen  in 
front,  and  two  in  profile.  Here  and  there  occur  some  undecidedly 
drawn  spiral  lines.  P.  51  contains  St.  Mark ;  his  face  is  very 
homely  and  unartistic.  He  is  holding  a  book  in  his  very  small 
hands,  which  are  only  indicated  in  outlines.  From  the  confused 
mass  of  yellow,  green,  vermilion,  and  crimson  stripes  which  con- 
stitute the  robe,  project  his  little  feet.  Above  his  head  is  a 
childish  lion.  P.  84  a,  St  Luke,  the  representation  of  whom 
is  incomparably  more  arbitrary  and  rude,  after  the  fashion  of  the 
Irish  miniatures.  Above  him,  though  scarcely  to  be  recognised 
as  such,  is  the  ox.  P.  126  a,  St.  John,  more  in  the  style  of  St 
Mark.    Above  him  the  eagle.     From  p.  166  b  to  the  end  are 


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Lettkb  XXIV.  ENGLISH  MSS.  87 

tolerably  simple  border  decorations,  flourishes,  with  lozenge  and 
dice-like  foims. 

A  Psalter  (Douce,  No.  59),  small  folio,  154  leaves,  throughout 
in  crimson  with  a  delicate  gold  minuscule  letter,  in  one  column ; 
written  within  the  first  ten  years  of  the  9th  century,  and  in  my 
opinion  in  England ;  a  remarkable  proof  that  at  this  early  period 
there  existed  in  this  country,  besides  the  fully  developed  style  of  the 
Irish  miniatures,  also  that  which  was  in  vogue  in  the  contemporary 
miniatures  of  the  Frankish  monarchy,  consisting  of  solid  body- 
colours  laid  on  in  a  broad  manner  with  tiie  brush,  a  method 
derived  from  the  practice  of  antique  art.  P.  4  a  contains  a 
beautiful  B,  of  thick  vermilion  outlines  with  golden  flourishes, 
and  thick  white  dots  in  the  crimson  fillings  out.  'Phis  is  within  a 
vermilion  framework  with  golden  designs,  and  four  fleurs-de-lis  at 
the  comers.  P.  51  b  represents  in  a  similar  framework  King 
David  enthroned,  in  a  red  robe ;  his  sword  in  the  right  hand. 
Before  him,  in  the  attitude  of  entreaty,  Nathan  the  prophet,  in 
antique  costume,  with  bare  feet,  pointing  out  to  him  in  great  agi- 
tation the  hand  of  the  Almighty  above,  directed  towards  him. 
Upon  the  sleeve  of  the  arm  are  those  fluttering  forms  which  I 
have  hitherto  met  with  in  English  miniatures  only. ,  Under  the 
footstool  of  the  king  is  the  prostrate  and  apparentiy  dead  figure 
of  a  man ;  meant  perhaps  for  Uriah.  On  ihe  opposite  page^ 
similarly  enframed,  is  a  Q,  in  the  taste  of  the  B  above  mentioned, 
only  more  simply  treated.  P.  101  contains,  according  to  Deuce's 
printed  catalogue,  another  picture,  which  escaped  my  notice. 

Leofrist's  Missal  (Bodl.,  No.  579).  This  is  the  name  of  a  very 
thick  and  large  folio,  containing  other  works  besides,  and  which, 
fix)m  the  names  of  the  saints,  and  from  other  eridences  derived  by 
Mr.  Johnson  from  the  calendar,  was  decidedly  written  in  England 
between  the  years  959  and  979.  P.  49  b,  the  standing  figure  of 
a  king,  holding  a  scroll,  on  which  are  several  Roman  numbers. 
Excepting  the  blue  mantle,  the  figure  is  only  indicated  by  red 
outlines.  P.  50  contains  a  man  with  the  horns  and  ears  of  a  bull, 
similarly  treated,  and  also  holding  a  scroll  in  his  hand  with  Ro- 
man numbers.  These  figures  agree  so  entirely  in  the  heads,  in 
the  over-long  proportions,  in  the  very  small  feet,  and  in  the  drapery, 
with  the  character  of  the  English  miniatures  as  described  at  the 
beginning  of  my  notice  of  tiiis  department  in  the  British  Museum, 
that  I  have  no  doubt  as  to  their  origin.     From  p.  60  b  to  62  a, 

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88  OXFORD— BODLEIAN.  Lettbb  XXIV. 

a  rich  and  peculiar  ornamentation  occura  The  two  first  exhibit 
a  broad  golden  framework,  such  as  is  usual  with  the  canons,  with 
vermilion  outlines,  and  delicate  white  flourishes  upon  a  black  ground. 
In  the  centre  of  the  first  page  is  a  U,  of  the  same  taste,  with  two 
large  birds'  heads  as  terminations  to  the  forms ;  in  the  centre  of 
the  second  page  are  nine  black  bands,  with  golden  text  upon 
them.  Both  the  others  have  four  squares  in  the  comers  of  the 
framework  of  similar  taste.  In  the  centre  of  the  first  a  T,  termi- 
nating below  in  two  dragons'  heads  stretching  out  red  tongues ;  in 
the  centre  of  the  second  again,  seven  black  bands  with  golden  text. 

The  translation  of  the  book  of  Genesis,  and  of  the  book  of 
Daniel  into  Anglo-Saxon,  by  Caedmon  the  monk  (Junius  XL),  in 
small  folio.  This  exhibits,  both  in  character  and  treatment  of  the 
pictures,  such  an  entire  agreement  with  those  in  the  foregoing 
MS.,  that,  instead  of  placing  it  in  the  11th  century,  as  I  was  in- 
clined, I  feel  myself  constrained  to  assign  to  it  a  contemporary 
period — ^namely,  the  second  half  of  the  10th  century.  The  draw- 
ings, which  are  slightly  executed  with  the  pen,  are  generally  in 
black ;  some,  however,  in  red.  The  picture  of  God  the  Father, 
however,  giving  the  Benediction  according  to  the  rite  of  the  Latin 
Church  (p.  11),  represented  axjcording  to  the  most  ancient  type  of 
Christ,  as  a  young  man,  and  beardless,  is  executed  in  body-colours, 
with  the  shadows  in  the  crimson  dress  and  green  mantle,  which 
are  in  the  antique  taste,  drawn  in  with  thick  black  lines.  The 
light  is  expressed  by  a  lighter  tone.  In  other  pictures  in  this 
book  both  God  the  Father  and  Christ  are  frequently  represented 
bearded,  as  in  the  mosaics.  As  so  often  happens  in  MSS.,  the 
pictures  are  not  carried  through  to  the  end,  but  only  to  p.  88 ; 
after  which,  the  spaces  for  them,  except  that  at  p.  96,  which  is 
begun,  are  left  vacant. 

An  Evangeliarium  (Bodl.,  No.  155),  a  small  folio,  written  in 
one  column  in  a  beautiful  minuscule  letter,  about  1000-1010; 
but  unfortunately  injured  in  text  and  pictures.  P.  93  b,  at  the 
head  of  the  Gospel  of  St.  Luke,  is  a  large  cherub  of  very  long  pro- 
portions, with  six  wings,  holding  a  scroll,  in  which  are  the  words 
'*  Fuit  in  diebus  Herodis,  &c."  The  whole  is  merely  an  outline  with 
hatched  shadows,  in  which  mode  the  very  simple  but  pleasing  head, 
hands,  and  feet  are  rendered ;  the  lower  garment  and  the  scroll 
being  in  a  reddish  colour,  the  rest  in  black.  The  feet  are  resting 
upon  clouds.     P.  146  b,  a  similar  cherub,  though  with  less  beauty 

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Letteb  XXIV.  ENGLISH  MSS.  89 

of  head,  and  feebler  in  the  drawing  of  the  right  hand.  Here  the 
red  drapery  has  that  fluttering  character  I  have  mentioned  befora 
On  the  scroll  are  the  words  "  Credo  vivere  bona,"  &c  These 
figures  are  very  characteristic  of  the  English  art  of  the  period. 

Commentary  upon  the  Apocalypse,  by  Haimo,  Bishop  of  Hal- 
berstadt (BodL,  No.  352),  folio,  150  leaves,  written  in  two  co- 
lumns in  a  full  minuscide  letter  about  the  first  half  of  the  11th 
century.  Judging  from  the  character  of  the  pictures,  this  was 
decidedly  executed  in  Ijigland,  and  contains  some  specimens 
which  are  very  remarkabla  P.  1  b,  St.  Blaise  as  bishop,  pro- 
bably the  patron  of  the  work ;  in  his  left  hand  a  bishop's  crook,  of 
very  ancient  and  simple  form,  with  hid  right  hand  receiving  a 
book  which  the  figure  of  an  ecclesiastic — ^probably  the  amanuensis, 
only  rendered  in  outline  and  very  small — is  presenting  to  him. 
Above  the  latter  is  the  name  "  Rudolphus."  The  whole  art  is 
very  rude ;  the  proportions  very  long ;  the  oval  of  the  heads  the 
sama  The  coarse  outlines  in  the  bishop  agree  with  the  thick 
coating  of  yellow,  red,  and  black.  The  framework  of  the  border 
consists  of  a  coarse  vermilion  flourish  with  black  fillings,  in  which, 
as  in  other  respects,  the  influence  of  Irish  art  is  discernible.  Above, 
on  this  page,  are  the  words  "  Accipies  digne  Blasi  sacer  atque 
benigne."  From  p  4  b  to  14  a,  ensue  pictures  somewhat  less 
rude,  and  of  a  later  character.  The  outlines  are  drawn  in  black 
with  a  ihin  pen ;  the  colours,  excepting  the  red,  are  broken  with 
lighter  tints ;  all  the  heads  are  of  the  same  unartistic  type ;  the 
grounds  generally  coloured,  green  and  crimson.  The  first  picture 
represents  the  Descent  of  the  Holy  Ghost.  Above  is  the  hand 
of  the  Almighty  upon  a  golden  object  like  a  great  T,  signifying 
either  the  beam  of  the  scales,  or  the  cross  -  all  within  a  red  almond- 
shaped  glory,  supported  by  two  angels.  From  light-coloured  tufts, 
intended  for  clouds,  are  seen  issuing  thick  red  staves,  signi- 
fying the  tongue-shaped  flames  of  the  Holy  Ghost,  directed  upon 
the  Aposties.  The  Virgin  is  not  present  here.  P.  5  a  is  by  an- 
other hand,  with  a  type  of  head  longer,  but  less  empty  and 
unartistic  ;  above,  Christ  in  the  almond-shaped  glory — a  very  tall 
figure  with  a  small  head ;  from  each  side  of  the  mouth  a  black 
sword,  with  the  right  hand  giving  the  Benediction  according  to  the 
Latin  rite ;  in  the  left  the  Book  of  Life.  In  the  border  of  the  glory, 
"  Ego  sum  A  et  ß,  principium  et  finis,"  &c.  Next  to  this  two 
cherubim ;  then  other  angels  with  gestures  of  homage.     In  the 


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90  OXFORD— BODLEIAN.  Letter  XXIV. 

centre,  St.  John  at  the  feet  of  Christ ;  and  the  same  a^ain  before 
a  one-footed  desk,  with  the  inscription  "  Quid  vides,  scribe."  Again, 
below,  the  same  with  a  golden  nimbus,  and  two  bishops  with 
yellow  ones,  and  mitres  of  the  lowest  form,  depressed  in  the  centre. 
From  p.  13  b  ensue  the  scenes  of  the  Apocalypse,  which  are  as 
lame  in  motive  as  they  are  rude  and  mechanical  in  execution.  The 
helmets  have  the  form  of  pointed  caps,  as  in  the  tapestry  at  Bayeux. 

A  Psalter  (Douce,  No.  296)  and  different  prayers ;  small  foUo, 
written  in  one  column  with  a  beautiful  minuscule  letter,  about  the 
time  of  Edward  the  Confessor,  therefore  between  1041  and  1066. 
P.  1  a,  a  vöJry  beautiful  B,  with  golden  limbs  and  flourishes,  with 
fiUings-in  in  the  Romanesque  taste,  in  green,  blue,  and  brown., 
upon  a  ground  of  light  crimson.  The  border  is  ornamented  with  a 
beautiftd  heading,  green  towards  the  inner  side,  and  gold  towards 
the  outer.  P.  40  a,  the  figure  of  Christ,  about  ten  heads  long,  of 
a  bearded  but  very  simple  type ;  in  the  left  hand  the  open  book ; 
in  the  right  a  spear  with  the  cross  above,  with  which  he  is  piercing 
the  jaws  of  a  lion  under  his  right  foot,  while  the  left  is  treading 
on  a  dragon — ^in  reference  to  verse  13  of  the  90th  Psalm.  The 
coat  is  of  orange  and  reddish  colours,  the  light-blue  mantle  with 
white  lights  and  blue  shadows  not  at  all  understood,  the  forms  of 
the  narrow  folds  being  drawn  in  with  black.  On  the  border  a 
simple  golden  rail,  with  coloured  designs  of  good  Romanesque 
taste  upon  a  black  ground.  P.  40  b  exhibits  a  Q,  with  the  tail 
cleverly  formed  of  a  dragon,  with  which  a  knight  of  good  proportion 
and  action  is  fighting  within  the  fillings  of  the  letter. 

Eutex  Grammaticus,  and  other  writings  (BodL  No.  4,  32),  I 
mention  merely  an  account  of  a  very  remarkable  representation  of 
Christ,  which,  according  to  Mr.  Johnson's  opinion,  belongs,  as 
well  as  the  MSL,  to  the  12th  century.  The  figure,  which  is  con- 
ceived in  the  mosaic  type,  is  whole-length,  and  entirely  drawn  with 
the  pen.  With  the  forefinger  of  the  right  hand,  in  which  is  a 
sceptre  indicated  merely  with  a  black  stroke,  he  is  pointing  to  a 
tablet  in  his  left  hand,  doubtless  intended  for  the  Book  of  Life. 
In  the  vermilion  nimbus  is  a  yellow  cross.  The  motive  of  the 
figure,  which  is  of  good  broad  proportions,  is  dignified.  The  folds 
of  the  drapery  in  good  style,  with  only  slight  traces  of  that  flutter- 
ing character  before-mentioned.  Prostrate  at  his  feet,  on  a  small 
scale,  is  St.  Dunstan,  with  something  very  individual  in  profile, 
and  of  speaking  action  of  hands,  with  the  inscription  '^  Dunsta- 

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Lettbb  XXIV.  ENGUSH  MSS.  91 

num  meinst,  clemensrogo  Xste  tuere.  Tenaces  me  non  sinas  sorb- 
81886  procellaa"  An  inscription  above  states  that  the  drawing  and 
text  are  both  by  Dunstan,  who  in  that  case  can  have  nothing  to  do 
with  the  saint  of  this  name  who  lived  in  the  10th  century. 

Commentary  by  St  Jerome  on  the  prophet  Isaiah  (Bodl.,  No. 
717),  folio,  287  leaves,  written  in  one  column  in  a  beautiful 
minuscule  letter,  probably  1170.  In  spite  of  the  prevailing  type 
of  the  faces,  a  praiseworthy  attempt  at  beauty  appears  in  some 
parts.  The  painting  is  chiefly  in  body-colours — vermilion,  green, 
blue,  and  yellow  ;  the  forms  of  the  narrow  folds  chiefly  given  in 
black.  The  feet,  considering  the  period,  are  very  well  drawn, 
the  hands  too  long,  the  eyes  large.  The  body  of  the  initial  is 
of  broad  and  light-coloured  flourishes ;  the  fillings  are  of  powerful 
colours,  chiefly  red,  blue,  and  green.  Here  also  the  dragon 
ornament  is  seen  in  great  power  and  beauty.  The  architectwal 
accessories  display  reminiscences  of  the  antique,  retained  in  those 
forms  which  they  assumed  in  the  Carlovingian  miniatures.  The 
title-page  represents  Isaiah  enthroned,  taken  quite  in  front,  and 
a  large  scroll  with  his  prophecy — "  Ecce  virgo  condpiet  et  pariet 
filium,  et  vocabitur  Emmanuel " — so  held  that  it  forms  a  half 
circle.  The  proportion  of  the  figure  is  very  long,  the  upper  part  of 
the  head  very  wide,  the  hair  of  a  green  colour.  The  narrow  stripes 
of  the  lower  robe,  which  express  the  folds,  are  also  green.  The  red 
colour  of  the  mantie  is  not  opaque,  so  that  tiie  black  forms  are  seen 
througL  Above  the  prophet  is  an  archivolt,  supported  by  two 
pillars  with  capitals  of  Corinthian  character,  and  within  the  archi- 
volt the  antique  curtains  of  green  colour.  Above  is  the  indication 
of  a  city,  probably  Jerusalem.  On  the  opposite  page,  within  a 
building  of  similar  character,  with  two  archivolts,  is  on  one  side 
the  beardless  St.  Jerome  writing  upon  a  scroll,  which  the  Virgin,  on 
the  other  side,  whose  features  are  delicate  and  pleasing,  is  holding 
before  him.  The  blue  veil  of  the  Virgin  shows  a  Byzantine  in- 
fluence. The  forms  of  the  architecture  are  here  partially  oblite- 
rated. Below  this  picture,  in  vermilion  and  green  capitals, 
**  Incipit  Liber,  &c."  On  the  next  page  a  large  C,  of  very  twisted 
flourishes,  in  the  centre  of  which  is  the  Virgin  enthroned,  and  at 
her  side  Isaiah,  youthfully  conceived,  pointing  prophetically  to 
her,  and  St  Jerome  as  an  old  man,  about  to  write  his  Commentary. 
Below  is  a  male  figure  being  buried  by  two  others  and  by  two 
women ;  above,  a  lion  and  a  monster.     Also  in  capitals,  as  in  the 

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92  OXFORD— BODLEIAN.  Lettek  XXIV. 

foregoing  page,  the  beginning  of  the  prologue.  The  large  V,  on 
p.  2  a,  is  a  magnificent  example  of  the  dragon  ornament.  In  the 
same,  Christ  enthroned,  one  of  the  spectators,  a  bearded  man, 
probably  Isaiah,  pointing  to  him.  Initials  of  less  rich  character  are 
in  the  taste  already  described.  Quite  at  the  end  is  a  small  monk 
in  a  bluish  dress,  of  an  individual  aspect,  his  right  hand  touching 
a  book  with  the  point  of  a  brush,  his  left  dipping  a  pen  into 
an  inkhom.  From  the  inscription  "  Hugo  pictor,"  and  the  writing 
over  the  archivolt  "  Imago  pictoris  et  illuminatoris  hujus  operis," 
it  appears  probable  that  this  little  figure  may  be  one  of  the  oldest 
portraits  of  a  painter  that  has  descended  to  ua 

A  Psalter  (Douce,  No.  366),  folio,  213  leaves,  written  in  a 
large,  powerftd,  and  beautiful  minuscule  letter,  of  admirable  black 
colour,  about  1310-1320.  As  regards  the  origin  of  this  MS  the 
following  inscription,  written  in  vermilion  on  p.  1  a,  gives  some 
light :  "  Psalterium  fratris  Roberti  di  Ormesby,  monachi  Norwyci, 
per  eundem  assignatum  chore  ecclesiaB  ste  Trinitatis  Norwyci  ad 
jacendum  coram  Suppriore,  qui  pro  tempore  fuerit  in  perpetuum." 
That  this  MS.  was  executed  in  Norwich,  the  chief  city  of  Norfolk, 
may  be  gathered,  besides,  from  the  following  remark  written 
in  golden  letters  under  the  24th  September,  in  the  otherwise 
unomamented  calendar :  "  Dedicacio  eclesie  sancte  Trinitatis 
Norwyci."  In  the  year  1654  it  appears  to  have  been  in  the  pos- 
session of  one  *'  A.  Gray."  In  various  respects  this  work  is  one 
of  great  importance  for  the  history  of  painting  in  England.  In 
the  first  place,  the  borders  contain  many  subjects  not  of  an  eccle- 
siastical character,  which  are  of  spirited  invention,  and  often  of 
delightftd  humour,  with  an  uncommon  feeling  for  grace ;  secondly, 
the  painting,  which  is  in  body-colours,  shows  the  same  arrangement 
of  colour  which  prevailed  in  the  Belgian  and  French  MSS.  of  1200- 
1250,  while  the  execution  of  the  pictures  by  the  best  hand  (for 
here  at  least  two  may  be  distinguished)  is  already  far  advanced. 
The  motives,  however,  occasionally  display  that  violent  and  exag- 
gerated character  of  the  Gothic  style,  but  they  are  generally  true 
and  easy  ;  the  proportions  are  slender,  sometimes  too  much  so ;  the 
drapery  of  good  style,  carefully  and  softly  modelled ;  the  colours, 
with  the  exception  of  azure  and  vermilion,  much  broken.  The 
grounds  are  golden,  with  those  dots  and  designs  characteristic  of 
English  art,  or  coloured.  The  decorations  of  the  borders  and  the 
initials  are  remarkable  for  the  very  pecidiar  and  beautiful  arrange- 

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Letter  XXIV.  ENGLISH  MSS.  93 

ment  of  the  flourishes,  for  the  very  harmonious  combination  of  the 
light  broken  colours  with  the  gold,  for  the  deUcate  and  happily- 
chosen  coloured  ornaments,  and  for  the  great  elegance  and  decision 
of  the  technical  process.  The  strong  glutinous  nature  of  the 
colours,  especially  in  the  architectural  portion,  indicates  an  influ- 
ence from  the  Netherlands,  with  which  the  county  of  Norfolk  was 
perhaps  in  more  constant  communication  than  any  other  part  of 
England.  I  proceed  now  to  describe  the  details  more  closely- 
P.  9  b,  the  beginning  of  the  Psalm,  contiuns  in  the  upper  half 
of  the  page  the  words  "  Beatus  vir  qui  non."  The  B  is  a  large 
initial,  the  other  letters  smaU  golden  capitals,  heightened.  In 
the  gold  fillings  of  the  B  is  the  figure  of  Jesse,  surrounded  with 
tendrils,  in  which  are  four  animated  kings  pointing  to  one  another, 
with  their  heads  projecting  above  the  B,  and  Christ,  in  the 
mosaic  type,  crowning  the  Virgin  with  the  right  hand.  In  the 
body  of  the  B,  which  is  formed  of  very  delicate  coloiu'ed  designs, 
are  two  more  kneeling  figures,  and  above  them  the  Annunciation. 
The  rest  of  the  page  is  occupied  by  a  rich  representation  of  the 
stem  of  Jesse.  From  the  sleeping  figure  of  Jesse,  below,  rises  a 
mighty  vine,  in  the  branches  of  which  are  many  figures.  In 
the  centre  of  the  lower  row  is  David ;  at  his  side,  Solomon  and 
another  king ;  and,  finally,  two  prophets  with  scrolls,  above  which 
are  six  more,  all  with  scrolls.  Above  these  are  the  three  Kings ; 
and  in  two  golden  squares,  a  kneeling  bishop  and  a  monk  with 
uplifted  hands,  probably  the  individuals  for  whom  the  MS.  was 
executed.  P.  10  a  contains  again,  above,  the  commencement  of 
the  psalms.  The  body  of  the  B,  which,  with  golden  fillings,  is 
contained  in  a  usual  square  compartment,  is  here  formed  of  a 
delicate  light-coloured  flourish.  The  angles  of  the  squares  are 
ornamented  with  white  designs,  as  tasteful  as  they  are  precise, 
upon  a  ground  of  light  crimson  and  blua  In  the  golden  fillings 
of  the  B  appears  David  as  a  white-bearded  old  man,  with  the  left 
leg  crossed  upon  the  psalter,  which  is  in  the  form  of  a  harp. 
This  is  by  a  very  inferior  hand,  the  modem  style  of  which  inclined 
me  to  assign  this  MS.  to  the  beginning  of  the  14th  century.  The 
face  is  unmeanmg,  the  eyes  only  rendered  with  black  dots,  the  ver- 
milion garment  only  daubed  in,  the  dark-blue  mantle  with  white 
lights  painfully  executed  with  the  minutest  hatchings.  Besides  this, 
the  particular  type  of  head,  which  occurs  in  the  Netherlandish  and 
French  miniatures  of  the  earlier  part  of  the  14th  century,  prevails 

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94  OXFORD— BODLEIAN.  Letter  XXTV. 

here.  P.  38  a,  a  D,  with  King  David  crowned  by  Samuel ;  the 
Almighty  in  the  sky  in  the  mosaic  type  of  Christ.  The  rich  orna- 
mentation of  the  border  combines  in  a  peculiar  degree  all  the  above- 
mentioned  qualities,  and,  in  the  kind  of  pattern  which  forms  the 
flourish,  is  particularly  characteristic  of  English  art  Among  the 
pretty  drolleries  are  some  birds — ^for  instance,  a  falcon  of  wonderful 
truth  of  nature.  P.  55  b,  in  a  D,  Christ  before  Pilate.  The  soft 
forms  and  easy  composition  of  the  slender  figure  of  the  Saviour  are 
very  remarkable.  Below,  on  the  border,  is  a  slender  maiden,  with  a 
unicorn  taking  refuge  in  her  lap,  and  which  is  pierced  by  a  knight : 
an  animated  and  graceful  motive.  P.  89  a,  an  S,  the  body  of 
which,  of  a  tender  grey,  forms  a  dragon,  with  a  large  human  mask 
for  a  head.  In  the  fillings  are  the  prophet  Jonah,  above,  thrown 
into  the  sea ;  and,  below,  cast  out  of  the  whale's  jaws.  At  the 
beginning  of  the  psalm,  "  Salvum  me  fac  Deus ;"  the  border  is 
particularly  beautiful.  P.  109  a,  in  an  E,  in  reference  to  the 
psalm  "Exulto  Deo  ajutori  nostro;"  above,  David  playing  on 
the  bells ;  below,  two  accompanying  him  on  the  harp  and  trumpet 
Among  the  drolleries  of  the  border  is  a  man  throwing  away 
his  sword  and  running  away  from  a  cupbearer;  also,  two  thin 
wrestlers,  with  small  tails.  P.  128  a,  in  the  initial,  in  reference 
to  the  psalm,  "  Cantate  Domino  canticum  novum ;"  a  priest  sing- 
ing the  mass ;  the  head  of  the  Almighty,  in  the  mosaic  type  of 
Christ,  appearing  to  him.  Upon  the  border,  above,  the  truly 
English  cock-fight;  below,  a  knight  fighting  with  a  dragon  with 
five  heads ;  and  again,  below,  by  way  of  parody,  two  hares  fight- 
ing with  sword  and  club,  and  a  dog  sleeping.  P.  131  a,  in  a  D, 
in  reference  to  the  psalm  "  Domine  exaudi  orationem  meam," 
the  kneeling  figure  of  David,  here  youthfully  conceived,  blessed 
by  the  Almighty,  in  the  beardless  but  not  youthful  type  of  Christ 
Upon  the  border,  cat  and  mouse.  P.  147  b,  above,  in  a  V,  the 
countenance  of  Christ  in  the  mosaic  type:  very  serious  and 
dignified.  In  a  large  D,  in  reference  to  the  psalm  "Dixit 
Dominus  mens.  Domino  meo,  sede  a  dextris  meis,"  the  First  and 
Second  Persons  of  the  Trinity  enthroned  beneath  a  Gothic 
building,  both  in  the  mosaic  type  of  Christ,  of  great  beauty,  and 
with  the  hands  raised  in  dignified  expression  Both  figures  are 
attired  alike  in  a  tunic  of  a  broken  blue,  and  a  mantle  of  very  light 
and  broken  crimsoa  In  the  body  of  the  initials,  upon  a  blue  and 
reddish  ground^  the  lozenge-form  so  popular  in  the  first  half  of 

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Lbttbb  XXIV.  ENGLISH  MSS.  95 

the  14th  century.  Upon  the  border,  below,  two  naked  figures 
riding  upon  a  bear  and  a  lion — also,  the  same  animals  fighting. 
Other  pretty  drolleries  and  gracefid  decorations  abo  occur,  while 
the  number  of  smaller  initials  is  unusually  large. 

A  Psalter  in  two  volumes,  very  small  duodecimo,  written  in  one 
column,  with  a  very  full  minuscule  letter,  about  1350.     In  the 
calendar,  which  occupies  twelve  leaves,  on  the  first  page  of  each 
month  are  pretty  drolleries  in  the  border ;  and  slightly  drawn  but 
very  animated  representations  of  the  occupations  of  the  month  in 
frameworks  of  Gothic  form.     The  next  following  pictures  are  of 
considerable  artistic  merit     Some  compositions  are  very  original ; 
the  heads,  though  drawn  with  the  pen  in  the  fashion  of  1300-1350, 
are  very  pleasing ;  the  draperies  already  of  that  sofk  and  delicately 
modelled  cast  which  was  in  vogue  in  1350.     The  grounds  consist 
in  graceful  gold  scroll-work,  or  very  fine  panelled  patterns :  on 
the  somewhat  simple  borders  are  pleasing  drolleries,  almost  every 
page  exhibiting  some  humorous  incident    Then  come  eight  pictures 
of  excellent  Gothic  taste,  from  the  Annunciation  to  the  Holy 
Trinity,  the  Almighty  holding  the  crucified  Saviour  before  him. 
In  the  B  at  the  beginning  of  the  Psalms  is  David,  above,  playing 
on  the  psalter,  and,  below,  fighting  with  Goliak     To  these  suc- 
ceed similar  pictiu^s  of  the  Passion,  the  first  of  which — Christ  in 
the  sepulchre,  supported  by  two  angels  above,  with  two  weeping 
angels  in  the  sky,  and  four  figures  at  the  sides  with  empty  scrolls — 
is  remarkable.     At  the  beginning  of  the  second  volume,  in  re- 
ference tQ  the  psalm  "  Exultate  Deo,"  &c.  is  David,  youthfully 
conceived,  hammering  upon  the  bells  in  very  lively  action.     On 
the  border,  three  figures  playing  upon  organ,  shawm,  and  vio- 
loncello, and  a  figure  dancing ;  then  the  events  of  the  Passion  ; 
and,  finally,  the  Last  Judgment      Above  is  Christ,  both  hands 
raised ;  the  Virgin  and  St  John  seated  under  Gothic  gables.     In 
the  four  comers  four  trumpeting  angels ;  below  are  only  the  dead 
rifflng.     On  the  opposite  page,  in  reference  to  the  psalm  "  Dixit 
Dominus,"  &c  are  the  Almighty  and  Christ  enthroned,  side  by 
side — also  under  Gothic  gables.     Upon  the  border  are  two  loving 
couples — a  characteristic  feature  of  the  feeling  of  the  middle  ages, 
which  united  the  deepest  earnestness  and  the  lightest  mirth. 

A  romance  of  Alexander  the  Great  in  French  verse,  an  English 
poem,  and  the  French  history  of  the  great  Caan  (BodL  No.  264), 
large  folio.     At  the  conclusion  of  the  first  work  is  written  in 

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96  OXFORD— BODLEIAN.  Lettee  XXIV. 

golden  letters,  "  Che  livre  fii  perfais  de  le  enluminouse  au  18''*® 
jour  d'avryl,  per  Jehan  di  Grise,  Tan  de  grace  mcccxliiii."  As 
regards  the  pictures  this  date  only  refers  to  the  first  work,  and 
not  entirely  to  that,  as  we  shall  see ;  for  the  pictures  in  the  third 
work,  and  four  even  in  the  first,  could  hardly  be  executed  before 
1400.  Though  the  inscription  just  quoted  indicates  a  French 
origin,  yet  I  consider  the  character  of  the  pictures,  as  also  the 
ornamentation  of  the  borders  and  initials,  with  the  gold  scroUed-work 
grounds,  to  bespeak  decidedly  an  English  origin,  which  is  further 
confirmed  by  the  character  of  the  rich  drolleries.  Independently 
of  the  four  pictures  in  the  first  volume  which  indicate  a  later 
period,  there  are  no  less  than  three  diflerent  hands  distinguishable 
in  that  portion.  One  artist,  whose  figures  are  over  long,  adheres 
in  a  mechanical  way  to  the  usual  forms  of  art  observable  in  the 
miniatures  of  1300-1350.  Most  of  the  pictures  are  by  this  hand, 
which  shows  a  French  influence,  and  may  therefore  perhaps  be 
that  of  Jean  de  Grise  himself.  The  other,  which  is  incom- 
parably better,  and  by  which  the  most  original  and  fantastic 
drolleries,  and  also  several  vignettes,  are  executed,  shows  on  the 
other  hand,  by  the  dulness  of  the  gummy  and  very  tender 
colours,  and  the  delicately-scumbled  draperies,  a  Netherlandish 
influence.  By  the  third  and  rudest  and  most  antiquated  hand 
there  is  only  the  first  picture — the  plan  of  a  city  with  a  stream. 
This  recalls,  in  style  of  colours,  the  manner  of  the  13th  century. 
The  very  pretty  little  pictures  on  the  following  page  are  executed 
in  that  style  which  obtained  in  the  second  half  of  the  14th  century, 
with  a  certain  ideality  of  forms,  picturesqueness  of  drapery,  and 
softness  of  manner :  they  represent  Olympia's  dream  of  the  snake, 
the  birth  of  Alexander,  his  presentation  when  a  boy  at  court,  and 
his  knocking  at  the  stall  of  Bucephalus.  The  grounds  are  red, 
with  very  delicate  gold  designs.  Next  follow  various  pictures 
by  the  second  hand  occupjdng  a  whole  page,  and  divided  into 
various  representations  with  rich  Gothic  framework,  and  very 
rich  panelled  grounds  of  most  uncommon  patterns.  P.  43  b  is  a 
specimen  which  I  mention  for  the  rich  and  original  border  deco- 
rations, on  which,  below,  are  the  armorial  bearings  of  the  indi- 
vidual for  whom  the  MS.  was  executed,  consisting  of  a  golden 
lion  in  a  vermilion  compartment.  On  such  pages  the  drolleries 
are  always  particularly  rich.  Tliey  also  accompany  the  numerous 
vignettes.     Combats  with  dragons  and  lions  bring  the  modes  of 

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Letteb  XXIV.  GERMAN  MSS.  07 

thought  of  the  middle  ages  forcihly  before  us.  The  more  refined 
hand  for  the  drolleries  occurs  first  in  the  vignette,  where  four 
ladies  are  seated  on  a  Gothic  pediment,  looking  at  a  tournament. 
Here  the  panelled  ground  is  of  uncommon  delicacy.  By  the  same 
hand  are  also  the  pictures  of  the  following  page,  with  carefully- 
drawn  piebald  horses.  Here  the  second  hand  again  appears. 
The  English  poem,  wliich  commences  with  p.  209,  contains  only 
very  coarse  vignettes  by  the  first  hand.  Witii  p.  218  commences 
a  third  work,  with  the  superscription  "  Li  livres  du  grant  Caam." 
Here  the  greater  part  of  the  pictures  are  by  that  excellent  hand 
to  whom  the  four  small  pictures  at  the  beginning  of  the  first  work 
belong.  The  first,  the  City  of  Tombalua,  with  a  stream  and 
vessels  upon  it,  at  once  shows  in  its  gummy  colours  the  influ- 
ence of  the  Netherlands.  Also  the  framework  of  the  picture, 
consisting  of  tender  tendrils  of  red  or  blue  threads,  indicates  a 
later  time,  about  1400.  On  the  other  hand,  the  border  ornaments, 
in  their  taste  and  darker  colouring,  have  a  more  antiquated 
appearance.  Among  the  very  beautiful  vignettes  by  this  hand  I 
mention  the  Adoration  of  the  Kings.,  p.  220  a,  as  particularly 
admirable.  The  Child  is  of  soft  and  full  forms.  The  inscription 
**  Johannes  me  fecit "  on  the  hem  of  the  garment  of  one  of  the 
kings  gives  us  to  understand  the  name  of  this  admirable  artist. 
The  decoration  of  the  border  is  also  of  great  elegance.  Here 
appears  an  incomparably  inferior,  though  contemporary  hand,  with 
dull  colours.  One  only,  a  small  picture,  where  a  large  bull  is 
being  brought  up  for  sacrifice,  proceeds  from  the  hand  of  the  better 
artist,  whose  designs  altogether  are  very  important  for  the  study 
of  English  paintings  of  this  period. 

German  Miniatubeb. 
The  Gospels  of  St  Matthew  and  St  Mark  (Douce,  No.  292),  a 
rather  broad  folio,  109,  written  in  a  large  and  beautiful  minuscule 
letter  in  one  column.  Upon  the  centre  of  the  binding  is  an  ivory 
tablet  with  the  enthroned  and  beardless  Christ ;  the  right  hand 
raised  in  benediction,  the  left  holding  the  Book  of  Life ;  in  high 
relief;  the  eyes  and  nose  almost  rubbed  smooth  with  time.  The 
folds  of  the  drapery  are  narrow  and  clinging.  The  expression  in  the 
Psalms,  that  the  earth  is  his  footstool,  is  here  given  in  an  antique 
form  of  conception,  for  his  right  foot  rests  on  a  seated  and  partly- 
draped  female  figure,  holding  a  plant  in  her  right  hand  and  a 
serpent  in  her  left,  as  a  personification  of  the  earth.     One  of  the 

VOL.  III.  H 

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98  OXFORD— BODLEIAN.  Letteb  XXIV. 

feet,  as  well  as  a  portion  of  a  figure  of  the  sea,  on  which  it  probably 
rested,  are  broken  away  ;  one  arm  of  the  marine  figure  remains, 
holding  a  fish  ;  also  the  indication  of  agitated  water  is  still  seea 
The  workmanship  indicates  the  10th  century,  and  is  very  sharp  and 
careful  for  the  time ;  while  the  pretty  border  decorations  of  the 
tablet,  corresponding  as  they  do  with  the  ivory  sculptures  in  the 
binding  of  the  MS.  ordered  by  Henry  IL,  and  now  in  the  Royal 
Library  at  Munich,  show  that  they  had  also  a  Frankish  origin, 
though  in  my  opinion  they  were  executed  some  centuries  earUer. 
This  tablet  is  surrounded  by  a  plate  of  copper  gilt,  ornamented  with 
incised  work,  in  which  is  the  figure  of  Christ  in  the  youthful  type, 
in  a  circle  supported  by  two  angels.  In  the  comers  are  the  four 
Evangelists  seated,  three  of  them  writing  ;  at  the  sides,  two  saints ; 
below,  an  angel  with  a  scroll.  The  workmanship  is  here  also 
good,  though  perhaps  somewhat  later.  From  p.  1  b  to  5  a  are  the 
superb  canons.  The  pillai^  and  archivolts  are  gold  with  ver- 
milion outlines,  the  ground  crimson,  the  text  gold.  The  first 
three  pages  contain  only  two,  the  rest  three  arches.  P.  6  b,  the 
youthfiilly-conceived  St  Matthew  writing,  in  light-blue  robe  and 
dark  crimson  toga.  The  box-like  throne  is  of  late  antique  form ; 
the  ground  gold.  In  the  archivolt  above  him  is  the  angeL  At  the 
begmning  of  the  gospels,  p.  7  a,,  are  the  initials  L  and  J,  en- 
twined, in  strong  golden  flourishes,  with  green  fillings.  As  frame- 
work to  the  border  is  an  ornament  in  blue  and  green,  of  antique 
motive,  on  a  black  ground.  P.  69  b,  St.  Mark,  a  tall  youthful  figure, 
looking  upwards,  which,  in  conception  and  also  in  the  cool  efiect 
of  the  light  colours,  shows  a  strong  affinity  with  tiie  MS.  already 
mentioned.  The  granulated  gold  ground  is  of  wonderful  preser- 
vation. P.  70  a,  an  I,  which,  like  the  framework  of  the  border, 
is  in  the  taste  of  the  L.  Independent  of  the  antique  motive,  the 
ornament  in  light  crimson,  heightened  with  white,  on  a  ground  of 
very  deep  crimson,  has  a  very  harmonious  effect.  From  all 
evidence  this  MSI  appears  to  have  been  executed  in  Franconia, 
between  960  and  980.  The  very  beautiful  majuscule  letters,  which, 
with  the  exception  of  the  Gothic  E's,  are  of  pure  Roman  character, 
also  indicate  this  period. 

A  Sacramentarium  (Liturg.  Miscell.  No.  319),  small  folio, 
266  leaves,  written  in  one  column  with  a  beautiful  minuscule  letter. 
From  the  character  of  the  pictures,  which  forcibly  recall  the 
miniatures  executed  at  Bamberg  for  the  Emperer  Henry  LI.,  and 

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Letteb  XXIV.  GERMAN  MSS.  99 

from  the  text,  tfiis  MS.  may  be  assigned  to  the  10th  century,  or 
eyen  to  the  beginning  of  the  11th,  and  was  without  doubt  exe- 
cuted in  the  same  part  of  the  world.  P.  31  b  represents  the 
Crucifixion — the  Saviour  draped.  It  has  the  same  pale  flesh-tones, 
and  very  light  broken  body  colours,  as  in  that  later  MS.  executed 
for  the  same  Emperor.  P.  38  b,  the  Nativity,  is  similarly  exe- 
cuted, but  conceived  in  the  Byzantine  style,  for  the  very  long 
Child  lies  on  he  floor  between  the  Virgin  and  Joseph  ;  and  three 
angels,  half-length  figures,  are  looking  sidewards  at  the  shep? 
herds.  P.  69  b,  the  three  women  at  the  sepulchre,  with  the 
angel.  P.  111b,  the  Ascension.  P.  116  b,  the  Descent  of  the 
Holy  Ghost  Here  a  fresh  hand  appears,  with  those  reddish  flesh- 
tones  which  are  characteristic  of  the  earlier  MSS.  with  miniatures 
executed  for  that  emperor.  On  the  pages  opposite  the  pictures 
are  initials  of  very  beautiful  gold  flourishes,  with  chiefly  green 
fillings,  in  a  rich  and  beautiful  framework  upon  a  crimson  ground, 
in  which  the  acanthus  predominates.  The  keeping  is  quite  admirable. 
An  Evangeliarium  (BodL  Bibl.  Lat.  No.  60),  folio,  136  leaves, 
written  in  one  column  with  a  beautiful  minuscule  letter.  The 
splendid  canons  occupy  eight  pages,  and  so  far  difier  from  the 
usual  arrangement  that  they  have  not  the  usual  nimiber  of  smaller 
archivolts  enclosed  within  a  broad  one  occupying  the  whole  width 
of  the  page,  but  consist  of  four  narrow  archivolts,  divided  by 
narrow  golden  or  silver  pilasters,  with  green  and  blue  outlines, 
which  terminate  the  page.  The  ground  of  the  archivolts  is  gold, 
and  where  they  meet  there  is  a  golden  flower  as  a  kind  of  acro- 
terion.  The  text  in  the  four  columns  is  almost  entirely  in  gold 
upon  a  crimson  ground.  The  gold  and  silver  have  a  granulated 
appearance.  The  pictures  exhibit  good  drawing  for  the  period, 
and  the  orange-tones  of  the  flesh  and  the  style  of  the  Crucifixion  a 
Byzantine  influence.  The  execution  in  body-colours  is  carefiiL 
The  initials  are  of  very  beautiful  golden  flourishes,  with  vermilion 
outlines,  and  chiefly  with  blue  fillings.  To  these  are  attached,  at 
the  conmiencement  of  the  Gospels,  crimson  pages  with  designs, 
with  the  text  in  majuscule  letters  in  gold  and  silver  alternately. 
The  framework  of  the  borders  at  the  beginning  of  the  Gospels 
has  very  beautiful  designs,  borrowed  in  most  instances  from 
antique  models.  The  N  at  the  commencement  of  St  Jerome's 
letter  is  treated  somewhat  simply  in  the  above  taste,  but  has  in  the 
centre  limbs  two  very  pretty  flowers  quite  peculiar  to  this  MS. 

H  2 

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100  OXFORD— BODLEIAN.  Letter  XXIV. 

St.  Matthew,  a  very  stately  figure  with  brown  hair,  upon  a  box- 
like throne,  holding  a  penknife  in  his  right  hand,  and,  like  the 
other  Evangelists,  with  bare  feet,  is  surrounded  with  two  pilasters, 
decorated  with  diagonal  bands,  and  an  archivolt  The  framework 
of  the  border  is  particularly  elegant.  The  L,  on  the  opposite  page, 
is  very  splendid,  and  adorned  in  the  centre  with  the  same  before- 
mentioned  pretty  flower ;  the  workmanship  admirable.  The  words 
join  on  to  the  L  in  the  mode  before  described.  The  framework  of 
the  crimson  page  is  of  the  most  beautifid  acanthus  pattern  P.  40  a, 
St.  Mark  writing,  and  with  grey  hair :  a  very  beautiful  representa- 
tion ;  above  him  an  archivolt.  On  the  opposite  page,  a  superb  J ; 
St.  Luke  is  dipping  his  pen  in  ink,  with  the  most  animated  actioa 
Upon  three  straight  lines  above  him  is  a  building  of  late  antique 
forms.  On  the  opposite  page  is  a  beautiful  Q :  St  John  in  a  green 
robe  is  represented  old,  and  about  to  write.  Above  him  is  a  pe- 
diment with  architecture,  as  with  St.  Luke.  The  ornament  of  the 
border  is  here  as  graceful  as  it  is  original.  The  conception  of  the 
Christ  in  the  Crucifixion,  which  follows  later,  is  quite  Byzantine 
— there  are  four  nails  and.  a  footboard.  The  head  is  of  the 
mosaic  type,  the  flesh-colour  a  light  yellow.  Both  in  the  manner 
with  which  the  Virgin  has  drawn  her  red  robe  over  her  head  like 
a  veil,  and  in  the  rich  designs  in  the  drapery,  the  Byzantine  in- 
fluence is  evident — her  feet  are  shod :  sun  and  moon  appear  in 
circles  as  two  brown  heads.  The  approaching  darkness  is  indi- 
cated by  two  blackish  bands.  At  the  end  is  a  Latin  inscription, 
stating  that  this  MS.  was  executed  in  the  year  1178,  to  the  ho- 
nour of  the  Virgin  and  St.  Pancratius,  "  ad  decorcm  domini  in 
Ranshoven,"  for  the  basilica  of  the  same  place.  The  pictorial 
decoration  of  this  MS.  is  the  most  remarkable  and  the  best  pre- 
served of  all  the  German  miniature-paintings  of  the  second  half 
of  the  12th  century  that  I  have  yet  seen. 

A  Prayer-book  (Douce,  No.  93),  quarto,  121  leaves,  written  in 
one  column  with  a  large  and  beautiful  minuscule  letter ;  in  my 
opinion  executed  about  the  year  1430,  and  on  the  Lower  Rhine. 
Although  French  prayers  occiur  towards  the  end  of  this  MS.,  I 
can  neither  assign  a  French  nor  a  Netherlandish  origin  to  it.  The 
saints  in  the  calendar,  such  as  SS.  Bonifacius,  Odulph,  Bischof, 
Frederick,  and  Wunnibald,  are  evidences  of  a  German  origin, 
while  such  as  St.  Gereon,  one  of  the  patrons  of  Cologne,  and  St. 
Ludger,  that  of  Westphalia,  as  well  as  the  influence  of  Nether- 
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Letter  XXIV.  GERMAN  MSS.  101 

landish  painting  visible  in  the  pictures,  borders,  and  initials,  indi- 
cate more  especially  the  locality  of  the  Lower  Rhine.  The 
pictorial  value  of  most  of  the  pictures  is  inferior — towards  the  end, 
however,  appears  an  admirable  artist.  While  many  of  the  pictures 
show  the  realistic  tendency  of  the  Van  Eyck  school,  and  a  decided 
German  formation  in  the  heads,  others  adhere  closely  to  the  earlier 
style.  The  figures  are  often  very  short.  In  the  landscape-back- 
grounds appear  the  pointed  trees,  and  the  blue  sky  merging  towards 
the  horizon  into  white,  which  was  obviously  borrowed  from  the 
Netherlands.  Many  of  the  representations  are  strange  and  pe- 
culiar. On  the  borders,  besides  the  drolleries,  occur  all  sorts  of 
sacred  subjects.  The  border  decorations  are  altogether  very 
remarkable.  Those  single,  twisted,  and  beautifully-coloured 
leaves  which  appear  in  the  borders  of  the  Netherlandish  miniatures 
about  1420,  are  here  seen  in  rich  hanging  clusters,  which,  from  the 
second  half  of  the  15th  century,  were  so  characteristic  of  the 
border-decorations  of  the  MSS.  executed  in  Germany.  In  the 
centre  or  kernel  of  these  clusters  are  often  single  figures  of 
angels  or  prophets,  and  also  occasionally  whole  scenes,  such  as 
hunts.  The  form  of  the  golden  leaves  next  these  dusters  diflers 
from  those  in  the  French,  Netherlandish,  and  English  MSS. 
They  are  pear-shaped  or  acorn-shaped.  Occasionally  also  ocxiur 
whole  plants  of  very  graceful  form.  In  the  initials,  which  are 
in  square  gold  compartments,  are  also  frequent  subjects,  chiefly 
half-length  figures.  The  colours,  with  the  exception  of  blue 
and  red,  and  a  frequently  beautiful  green,  have  something  sub- 
dued and  broken.  I  proceed  to  mention  some  particular  pictures. 
The  first  and  larger  represents  the  Annunciation,  with  the  Vir- 
gin praying  in  the  initial  letter.  The  picture  of  the  Last 
Judgment  is  poor.  On  the  border  above  are  the  towers  of 
heaven  with  angels,  four  of  which  are  blowing  the  trumpet, 
St  Peter,  and  some  flower-work ;  below,  the  jaws  of  hell.  On 
the  page  opposite,  the  border  is  enlivened  with  a  combat  of  wild 
men.  In  the  OflSce  for  the  Dead  below,  on  the  border,  is  the 
legend  of  the  three  living  and  the  three  dead  kings.  Upon 
another  border  is  the  flight  of  two  knights ;  on  the  opposite  border 
Christ  bearing  his  Cross.  In  another,  in  an  agreeable  and  cheerful 
landscape,  is  the  Resurrection.  Towards  the  end  is  the  most  im- 
portant picture,  the  Virgin  enthroned,  with  the  Child,  and  sur- 
rounded with  four  angels  and  a  kneeling  female  figure  in  gold 

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102  OXFORD—BODLEIAN.  Letter  XXIV. 

brocade,  who,  though  not  very  individual  in  feature,  is  the  lady  for 
whom  the  MS.  was  executed.  In  the  corners  are  four  coats  of  arms, 
two  of  them  united  and  supported  below  by  one  angel.  The  one 
contains,  in  two  compartments,  two  golden  lions  upon  a  gold 
ground,  the  other  ten  silver  lozenges  upon  a  red  ground.  On  the 
page  opposite  are  four  ^rls  kneeling,  attired  like  the  lady,  with 
three  of  the  same  coats  of  arms  and  two  other  coats.  To  these  suc- 
ceed a  number  of  saints  within  initials,  peculiarly  formed  of  dra- 
gons and  other  animals.  Towards  the  end  is  the  Crucifixion, 
quite  of  an  ideal  tendency,  with  a  featiure  new  to  me,  viz.  a 
crowned  woman  riding  on  a  lion  with  a  cross-shaped  staff,  receiving 
the  blood  of  Christ  in  a  chalice.  On  the  following  page  is  the 
Virgin,  of  intense  expression,  and  by  a  far  better  hand.  Below  a 
rich  and  stately  tournament  by  the  same.  The  subjects  of  the 
border  opposite  are  also  as  rich  as  they  are  attractive. 

A  Prayer-Book  of  Bona  Sforza,  daughter  of  Giovanni  Galeazzo, 
Duke  of  Milan,  and  wife  of  Sigismund,  King  of  Poland  (Douce, 
No.  40),  duodecimo,  258  leaves,  with  a  beautiful  and  pure  Roman 
text.  The  calendar  only  contains  the  unmeaning  signs  of  the 
zodiac.  P.  39  b  exhibits  the  rich  and  superbly  painted  arms  of 
the  Sforza  family  and  of  the  kingdom  of  Poland;  the  date 
MDXxvii.,  and  S.  C.  f. ;  whence  it  appears  that  the  completion  of 
this  work  took  place  in  the  ninth  year  of  her  marriage.  There  is 
no  doubt  that  the  letters  S.  C.  are  the  initials  of  the  artist ;  though 
it  would  be  diflScult  to  trace  the  name  they  indicate,  yet  it  is 
obvious  that  he  was  a  German,  and  of  that  admirable  school  of 
miniatiure-painting  formed  by  the  family  of  Glockendon,  in  Nu- 
remberg. For  this  work  agrees  so  entirely  in  every  respect  with  the 
authentic  specimens  of  the  Glockendon  family — for  instance,  with 
the  Missal  of  the  year  1521,  and  the  Prayer-Book  of  the  year 
1531,  which  Nicholas  Glockendon  executed  for  Albrecht,  Arch- 
bishop of  Mayence,  and  which  is  now  in  the  Royal  Library  at 
Aschaffenburg* — that  but  foi*  those  initials  I  should  not  hesitate 
to  ascribe  this  work  to  that  artist  Both  the  text  and  the  richly- 
decorated  borders,  partly  in  the  Italian  taste,  and  partly  in  the 
Netherlandish,  with  the  Visconti  arms  adopted  by  the  Sforzas 
frequently  introduced,  lead  me  to  conclude  that  these  portions 
were  executed  in  Milan,  and  then  sent,  for  the  purpose  of  intro- 

*  See  critical  description  in  my  Kuntswcrkc  und  Künstler  in  Deutschland,  vol.  i. 
p.  382. 


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Lbtteb  XXIV.  ITALIAN  MSS.  103 

ducing  the  pictures,  to  Nuremberg,  then  so  celebrated  for  this 
branch  of  art.  Also  some  of  the  borders,  which  are  in  pure 
German  taste,  were  probably  added  there.  The  fourteen  pictures 
representing  the  subjects  usual  in  such  works  are  chiefly  taken 
from  compositions  of  Albert  Durer,  but  spirited  and  carefully  exe- 
cuted, and  with  a  singular  power  of  colour.  The  lights  in  the 
hairs,  draperies,  and  landscapes,  are  richly  heightened  with  gold. 
The  last  picture,  the  Descent  of  the  Holy  Ghost,  is  feebler. 
Italian  Miniatubes. 

A  Sacramentarium  (Bodl.  Auch.  D  1,  20),  small  folio,  of  the 
9th  century,  is  only  remarkable  for  some  splendid  initials  with 
golden  flourishes  and  vermilion  outlines,  the  fillings  consisting  of 
the  parchment  itself.  The  initial  in  p.  36  b  is  particidarly  re- 
markable. I  may  also  notice  here  a  small  altar-piece  in  bone, 
formerly  fastened  on  to  the  front  of  the  upper  cover,  with  the  Virgin 
and  Child  in  the  centre,  St.  Peter  and  St  Paul  on  each  side,  and 
St.  Lawrence  and  another  saint  on  the  wings.  Judging  from  the 
motives  and  the  proportions,  from  the  good  plastic  style,  though 
inferior  execution,  this  work  may  belong  to  the  13th  century. 

An  Evangeliarium  (Bodl.  Canoa  BibL  Cat.  61),  folio,  169 
leaves,  written  in  Longobardian  minuscule  letters,  in  one  column, 
in  the  9th  century.  The  most  remarkable  features  in  this  MS.  are 
a  large  number  of  initials  of  very,  narrow  form,  and  almost  all 
extending  below  into  long  limbs.  Here  the  snakes'  and  birds' 
heads,  which  are  so  characteristic  of  Irish  art,  frequently  appear. 
Thus  the  initial,  p.  4  a,  terminates  on  each  side  with  a  snake's 
head,  while  an  A,  p.  7  b,  is  particularly  rich  in  birds'  heads. 
Occasionally,  also,  the  heads  of  wild  beasts,  and  even  of  men,  are 
introduced.  Next  ensue  initials  entirely  of  animals ;  for  instance, 
of  eagles,  lions,  and  oxen,  as  the  attributes  of  the  Evangelists  ;  also 
of  peacocks,  doubtless  as  the  symbol  of  immortality :  as  for  in- 
stance, in  pp.  64  b  and  65  a  Fmally  the  Evangelists  themselves  are 
sometimes  introduced  as  initiala  P.  44  b  represents  St  Matthew 
looking  upwards;  a  few  pages  further  on  is  St.  John  pointing 
upwards ;  and  again,  further  on,  the  same  conceived  young.  The 
initials  are  executed  with  beautiful  but  generally  gaudy  body 
colours.  This  remark  eq)ecially  applies  to  the  citron  yellow, 
which  is  of  singular  freshness,  and  to  the  vermilion,  both  of  which 
are  much  used  in  the  flourishes  within  the  initials.  After  these  a 
more  subdued  blue  and  green  seem  to  be  most  approved.     A  gra- 

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104  OXFOED— BODLEIAN.  LEraERXXlV. 

nulated  gold  or  silver  occurs  but  seldom.  In  p.  115  b,  the  fillings 
of  an  E,  which  occupies  the  whole  page,  are  gold,  while  the  body 
of  the  letter  is  yellow,  blue,  and  greea  Of  pictures,  properly 
speaking,  there  is  only  the  Last  Supper,  p.  106.  Here  all  the 
figures  are  seated,  just  as  in  the  Agape*,  or  Love-feasts,  in  the 
Roman  catacombs ;  at  the  further  circular  side  of  a  table,  the  near 
side  of  which  terminates  in  a  straight  line,  Christ  is  represented 
according  to  the  bearded  type.  The  manner  in  which  St.  John 
leans  on  his  breast  is  very  awkward.  St.  Peter,  opposite  the  Lord, 
may  be  recognised  by  his  usual  type.  The  youthfully-conceived 
Judas  is  reaching  his  hand  towards  the  sop.  This  is,  perhaps,  the 
oldest  existing  representation  of  this  subject  in  Italian  art.  A 
reflex  of  antique  art  is  traceable  in  the  rude  outlines,  and  also  in 
the  curtain  on  that  side  of  the  table  where  the  fish  are  placed. 
Here,  as  in  the  figures  employed  in  the  initials,  the  drapery  and 
the  very  simple  folds  have  something  antique,  the  motives  are 
speaking,  and  the  proportions  correct.  The  heads  consist  only  of 
black  outlines,  with  green  strokes,  as  indications  of  shadow.  In 
the  Last  Supper  the  figures  are  almost  mere  outlines,  and  indica- 
tions of  shadow  occur  only  in  the  figure  of  Christ  and  in  those 
near  him.  In  an  apostle  in  an  initial  towards  the  end  the  flesh 
is  coloured,  but  the  drapery  is  loaded  with  such  thick  coloiur,  that 
the  forms  of  the  folds  are  quite  covered.  As  the  taste  of  these 
initials  occurs  in  older  Irish  MSS.  in  a  very  developed  form,  this 
MS.  proves  that  their  influence  extended  even  to  Italy.* 

An  Evangeliarium  (Douce,  No.  176),  folio,  117  leaves,  written 
in  a  minuscule  letter  of  very  pure  Roman  character,  and  scarcely 
later  than  the  8th  century.  An  ivory  tablet  with  thirteen  diflFerent 
scenes  is  by  far  the  most  important  featiure  of  this  work  in  an 
artistic  sense.  In  the  centre  is  Christ  enthroned,  conceived  in  the 
youthful  type ;  the  sceptre  and  cross  in  the  right  hand,  the  open 
book  in  the  left  In  the  draperies,  which  are  of  antique  form,  the 
antique  motives  are  preserved  in  the  numerous  narrow  folda  In 
twelve  departments  are  twelve  scenes  from  the  Life  of  Christ. 
Among  them  are  those  most  usually  found  in  the  catacombs,  such 
as  the  Marriage  of  Cana,  and  the  Healing  of  the  Lame.  The  An- 
nunciation also  occurs,  in  which,  besides  the  Virgin,  another  woman 

♦  St.  ColumbanuB  founded  the  Abbey  of  Ebobium  in  the  Milanese  in  the  7th 
century.  A  certain  connexion  with  Ireland  afterwards  may  have  been  thus  estab- 
li8hed.~TB. 

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Letter  XXIV.  ITALIAN  MSS.  105 

appears,  which  is  new  to  me,  and  the  Nativity.  These  reliefs, 
which  are  in  excellent  plastic  style,  all  lie  within  the  surface  of  the 
tablet,  and  have,  in  every  respect,  a  very  old  appearance.  Thus 
the  head  of  Christ,  for  instance,  forcibly  recalls,  in  conception  and 
treatment,  the  sculptures  of  the  well-known  episcopal  chair  at 
Ravenna,  while  the  otherwise  somewhat  rudely  treated  reliefs 
agree  with  the  earliest  works  of  Christian  art  Again  the  orna- 
ments of  the  little  headings  which  divide  the  reliefs  have  the  pure 
antique  egg  and  arrow  motive.  From  these  evidences  I  should 
not  hesitate  to  assign  these  sculptures  to  the  8th  century.  The 
MS.  itself  contains  only  very  fantastic  initials,  partly  formed  of 
flourishes,  partly  of  animals,  birds,  and  dragons,  and,  what  is 
new  to  me,  fishes ;  these,  from  a  notice  accompanying  the  MS., 
are  of  Lombard  origin.  At  the  first  words,  "Incipit  Evange- 
lium," of  which  a  fac-simile  is  given  in  the  catalogue  of  the 
library,  by  Douce,  the  first  I,  and  some  other  letters,  have  an 
outer  edge  of  vermilion,  and  a  filling  of  light  yellow,  here  ob- 
viously meant  to  take  the  place  of  gold,  which  is  entirely  missing, 
with  flourishes  alternately  of  crimson,  vermilion,  and  a  beautiful 
green.  These  colours  only  are  used  in  the  remaining  letter& 
This  MS.,  before  the  revolution,  was  preserved  in  the  Abbey  of 
St.  Faron,  in  the  neighbourhood  of  Meaux ;  it  then  passed  into 
the  hands  of  Abel  Remusat,  and  was  finally  purchased  by  Mr. 
Douce  of  Mr.  Payne. 

The  Filocolo  of  Boccaccio  (BodL  Canonici  Ital.,  No.  85),  folio, 
executed,  as  appears  from  the  armorial  bearings,  for  one  of  the 
Gonzagas,  at  Mantua ;  and,  judging  from  pictures  of  the  period 
and  text,  probably  for  Lodovico  Gonzaga,  who  died  1478.  Of  the 
two  hands  that  may  be  distinguished  in  the  pictures,  the  first  is 
very  remarkable.  The  well-composed  and  correctiy-drawn  figiu'cs 
are  modelled  in  the  deepest,  fullest  coloura  They  appear  in  the 
costume  of  the  time.  The  harmony  of  colour,  the  chiaroscuro, 
and  the  taste  of  the  architectural  accessories,  show  the  influence 
of  Mantegna.  The  borders  consist  of  blue,  red,  and  green 
flourishes,  with  little  white  bands  and  dots  upon  a  gold  ground. 
The  large  and  the  numerous  small  initials  are  similarly  orna- 
mented The  frontispiece  is  a  large  picture.  Above,  in  the 
sky,  is  Juno  drawn  in  a  car  by  four  peacocks  of  awkward  form. 
Below,  a  Pope  and  a  Cardinal  on  the  right,  looking  up  to  Juno, 
and  two  other  persons  in  discourse  ;  on  the  left,  two  young  men  of 


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106  OXFORD— BODLEIAN.  Lktteb  XIV. 

very  magnificent  attire,  one  of  them  also  looking  up.  The  border 
and  an  M  are  decorated  in  the  manner  just  described.  Below  are 
the  Gonzaga  arms — four  black  eagles,  and  in  the  centre  two  little 
white  lions.  On  the  opposite  page,  again,  above,  Venus  in  a 
landscape,  conversing  with  Cupid,  who  stands  next  an  altar  on 
which  a  flame  is  burning.  This  is  by  a  second  and  skilful  hand, 
though  inferior  to  the  foregoing;  for  although  the  heads  are 
pleasing,  and  every  part  carefully  modelled,  yet  the  figures  are 
mannered  in  drawing.  The  border  and  an  A  are  of  the  style 
above  described.  Next  follow  four  youths,  dressed  like  the  two 
above  mentioned,  but  by  the  second  hand.  Three  horsemen,  and 
two  dismounted  fix)m  their  horses,  with  a  hall  of  porphyry  and 
serpentine  pillars,  by  the  first  hand,  are  again  admirable.  In  a 
reception,  by  an  old  man  with  a  suite,  of  some  youths  just  de- 
scended from  a  ship,  the  second  hand  has  done  its  best.  On 
this  page,  decorated  with  a  border  and  some  pretty  initials,  arc 
the  armorial  bearings. 

A  Prayer-Book,  with  the  Psalter  (Bodl.  Canonici  Liturg.,  Na 
287),  octavo,  309  sheets,  written  in  two  columns  in  a  beautiful 
minuscule  letter,  upon  the  finest  parchment.  Judging  from  text 
and  pictorial  decoration,  this  may  have  been  executed  in  Lombardy 
about  1470-1480.  The  calendar  is  quite  plain.  The  title-page 
has  an  architectural  framework  round  the  text,  in  the  most  refined 
taste  of  the  Renaissance,  executed  with  great  elegance  in  chiaroscuro. 
Above  are  tritons  holding  cups  above  antique  masks.  At  the  sides, 
two  very  elegant  candelabra,  with  two  little  bags  on  the  wider  side. 
Below,  in  circles,  four  portraits  in  profile,  and,  in  two  ovals,  the 
Sacrifice  of  Abraham,  and  two  figures  praying,  both  of  them  little 
pictures  of  admirable  motives.  At  the  beginning  of  the  text,  David 
with  a  turban,  playing  the  guitar.  P.  74  b,  a  beautiful  R  with 
golden  arabesques  upon  an  azure  groimd.  On  the  border  above,  a 
delicate  head  in  a  medallion ;  below,  the  prophet  Isaiah  with  book 
and  cross.  P.  238  b,  another  architectural  framework,  in  chiaro- 
scuro, with  the  parchment  left  for  the  lights.  This  and  the  little 
cherub  above  are  by  another  and  inferior  hand ;  while  seven  little 
boys  below,  overcoming  a  satyr,  are  in  every  respect  admirable, 
and  show  a  most  excellent  artist  under  the  influence  of  Mantegna. 
By  the  other  less  skilftd  hand  are  again  two  children  on  the  border, 
with  a  goat  and  a  ram,  surrounding  a  trophy.  Some  elegant  pictures 
also  occur  in  initials,  which  proceed  from  some  capital  miniature- 
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Lbttbr  XXIV.  ITALUN  MSS.  107 

painter,  who  executed  pictures  of  greater  importance  in  a  Prayer- 
Book  in  the  possession  of  Mr.  Johnson. 

A  copy  of  the  translation  of  Pliny's  Natural  History  (Douce), 
by  Landino,  dedicated  by  him  to  Ferdinand  II.  of  Naples,  and 
printed  in  1476,  by  the  French  printer,  Jansen,  at  Venice.  In 
point  of  pictorial  decoration  of  some  of  the  pages,  this  is  one  of 
the  richest,  most  tasteful,  and  most  perfect  specimens  of  Italian 
miniature-painting  of  the  second  half  of  the  15th  century  that  I 
have  seen,  and  proves  the  high  development  which  this  species  of 
art  had  attained  at  that  time.  As,  besides  the  arms  and  the  por- 
trait of  King  Ferdinand,  the  armorial  bearings  of  the  Florentine 
family  of  the  Strozzi  also  occur,  Mr.  Douce,  the  compiler  of  the 
library  catalogue,  is  of  opinion  that  this  copy  was  executed  for 
some  member  of  the  Strozzi  family.  From  the  manner  in  which 
King  Ferdinand  is  glorified  in  the  pictxu^s,  I  am  of  opinion  that 
it  was  probably  thus  ornamented  for  a  present  for  this  monarch, 
by  order  of  one  of  the  Strozzi.  The  dedication  itself  contain^  two 
borders,  with  those  splendid  golden  tendrils  upon  crimson  and 
azure,  in  the  taste  of  the  Renaissance,  and  those  circles  with  por- 
traits and  armorial  bearings,  surrounded  with  beautiful  flowers 
and  leaves  in  strict  architectural  arrangement,  such  as  occur  in 
the  works  of  that  celebrated  miniature-painter,  Attavante,  men- 
tioned by  Vasari ;  so  that  I  am  inclined  to  attribute  the  pictures 
to  some  excellent  Florentine  painter,  not  much  earlier  than  Atta- 
vante. On  the  page  on  which  the  preface  commences  is  Pliny, 
in  a  landscape, — within  a  large  circle  supported  by  two  boys, — of 
very  individual  character,  and  warm  brownish  flesh  tones,  in  the 
costume  of  the  time  of  the  printing,  pointing  to  his  work.  The 
borders  of  the  frontispiece  at  the  beginning  of  the  text  are  most 
richly  ornamented.  On  each  side  are  splendid  candelabra,  with 
garlands  of  fruit  supported  by  genii ;  in  large  and  small  circles 
are  the  finest  bronzes,  cameos,  a  lion,  and  a  lioness.  Below,  sur- 
rounded by  six  little  boys,  are  the  golden  armorial  bearings  of  the 
Strozzi,  containing  three  half-moons,  and  an  eagle  above.  At  the 
sides  are  two  circles  with  a  motto,  which  had  occurred  before, 
"  Mitia  esto,"  and  a  lamb ;  then,  on  the  left,  the  king,  of  very 
individual  profile;  on  the  right  a  man  and  a  boy.  The  little 
boys,  round  the  arms,  are  freely  and  gracefully  modelled,  and  the 
execution  of  all  is  of  the  utmost  delicacy  and  elegance.  In  the  D 
at  the  beginning  is  Pliny,  seated,  examining  an  astrolabe.    The 

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108  OXFORD— BODLEIAN.  Letteb  XXIV. 

borders  at  the  commencement  of  the  books  are  also  decorated  with 
flowers  and  circles,  in  which  the  portrait  of  the  king  and  his  arms 
recur ;  with  those  white  flourishes  which  were  so  much  in  vogue  in 
the  Italian  miniatures  of  that  time.  The  preservation  of  this  costly 
specimen  is  most  admirable. 

Prayer-book  of  Eleanor  Hyppolyta  Gonzaga,  second  wife  of 
Francesco  Maria  della  Rovere,  Duke  of  Urbino  (Douce  Select., 
No.  29),  a  duodecimo  of  136  leaves,  written  in  a  very  graceful 
text,  and,  as  regards  pictures  and  borders,  one  of  the  most  beau- 
tiful specimens  of  Italian  miniature-painting,  of  the  best  period  of 
the  Cinquecento,  that  I  know.  On  the  first  page  is  written,  "  Pur- 
chased in  Italy  by  Henrietta  Louisa,  Countess  of  Pomfret"  On 
the  reverse  of  the  page  are  the  splendid  arms  of  the  Gonzaga  and 
della  Rovere  families.  On  the  page  opposite,  in  the  centre,  on  a 
silver  ground,  is  written,  "  Leanore  Gonzage  (sic)  urbini  duci." 
The  borders  of  both  pages  are  upon  a  gold  ground,  ornamented 
with  trophies.  On  the  following  page  is  Moses  receiving  the 
Tables  of  the  Law,  in  which  the  beautiful  and  graceful  angel  is 
very  attractive.  Otherwise  these  principal  pictures,  which  gene- 
rally present,  in  juxtaposition,  the  typical  events  of  the  Old  Tes- 
tament, with  the  fulfilment  of  them  in  the  New,  are  of  incom- 
parably less  artistic  value  than  those  in  the  borders.  The  heads 
are  unmeaning,  and  often  empty,  and  the  colours  gaudy.  In  the 
borders,  upon  crimson,  azure,  or  green  grounds,  covered  with  the 
finest  golden  dots,  are  the  most  beautiful  representations,  treated 
like  cameos,  partly  connected  in  historical  sequence  with  the  large 
pictures,  partly  also  typical  events.  Below,  in  the  comers, 
are  vessels  of  graceful  antique  forms,  with  delicate  arabesques 
growing  out  of  them — all  executed  with  the  utmost  precision  and 
grace.  The  golden  initials,  which  are  in  compartments  of  beau- 
tiful colours,  decorated  with  delicate  golden  arabesques,  are  small, 
but  very  numeroua  P. -^14  b,  Anna  and  Joachim  in  the  Golden 
Gate ;  and  p.  15  a,  the  Visitation.  The  borders  are  very  grace- 
fully ornamented  in  the  Netherlandish  manner,  with  single  flowers, 
but  instead  of  the  cameos  are  eight  silver  shields,  in  which  are 
the  four  cardinal  virtues  in  chiaroscuro ;  then  Faith,  Hope,  and 
Charity ;  and,  on  the  eighth  shield,  the  words  "  Major  harum 
charitas."  These  small  pictures,  as  also  the  Visitation,  are  beau- 
tifully composed.  P.  23  b,  Zacharias  writing  the  name  of  the 
Baptist      Upon  the  border,  in  brown  and  gold,  are  the  four 

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Letteb  XXIY.  ITALIAN  MSS.  109 

Fathers  of  the  Church.     In  the  outermost  corners  are  antique 
masks  in  marble,  one  of  them  representing  Pan.      P.  24,  the 
Adoration  of  the  Shepherds.     The  composition  is  too  irregularly 
disposed  in  the  space.     The  border  contains  the  four  Apostles  in 
brown  and  gold,  and  two  antique  marble  masks  of  great  elegance. 
On  the  narrow  side  are  two  sphinxes  in  the  same  style.     P.  27  b, 
Joseph's  Dream.    Upon  the  border,  in  foiur  compartments — a  deli- 
cate white  on  a  crimson  ground — are  the  Annunciation,  the  Na- 
tivity, the  Adoration  of  the  Kings,  and  the  Resurrection  of  Christ, 
finely  composed,  and  admirably  executed.  The  ground  of  the  border 
is  silver,  with   the  most  delicate  white  arabesques;  appropriate 
inscriptions  are  in  gold,  in  azure  compartments.     On  the  opposite 
page,  with  an  entirely  similar  border,  is  the  Annunciation  to  the 
Shepherds,  with  three  angels.     P.  31  b,  Solomon  visited  by  the 
Queen  of  Sheba,  and,  on  the  opposite  page,  the  Adoration  of  the 
Kings.     On  the  borders  of  each  are  beautiful  angels,  supporting 
curtains.     P.  35  b,  the  Presentation  of  the  Virgin  in  the  Temple ; 
she  is  conceived  as  a  little  child.     Here  occurs  a  date,  but  I  am 
not  certain  whether  it  be  1510  or  1540,  as  the  third  number  is 
very  indistinct.     From  the  marriage  of  Eleanora  Gonzaga  with 
the  Duke  of  Urbino  in  1509,  and  from  the  circumstance  that  a 
year  would  be  too  short  a  period  for  the  execution  of  such  a  work, 
also  judging  from  the  general  style  of  art,  I  am  inclined  to  decide 
for  the  date  1540.      P.  36,  the  Presentation  of  Christ  in  the 
Temple ;  a  good  composition.     The  borders  here  show  a  happy 
combination  of  the  more  architecturally  arranged  style  of  deco- 
ration belonging  to  the  Italian  school,  with  the  more  arbitrary 
style,  though  distinguished  for  truth  and  for  beauty  of  execution, 
of  the  Netherlands,  from  which  the  birds  and  butterflies  are  bor- 
rowed.    P.  39  b,  the  Overthrow  of  Pharaoh  in  the  Red  Sea,  with 
Jehovah  very  unfortunately  represented  as  a  pillar  of  smoke.    Upon 
the  opposite  page  is  the  Flight  into  Egypt     The  borders  to  each 
are  of  peculiar  elegance,  containing  most  graceful  angels  holding 
rich  garlands  of  fruit,  in  the  taste  of  the  Raphael  arabesques,  upon 
a  black  ground,  with  golden  bands.     P.  45  b,  the  Almighty  ap- 
pearing to  Solomon  while  sleeping.     The  inscription,  "  Ecce  dedi 
tibi  cor  sapiens  et  intelligens,"  explains  the   subject.     On  the 
opposite  page,  Christ  teaching  in  the  Temple.    In  the  borders  are 
eight  masterly  little   subjects,  treated  as  cameos,  of  which   the 
Judgment  of  Solomon  and  the  Murder  of  the  Innocents  are  par- 
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110  OXFORD-BODLEIAN.  Letter  XXIV. 

ticularly  remarkable.  P.  35  b,  the  Israelites  collecting  Manna, 
and,  on  the  opposite  page,  the  Last  Supper.  These  borders  also, 
which  are  otherwise  in  the  Netherlandish  taste,  contain  eight 
cameos,  of  admirable  art.  P.  60  b,  the  Destruction  of  Sodom,  in 
which  the  Almighty,  conceived  as  an  old  man,  is  represented  as 
Jupiter,  hurling  his  thunderbolts,  reminding  us  of  the  usage 
among  classically  cultivated  Italian  priests  of  that  time,  in  conse- 
quence of  the  mania  for  the  antique  then  prevailing,  of  introducing 
the  Almighty  into  their  discourses  under  the  name  of  Jupiter. 
The  motives  and  drawing  of  some  nude  figures  are  very  praise- 
worthy. On  the  opposite  page  is  David  repentant  P.  60  b,  at 
the  commencement  of  the  seventh  penitential  psalm,  on  the  border, 
are  eight  appropriate  cameos,  the  lower  one  of  which  represents  the 
Last  Judgment.  P.  76  b,  at  the  commencement  of  the  Office  for 
the  Dead,  is  the  Expulsion  from  Paradise,  and,  upon  the  border, 
in  the  form  of  cameos,  the  Creation  of  Eve,  the  Fall,  the  Almighty 
addressing  Adam,  and  our  first  parents  working  after  the  expul- 
sion from  Paradise.  The  Entombment  on  the  opposite  page,  as 
well  as  the  foin:  cameos  of  the  border,  are  of  good  composition ; 
below,  on  the  border,  are  four  sphinxes.  P.  110  b,  "  Ad  matutinum 
sacratissim»  passionis  D.  N.  Jesu  Chr.,''  with  Christ  bearing  his 
cross.  On  the  opposite  page,  Isaac  carrying  the  bundle  of  wood 
and  the  torch ;  behind  him,  Abraham.  The  old  typical  meaning 
of  this  subject,  in  allusion  to  Christ  bearing  his  cross,  is  expressed 
by  the  inscription,  "  Per  signum  sancte  crucis."  The  borders  of 
both  these  pictures  surpass  all  the  others  in  richness ;  for,  besides 
eight  scenes  from  the  Passion,  of  masterly  execution  in  brown 
and  gold,  there  are  also  four  more  scenes  in  the  comers,  executed 
in  blue,  and  four  typical  scenea  Finally,  between  all  these,  are, 
at  the  sides,  eight  fishes ;  below,  two  serpents  and  two  tortoises ; 
and  above,  four  snails.  P.  131  b,  before  the  Office  of  the  Holy 
Spirit,  is  a  large  sacrifice,  offisred  by  a  king,  probably  David,  which 
is  consumed  by  a  flame  from  heaven :  this  is,  to  me,  a  new  typical 
representation  of  the  Descent  of  the  Holy  Ghost,  which  is  on  the 
opposite  page.  In  eight  azure  compartments  on  the  border  are  the 
chief  events  which  succeeded  the  Crucifixion — the  Resurrection, 
&c. ;  also  the  Descent  of  the  Holy  Ghost  again,  and  incomparably 
better  than  the  large  picture.  Besides  these  are  again  eight  fishes, 
and  eight  birds,  upon  a  finely-shaded  silver  ground.  A  notice  in 
writing  naming  the  well-known  Veronese  painter  Girolamo  dai 

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Letter  XXIV.         WADHAM— CORPUS  CHUISTI.  Hl 

Libri  as  the  artist  of  this  work,  is  decidedly  erroneous.  The 
larger  pictures  diflfer  from  his  known  works,  and  are  too  feeble  for 
him,  while  the  decorations  of  the  borders  are  entirely  in  the  free 
and  developed  form  of  art  of  the  16th  century,  such  as  Girolamo 
dai  Libri,  who  was  strictly  confined  to  the  more  limited  forms  of 
the  15th  century,  never  attained,  though  many  years  of  his  life 
belonged  to  the  16th  century. 

Besides  these  treasures,  the  Bodleian  Library  possesses  a  very 
considerable  collection  of  engravings  and  woodcuts,  also  part  of  the 
Douce  legacy,  which,  unfortunately,  I  had  not  the  leisure  to  inspect 

I  regret  to  say  the  same  of  some  block-books,  which  belong 
partly  to  this  legacy  and  partly  to  the  old  foundation  of  the  library. 


I  now  proceed  to  describe  a  few  other  MSS.  with  miniatures, 
which  are  scattered  in  difierent  colleges : — 

In  Wadham  College  is  an  Evangeliarium,  in  octavo,  which  was 
unquestionably  executed  in  England  about  1020-30.  The  beau- 
tiful forms  of  the  border-decorations  and  initials  correspond  singu- 
larly with  the  Anglo-Saxon  MSS.  in  the  library  at  Rouen,  which 
decidedly  belong  to  this  time.  With  the  exception  of  one  border 
and  one  initial,  however,  which  are  painted  in  very  opaque  colours, 
tbey  consist  of  mere  outlines  in  red  colour.  The  two  only  pic- 
tures, namely,  St  Matthew,  youthfully  conceived,  and  the  three 
Marys  at  the  Sepulchre,  are  executed  in  the  same  way.  The 
action,  the  figures,  and  especially  the  feet,  are  good.  The  three 
sleeping  guards  are  without  weapons. 

In  the  archives  of  Corpus  Christi  College,  under  D  iv.  5,  is  a 
work  by  Florence  of  Worcester,  with  outlines  in  brown,  red,  and 
green  colour,  in  which  the  markings  of  the  drapery  are  only  here 
and  there  ^ven.  They  represent  chiefly  the  apparitions  which 
happened  to  King  Henry  I.  in  1130,  during  his  stay  in  Nor- 
mandy, and  were  executed  about  1150.  The  outlines  of  the 
heads  are  more  careful  than  is  usually  the  case  in  miniatures  of 
the  10th  and  11th  century ;  the  oval  form  is  also  fuller  ;  nor  have 
the  draperies  that  arbitrary  fluttering  appearance,  but  display 
much  truth  in  the  cast  of  the  folds.  The  motives  are  also  very 
speaking.  For  instance,  the  eflect  of  fright  upon  the  lower  classes 
is  well  expressed  in  some  sailors,  whose  heads,  though  caricatured, 
show  an  acquaintance  with  nature.  The  hands,  however,  are  still 
very  poor  in  drawing.     I  give  these  remarks  only  from  the  fac- 

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J 1 2  OXFOKD— PROF.  JOHNSON.  Letter  XXIV. 

simile  in  Dibdin's  Bibliographical  Decameron,  voL  i.  p.  Ixxviii.,  as 
during  the  vacation  the  original  was  not  accessible.  The  one  pic- 
ture represents  the  king's  dream  during  a  storm  at  sea,  and  how 
he  died  and  received  the  episcopal  benediction ;  the  other,  his 
return  to  England. 

In  the  same  college  is  a  MS.  containing  the  history  of  Battle 
Abbey,  of  the  date  1176.  An  enthroned  monarch,  with  a  sword, 
supposed  to  represent  William  the  Conqueror,  and  of  which  Dibdin 
gives  a  fao-simile,  vol.  i.  p.  Ixxxii.,  shows  the  attempt  to  represent 
majesty,  and  has  something  individual  in  the  mouth;  but  the 
drawing  of  the  arms  is  too  long,  and  the  legs  are  somewhat 
awkward  and  rude. 

Wadham  College  also  possesses  a  block-book. 

There  is  also  a  MS.  with  English  miniatures  in  the  library  of 
Exeter  College,  which  I  had  not  the  opportunity  of  examining. 


I  noW  proceed  to  the  works  of  art  in  Oxford  in  the  possession  of 
private  persons. 

Professor  Johnson  has  succeeded  in  collecting  a  number  of 
MSS.  with  miniatures  of  diflFerent  countries  and  epochs,  which  I 
was  able  to  inspect  at  my  ease  in  my  own  room,  before  breakfast. 
I  give  a  short  account  of  those  which-  appeared  to  me  the  most 
important : — 

A  Prayer-bock,  duodecimo,  written  in  one  column,  in  a  powerful 
minuscule  letter.  Judging  from  text,  pictures,  borders,  and  ini- 
tials, written  about  1400,  in  the  neighbourhood  of  Lyons.  The 
last  is  evident,  from  the  circumstance  of  two  of  the  abbots,  Eu- 
gendas  and  Claude,  of  the  monastery  of  Candat,  belonging  to  the 
diocese  of  Lyons,  appearing  among  the  saints  in  the  calendar. 
The  three  pictures  in  this  MS.  are  remarkable  as  being  strictly 
executed  in  that  style  of  art  which  attained  its  utmost  develop- 
ment in  the  Prayer-book  of  Anne  of  Bretagne  in  the  Bibliotheque 
•Nationale  at  Paris,  proving  how  early  it  obtained  and  how  widely 
it  extended  in  France.  The  Annunciation,  which  is  of  similar 
conception  as  that  in  the  Prayer-book  above  mentioned,  is  singu- 
larly graceful,  and  the  well-arranged  folds  have  that  picturesque 
softness  which  is  peculiar  to  this  time.  The  sky  is  formed  of  a 
panelled  ground.  The  Last  Judgment  is  of  very  simple  construc- 
tion. The  feet  of  Christ  are  resting  upon  the  golden  sun  and 
moon,  which  is  new  to  me ;  two  angels  are  holding  the  cross  and 

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Lbtter  XXIV.  MSS.  WITH  MINIATURES.  113 

spear.  The  heads  of  the  Virgin  and  St.  John  are  very  pleasing. 
Below  are  four  figures  rising  from  the  grave.  The  ground  is  red, 
with  golden  squares.  Finally,  the  Office  for  the  Dead,  in  the  usual 
style,  with  blue  ground  and  golden  squares. 

A  Prayer-book  of  some  noble  lady,  duodecimo,  probably  executed 
in  Paris  about  1420-1430.  This  is  a  rich  specimen.  Two  artists' 
hands  are  distinguishable  here,  one  of  which  is  very  remarkable.  The 
calendar  occupies  twelve  leaves ;  it  contains  the  sign.of  the  zodiac 
and  the  occupation  of  the  month  within  that  Gothic  framework 
which  so  often  occurs  in  the  works  of  Giotto.  The  decorations 
which  surround  every  page  in  the  book  are  essentially  in  the  older 
taste,  with  coloured  and  golden  leaves  with  black  outlines.  On 
the  plainer  pages  these  are  mingled  with  beautiftilly-coloured  and 
softer  flowers,  and,  where  pictures  occur,  the  new  style  entirely 
prevails.  The  small  pictures  are  treated  in  the  idealistic  style, 
with  beautiful  heads  and  soft  folds  of  drapery  ;  while  in  the  very 
lively  and  even  gaudy  colours  of  the  draperies,  and  in  the  land- 
scape backgrounds  with  pointed  green  trees,  the  newer  realistic 
manner  is  discernible.  The  first  picture,  St.  John  the  Evangelist,  is 
of  good  motive,  noble  in  expression,  and  very  delicate  in  execution  ; 
the  flesh-tones  yellowish.  The  Virgin  enthroned,  with  the  Child, 
is  of  very  slender  proportions,  noble  in  conception,  and  with  a 
delicate  character  of  head.  After  the  Visitation  another  and  infe- 
rior hand  appears.  Later  in  the  work,  and  especially  among  the 
numerous  saints,  the  first  hand  recurs.  In  one  picture,  before  the 
standing  figure  of  the  Virgin  and  Child,  is  a  kneeling  lady,  the 
patroness  of  the  book.  The  text  below  contains  that  prayer  so 
much  in  vogue,  especially  in  Paris,  during  the  middle  ages,  begin- 
ning, "  Douce  Dame  de  Misericorde."  The  cover  is  ornamented 
with  elegant  silver  hasps,  on  which  are  pleasing  reliefs  executed 
about  1600. 

The  Apocalypse,  folio,  123  leaves,  written  in  a  powerful  minus- 
cule letter  of  Belgian  character  in  two  columns.  This  was  exe- 
cuted, as  appears  from  the  armorial  bearings  on  p.  13  a,  below,  for 
Margaret  of  York,  wife  of  Charles  the  Bold  of  Burgundy,  and 
apparently  at  about  the  same  period  as  the  already-described 
treatises  in  the  Bodleian  Library  (Douce,  No.  365),  before  or 
during  the  year  1475.  At  all  events,  the  somewhat  numerous 
pictiwes  similarly  executed  in  chiaroscuro,  and  here  and  there 
slightly  coloured,  are  obviously  by  the  same  artist     The  decora- 

voL.  III.  '    r^  T 

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114  OXFORD— PROF.  JOHNSON.  Letteb  XXIV. 

tions  of  the  borders  are  also  here  treated  in  the  same  earlier  style, 
only  that  in  the  comers  there  are  elegant  flourishes  in  grey  and 
gold.  The  artist  is  very  successful,  in  dignified  but  gentle  cha- 
racters, and  in  quiet  events.  On  the  other  hand,  the  appalling 
scenes  with  which  this  MS.  abounds  are  less  suited  to  his  powers, 
and  are  somewhat  lame  in  character.  The  prevailing  landscape 
backgrounds,  which  are  frequently  slightly  coloured,  have  a  cer- 
tain charm  of  nature.  P.  13  a,  above,  is  the  youthfully  and  nobly 
conceived  St.  John  with  the  chalice,  and  the  Apostle  Paul.  Also 
the  Martyrdom  of  St.  John,  with  the  Emperor  Domitian  and  an 
attendant,  is  very  delicate  and  animated  Further  in  the  book, 
the  representations  often  take  the  form  of  vignettes,  running 
through  both  columns,  with  St  John  in  the  centre  of  one  page, 
and  Christ  seated  in  the  other.  The  following  pictures  are  the 
most  remarkable : — ^The  seven  bishops  defending  each  other  :  very 
individual  and  of  great  variety  of  expression.  On  their  draperies 
are  golden  designs  slightly  indicated  The  Almighty  enthroned, 
surrounded  by  the  four  attributes  of  the  Evangelists,  is  very  dig- 
nified The  Virgin  on  the  Crescent  is  very  elevated  in  character ; 
finally,  some  fugitives  from  a  burning  town  are  very  animated 
The  preservation  of  this  work  is  generally  excellent 

A  Psalter,  in  small  octavo,  written  in  one  column  in  a  small 
and  beautiful  minuscule  letter.  Judging  from  text  and  pictorial 
ornaments,  executed  about  1300,  while,  from  the  style  of  the 
arrangement  of  the  numerous  Gothic  gables,  the  selection  of  the 
beautiful  colours,  the  great  neatness,  and  the  character  of  the 
ornaments,  I  am  inclined  to  attribute  to  it  an  English  origin, 
unfortunately,  the  calendar,  which  is  generally  the  guide  to 
locality,  is  here  wanting.  Conception,  colouring,  and  treatment 
are  still  quite  that  of  the  first  half  of  the  13th  century — the  faces 
alone,  in  the  type  of  character,  and  in  the  meagre  treatment  of  the 
pen-outlines,  announce  the  14th  century.  The  gold  of  the  grounds 
is  raised ;  the  invenoons  are  very  good,  especially  in  the  numerous 
drolleries,  the  motives  true  and  speaking,  the  proportions  slender, 
but  the  execution  not  particularly  careful.  The  border-decorations 
consist  in  the  first  part,  with  the  exception  of  the  title-page,  almost 
exclusively  of  simple  headings,  starting  from  the  initials,  running 
round  the  outer  side,  and  finishing  at  the  end  of  the  lower 
border.  Towards  the  end  of  the  MS.  that  leaf-work  is  seen 
sprouting  from  this  beading,  though  in  a  very  simple  form,  which 

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Letter  XXIT.  MSS.  WITH  MINIATURES.  115 

subsequently  formed  the  chief  element  of  all  the  Netherlandish, 
French,  and  English  border-decorations  to  the  end  of  the  14th, 
and  in  many  mstances  until  the  latter  part  of  the  15th  century. 
Drolleries  occur  on  every  page,  or  a  dragon,  generally  with  a 
human  body  ;  a  small  dragon  also  terminates  every  verse.  In 
the  smaller  golden  initials  before  every  psalm  is  a  small  picture, 
generally  a  half-length,  but  occasionally  a  whole-length  figure. 
This  is  the  case  in  the  B,  p.  1  a,  which  heads  the  psalm,  with 
David,  a  whole-length  figure,  playing  on  the  psalter.  Above, 
upon  the  B,  is  a  dragon,  with  the  upper  part  of  the  figure  human, 
shooting  an  arrow  at  a  bird  sitting  on  a  Gothic  arch  of  the  outer 
border.  Below  this  arch  is  the  gigantic  St.  Christopher ;  lower 
down,  under  a  similar  arch,  St.  Catherine  and  another  saint. 
Below,  on  the  border,  a  golden  beading  with  tendrils,  with  co- 
loured leaves  on  them ;  a  dragon  rising  from  the  one  side,  a 
man  from  the  other.  Upon  the  beading,  a  stag-hunt.  Similarly 
placed  saints,  sometimes  one,  sometimes  two,  frequently  occur  in 
the  same  part.  The  latter  is  the  case  in  two  pages  with  two 
large  Ds,  in  which  the  Flight  into  Egypt  and  the  Temptation  are 
represented  Events  from  the  life  of  the  Virgin,  in  slight,  bold, 
but  capital  Indian-ink  pen-drawings,  with  the  lips  only  tinted  red 
The  last  pictiu'e  represents  St.  John  the  Baptist  being  taken  to 
prison.*  The  proportions  are  generally  too  short  That  these 
drawings  were  executed  in  Germany  appears  not  only  from  the 
style  of  art,  but  from  the  German  inscriptions  upon  the  scrolls. 
Judging  from  the  form  of  art,  probably  not  executed  later  than 
1400. 

The  Epistles  of  St  Paul,  with  a  commentary,  folio.  The 
Epistles  in  beautiful  large  minuscule  letters,  the  commentary  in 
small ;  written  in  the  monastery  of  Steinfeld,  about  the  year  1190. 
This  MS.  is  remarkable  for  its  very  beautiful  initials,  consisting 
of  the  most  tasteful  flourishes  in  the  brightest  colours  upon  a 
plain  gold  ground,  and  executed  with  the  utmost  precision.  The 
only  figure  is  that  of  St.  Paul  enthroned  in  the  first  P,  carefully 
executed  with  that  type  of  physiognomy  so  early  assigned '  to  him 
in  Christian  art,  and  dipping  his  pen  in  the  ink.  Other  initials 
contain  drolleries.  These,  and  especially  the  figure  of  St  Paul, 
show  a  skilfrd  artist. 

A  Prayer-book,  folio,  written  in  two  columns,  in  a  large  minus- 
cule letter.      The  saints  mentioned  in   the  calendar  show  the 

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116  OXFORD— PROF.  JOHNSON.  Letter  XXIV. 

locality  to  be  Strasburg ;  while  the  form  of  art  in  the  one  only 
picture,  the  Crucifixion,  which,  however,  occupies  a  whole  page, 
indicates  about  1450.  The  ideal  tendency  is  here  predominant, 
especially  in  the  circumstance  of  the  Christ  being  already  dead. 
The  expression  and  gesture  of  grief  is  very  good  in  the  Virgin, 
who  is  standing  with  St  John  by  the  side  of  the  Cross:  the 
heads  are  very  good  for  the  period ;  the  feet,  as  is  usual,  very 
feebly  drawn.  In  the  still  well-arranged  folds  of  the  drapery 
there  are  already  some  sharp  breaks.  The  ground  is  rose-coloured, 
with  elegant  golden  scroll-work  within,  and  little  blue  flowers. 
The  borders  are  simple,  but  very  tastefully  ornamented  in  the 
more  architectural  style  of  the  German  miniatures  of  the  15th 
century,  as  compared  with  the  contemporary  Netherlandish  minia- 
tures.    This  is  a  relic  of  great  local  interest 

A  Prayer-rbook,  duodecimo,  written  in  a  small  minuscule  letter, 
between  1460  and  1470,  and  unquestionably  in  Lombardy,  with 
sixteen  miniatures,  all,  except  the  first,  in  initials.  These  draw- 
ings are  executed  by  an  admirable  artist,  with  a  deep  religious 
earnestness  and  a  delicate  feeling  for  beauty  seen  throughout 
The  heads  are  very  decidedly  individual;  the  flesh-tones  of  a 
warmish  brown ;  the  other  colours  full  and  harmonious.  The  first 
picture  shows  the  Virgin  seated  with  the  Child,  and  the  two 
kneeling  patrons  of  the  little  volume  accompanied  by  their  saints. 
The  border,  which  is  treated  in  an  architectural  style,  with  cameos 
introduced,  is  very  tasteful.  On  the  lower  border  are  two  female 
Dryads  supporting  the  armorial  bearings.  Among  the  other  small 
pictures  I  may  mention  the  graceful  Annunciation  ;  the  Nativity  i 
the  OflSce  for  the  Dead,  in  which  the  figure  of  Death  with  the 
scythe  standing  on  the  bier  is  new  to  me ;  the  Resurrection ;  and 
Christ  standing  in  the  sepulchre.  The  other  pictures  represent 
single  male  and  female  saints.  By  the  same  hand  are  the  pictures 
in  initials  in  the  Prayer-book  (Bodl.  Canonici,  Liturg.  No.  287). 

A  Prayer-book,  folio.  This  is  an  interesting  confirmation  of  my 
theory  that  in  the  miniatures  executed  by  the  most  remarkable  mas- 
ters we  possess  a  true  though  diminutive  index  of  the  state  of  art, 
including  also  architecture  Here  we  find  a  characteristic  repre- 
sentation of  the  state  of  painting,  and  also  in  some  measure  of 
architecture  in  Rome,  and  of  the  general  state  of  feeling  in  Italy» 
in  the  middle  of  the  16th  century.  This  is  at  once  shown  in  the 
calendar,  where,  instead  of  the  occupations  of  every  month  taken 

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Letteb  XXIV.  MSS.  WITH  MINIATURES.  117 

from  common  life,  we  have  scenes  borrowed  from  the  Roman  my- 
thology— it  being  the  aim  of  that  period  to  select  foreign  rather 
than  native  modes  of  illustration — thus  substituting  a  prosaic  and 
cold  allegory  for  the  living  expression  of  art  Were  the  works  of 
Michael  Angelo  and  Sebastian  del  Piombo  lost  to  us,  we  should 
obtain,  through  this  MS.,  a  complete  idea  of  the  style  of  the  last- 
named  painter,  and  become  acquainted  with  various  motives  by 
the  first.  From  many  a  picture  of  this  period,  probably  conceived 
originally  by  miniature-painters,  we  should  perceive  the  downward 
course  of  art,  even  were  the  numerous  mannered  pictures  painted 
about  1550  no  longer  in  existence.  The  frontispiece  at  once 
shows  us  a  Roman  temple  of  elegant  form,  with  the  following 
inscription  in  gold  letters  upon  a  violet  ground,  giving  us  the  his- 
tory of  this  MS. — ^time,  place,  and  origin,  all  excepting  the  name 
of  the  painter — '  Heures  de  nostre  Dame  a  lusaige  {sic)  de  Rome, 
escriptes  au  diet  lieu  Tan  mdxlix  par  M.  Frans.  Wydon,  et 
dedies  a  Messire  Claude  Dürfe,  chevallier  de  Tordre  du  Roy  tres 
Chretien  et  son  ambassadeur  au  s.  siege  apostolique.'  Above,  in 
the  angles  of  the  Gothic  pediment,  are  two  reposing  figures,  in 
chiarosciu'o,  in  the  taste  of  Michael  Angelo.  In  the  comers  are 
the  sun  and  the  moon  as  two  shining  disks.  On  the  following 
page,  the  armorial  bearings  of  the  patron  of  the  book,  with  a 
Latin  verse,  which,  however,  in  no  way  refers  to  art  On  the  oppo- 
site page,  an  altar  of  antique  form,  on  which  a  flame  is  burning. 
On  the  same  page,  the  symbol  of  the  Trinity,  an  equal  triangle 
with  the  inscription  "uni;"  more  below,  "et  nunc  et  semper;" 
quite  below,  another  Latin  verse.  The  calendar  then  commences 
with  a  picture  of  Janus.  Before  the  month  of  March  is  the  pic- 
ture of  Mars ;  before  July,  that  of  Europa ;  before  August,  the 
Rape  of  Proserpine ;  before  September,  Vulcan's  forge ;  before 
October,  the  train  of  Silenus ;  and  before  December,  a  temple, 
with  Hercides  in  the  landscape  overcoming  the  Centaur.  Then 
follow  the  four  passages  from  the  Gospels  usually  found  in  prayer- 
books,  with  the  four  Evangelists  in  the  square  compartments,  in 
which  are  also  the  light-coloured  initials.  To  these  succeed  the 
Passion,  and  then  the  events  from  the  life  of  the  Virgin.  The 
Visitation,  which  is  of  particular  beauty,  is  taken  from  the  picture 
by  Sebastian  del  Piombo,  the  fragments  of  which  were  in  the 
collection  of  Cardinal  Fesch,  and  are  now  in  the  possession  of 
the  Duke  of  Northumberland.     The  Adoration  of  the  Kings  is 

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118  OXFORD— PROF.  JOHNSON.  Letter  XXIV. 

somewhat  mannered,  and  their  Coronation  of  Christ  somewhat 
theatrical.  On  the  other  hand,  David  repentant  before  Nathan 
is  remarkably  excellent  Before  the  Kyrie  appears  the  picture  of 
the  Pope  and  four  ecclesiastics  kneeling,  and  in  the  distance  the 
castle  of  St  Angelo.  The  Christ  teaching  in  the  Temple  is  very 
mannered.  In  the  Last  Judgment,  the  figure  of  Christ  and  the 
motives,  of  most  of  the  other  figures  are  taken  from  Michael 
Angelo,  though  of  course  much  simplified.  Also,  the  figure  of  the 
Saviour  in  the  Crucifixion  is  based  upon  Michael  Angelo's  type  ; 
while  the  group  of  the  women  is  from  Daniel  da  Volterra's 
Descent  from  the  Cross.  The  Descent  of  the  Holy  Ghost  is  again 
very  mannered.  All  these  pictures  are  executed  in  a  masterly 
style  in  a  very  tender  grey,  with  slightly-coloured  landscape  back- 
grounds. Every  column  of  text  is  surrounded  with  a  narrow  violet 
border,  on  which  are  silver  designs  of  great  elegance.  Numerous 
initials  also  occur  within  coloured  compartments. 

Finally,  I  must  mention  a  Spanish  Cantionales  in  six  gigantic 
folios,  which  in  their  original  stout  bindings,  with  strong  iron  clasps, 
are  very  diflScult  to  handle.  In  one  of  the  volumes  is  the  date 
1545.  The  pictures  in  the  otherwise  splendid  initials  are  very 
inferior  in  point  of  art,  though  they  deserve  notice  as  showing  in 
every  respect  the  most  decided  influence  of  German  art.  One  of 
them  represents'  St  Jacob  of  Compostella  helping  to  overcome  the 
Saracens,  with  "  In  festum  St.  Jacobi  almae  Ilispaniae  defensoria" 
From  the  title  of  another  song,  "  In  festo  St  Frueti,  patroni  Se- 
govifie,"  it  might  be  concluded  that  this  cantionale  was  executed 
for  a  church  at  Segovia.  The  decorations  of  the  borders  show  a 
mixture  of  German,  Netherlandish,  and  Italian  varieties  of  taste. 

I  also  found  a  block-book,  and,  as  appears  from  the  lightness  of 
the  ink  and  the  impression  with  the  rubber,  one  of  the  oldest  edi- 
tions of  the  Apocalypse :  the  last  leaf  is,  however,  missing. 

The  following  woodcuts  also  deserve  notice. 

On  the  inner  pages  of  the  binding  of  a  foUo  volume  which  con- 
tains a  portion  of  the  Vulgate,  and  which  is  decorated  with  a  mo- 
derate number  of  initials,  are  two  woodcuts  of  considerable  size — 
St  Jerome,  as  the  founder  of  the  Vulgate,  with  a  book  before 
him,  kneeling  before  the  crucifix  and  doing  penance.  Behind  the 
crucifix,  of  very  grim  aspect,  in  the  background,  is  a  rocky  land- 
scape. Below,  in  an  oblong  compartment,  the  name  of  the  wood- 
cutter, Michael  Schorpp.     This  print  is  taken  from  a  tolerably 

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Lettbb  XXIV.    MSS.  WITH  MINIATUKES— WOODCUTS.  119 

good  drawing.  The  treatment  is  simple,  but  broad  and  solid  :  the 
flesh  parts,  the  leaves  of  the  book,  and  the  crucifix,  are  coloured. 
Behind  is  Christ  upon  a  hiU,  sending  forth  the  Apostles,  eight  of 
whom  are  embracing  each  other,  two  are  going  forth  together,  and 
two  separately.  The  drawing  of  this  woodcut,  which  is  executed 
and  coloured  in  the  same  way  as  the  St  Jerome,  is  by  a  less 
skilful  hand.  The  figures  are  of  short  and  stout  proportions,  but 
the  motives  are  true  and  speaking.  Below  is  again  the  inscription 
"  Michel  Schorpp,  maler  zu  Ulm."  Above,  also  in  German,  an 
inscription  of  six  lines,  in  which  it  is  stated  where  each  of  the 
apostles  went  Judging  from  the  sharp  breaks  in  the  draperies, 
these  woodcuts,  which  are  probably  imique,  may  have  been  executed 
about  the  year  1480.  The  artist  is  mentioned  by  Nagler  in  his 
Kiinstler-Lexicon  as  a  caligraphist  and  illuminator  residing  in 
Ulm  between  1495  and  1500,  who  in  1499  became  a  member  of 
the  artist  brotherhood,  **  zu  den  Wengen,"  in  that  city. 

A  very  beautiful  example  of  the  Missal  printed  in  Bamberg  by 
order  of  Bishop  Henry  of  Bamberg,  folio,  in  a  large  and  beautifrd 
type  in  two  columns.  At  the  end  of  the  bishop's  preÜEU»  is  the 
date  1499,  and  below,  a  woodcut  of  good  invention  and  of  simple 
and  solid  workmanship,  representing  the  Emperor  Henry  H.  and 
his  Empress  Kunigunda  holding  between  them  the  cathedral  of 
Bamberg,  which  they  founded  :  also  the  Bamberg  and  Truchsetz 
arms.  But  a  more  important  work  of  art  is  another  woodcut  on 
parchment,  pasted  into  the  inner  side  of  the  upper  cover,  in  ad- 
mirable depth  of  black  ink,  representing  the  Crucifixion,  with  the 
Virgin  and  St.  John,  three  angels  catching  the  blood  from  the 
wounds  of  Christ,  and  the  individual  for  whom  the  print  was 
executed.  Here  composition  and  drawing  are  of  a  very  admirable 
character ;  the  execution  the  same,  though  simple. 

A  very  beautiful  example  of  the  Office  of  the  Virgin,  which 
appears,  from  an  inscription,  to  have  been  printed  in  the  year 
1527  by  Simon  du  Bois  for  Master  Geofroy  Tori,  of  Bruges,  a 
well-known  publisher  of  the  time.  Of  works  of  this  kind,  so  nu- 
merous in  Paris  about  this  period,  this  is  one  of  the  most  remark- 
able. Every  page  is  decorated  with  a  woodcut,  in  which  the  style 
of  French  border  decorations  from  about  1490,  with  single  flowers, 
and  fridts,  &c.,  is  lightly  and  pleasingly  imitated.  Later  in  the 
work  occur  pictures  which  in  delicate  and  simple  treatment  recall 
the  woodcuts  of  Holbein's  Dance  of  Death,  and  in  composition 

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120  OXFOED— DR.  WELLESLEY.  Letter  XXIV. 

and  slendemess  of  proportions  reminded  me  forcibly  both  of  the 
miniatures  by  Godefroy  in  two  MSS.  in  the  British  Museiim  (Har- 
leian  MSS.,  No,  6205)  and  in  the  Library  of  the  Arsenal  in  Paris. 
On  both  sides  of  the  pretty  original  binding  are  printed  in  gold 
the  Crucifixion,  with  the  Virgin  and  St.  John,  and  the  Annunciation. 

A  very  spirited  and  broadly  executed  pen-drawing  of  the  prin- 
cipal figures  in  the  composition  of  Raphael's  Murder  of  the  Inno- 
cents, which  is  known  by  Marc  Antonio's  engraving,  I  consider  to 
be  a  study  by  the  hand  of  Raphael.  The  soldier,  drawing  the 
sword,  is  particularly  excellent.  As  that  part  of  the  paper  was 
torn  away  where  the  Child  would  have  appeared,  he  drew  it  above 
on  the  border. 

Finally,  I  may  mention  that  the  walls  of  Professor  Johnson's 
drawirtg-rooms  are  adorned  with  a  number  of  the  finest  engravings 
from  the  15th  to  the  17th  century,  by  Martin  Schongauer,  Albert 
Durer,  Marc  Antonio,  Rembrandt,  &c.,  all  admirable  impressions, 
and  perpetually  inviting  the  fresh  study  of  their  beauties.  Pro- 
fessor Johnson,  knowing  how  unfavourable  the  juxtaposition  of 
two  difierent  kinds  of  art  is  to  each,  has  wisely  apportioned  the 
best  specimens  of  the  first  engravers  of  the  present  day,  Raphael 
Morghen,  Desnoyers,  Müller,  Longhi,  Toschi,  Foster,  &c.,  to  his 
dining-room. 

One  beautiful  afternoon  we  proceeded  by  water  to  a  small  place 
in  the  neighbourhood  called  Iffley,  the  little  chiu-ch  of  which  has 
three  very  rich  doorways  in  the  Romanesque,  or  what  is  called  in 
England  the  Norman  style.  The  abundance  of  peculiar,  and  in 
some  respects  highly  fantastic,  inventions,  is  very  remarkable, 
each  doorway  being  difierent.  The  south  door  is  the  most  remark- 
able, especially  for  the  elegant  flowers  which  rise  from  the  fluting. 
The  admirable  style  of  the  forms  and  parts  also  deserve  mention, 
and  the  sharp  workmanship  of  the  stone. 

The  most  important  private  collection  in  Oxford  is  that  belong- 
ing to  the  Rev.  Dr.  Wellesley,  Principal  of  New  Inn  Hall,  a  man 
of  the  kindest  and  most  refined  manners,  who  unites  the  warmest 
love  of  art  with  the  choicest  taste.  The  strength  of  his  collection 
consists  in  drawings  by  Titian  and  Claude,  and  I  know  no  collec- 
tion, either  pubhc  or  private,  which  possesses  ^o  rich  a  series  of 
specimens  by  both  masters.  The  Doctor  also  possesses  choice 
specimens  of  Raphael  and  others.  In  the  few  days  I  spent  in 
Oxford  during  the  Archaeological  meeting  I  had  not  the  time  to 

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Letter  XXIV.  BLENHEIM  PALACE.  121 

inspect  these  treasures  with  due  attention,  and  upon  my  second 
visit  to  Oxford  Dr.  Wellesley  was  unfortunately  absent,  so  that 
this  general  allusion  to  his  collection  is  all  that  I  have  it  in  my 
power  to  offer. 

BLENHEIM  PALACE, 
The  celebrated  country-seat  of  the  Dukes  of  Marlborough,  situ- 
ated about  eight  miles  from  Oxford.  If  nothing  were  to  be  seen 
in  England  but  this  seat,  with  its  park  and  treasures  of  art, 
there  would  be  no  reason  to  repent  the  journey  to  this  country. 
The  whole  is  on  so  grand  a  scale  that  any  prince  in  the  world 
might  be  satisfied  with  it  for  his  summer  residence  ;  and,  at 
the  same  time,  it  is  a  noble  monument  of  the  gratitude  of  the 
English  nation  to  the  great  Duke  of  Marlborough.  It  would  be 
superfluous  to  add  anything  respecting  the  park  after  what  has 
been  said  in  the  Letters  of  a  German  Prince.  Much  as  the 
architect  of  this  palace  has  sinned  against  the  principles  of  his  art, 
by  breaking  the  masses  and  main  lines,  and  by  the  heaviness  and 
overlading  of  the  ornamental  parts,  yet  it  affords  at  a  distance 
very  picturesque  views,  and  the  interior  is  very  striking  for  the  size 
of  the  apartments,  the  beauty  of  the  materials,  and  the  richness 
and  splendour  of  the  decorations.  The  most  attractive  decora- 
tions, however,  are  the  paintings,  which,  arranged  in  a  series  of 
apartments,  form  one  of  the  most  considerable  galleries  in  Eng- 
land. The  great  Duke  of  Marlborough  was  a  great  admirer  of 
Rubens.  The  Emperor,  and  the  great  cities  of  the  Netherlands, — 
Brussels,  Antwerp,  Ghent, — therefore  vied  with  each  other  in  pre- 
senting him  with  the  finest  works  of  that  master  ;  he  purchased 
others  himself,  and  thus  formed  the  most  considerable  collection 
of  pictures  by  Rubens  in  the  possession  of  any  private  person, 
and  with  which  no  royal  gallery  even  can  be  compared,  except 
those  of  Munich,  Vienna,  and  Paris.  It  is  the  more  important, 
because  the  pictures  are  almost  throughout  by  the  hand  of  Rubens 
alone,  and  are  chiefly  of  his  earlier  and  middle  periods.  My  admi- 
ration of  this  rich  and  ardent  genius  was,  therefore,  only  increased 
here.  There  are  also  admirable  portraits  by  Vandyck,  and  some 
of  the  pictures  justly  bear  the  names  of  some  of  the  greatest 
Italian  masters.  I  enjoyed  the  very  rare  favoiu*  of  being  allowed 
to  remain  alone,  and  as  long  as  I  pleased,  in  the  different  rooms ; 
indeed  the  hurrying  through,  as  is  practised  here  almost  daily, 

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122  -  BLENHEIM  PALACE.  Letter  XXIV. 

would  have  been  of  little  use  to  me.  Nay,  the  late  Duke,  hap- 
pening to  find  me  at  my  studies,  conversed  with  me  in  a  very 
fiiendly  manner,  desired  me  not  to  let  his  coming  and  going 
interrupt  me,  and  presented  me,  as  a  remembrance  of  Blenheim, 
with  the  latest  edition  of  the  Guide  to  it,  which  is  adorned  with  a 
plan  of  the  park  and  with  the  chief  views,  engraved  on  steel  and 
wood.  I  will  now  give  some  particulars  of  the  most  important 
original  pictures  in  the  order  they  occupy  in  the  rooms. 
Bow- Window  Room. 

Vandyck. — 1.  Queen  Henrietta  Maria,  whole-length,  in  a 
blue  silk  dress ;  this  picture  hangs  too  high,  and  in  too  dark  a 
situation,  to  decide  whether  it  be  an  original  or  one  of  the  many 
old  repetitions. 

BoLTRAFFio. — The  Virgin  and  Child,  a  small  oval  picture. 
The  expression  of  melancholy  in  the  Virgin  is  very  noble.  This 
delicate  picture,  which  is  here  called  a  Leonardo  da  Vinci,  has 
unfortunately  suffered  much  damage. 

The  Duke's  Study. 

Vandyck. — 2.  Saturn,  with  wings,  holding  Cupid  on  his  knee, 
and  cutting  his  wings.  A  rather  insipid  allegory,  to  the  effect 
that  love  decreases  with  time.  On  canvas,  4  ft.  10  in.  high,  3  ft. 
8  in.  wide.     Of  the  latter  period  of  the  master. 

Sir  Godfrey  Kneller. — Sarah,  wife  of  the  great  Duke  of 
Marlborough.  Far  more  natural,  careful,  and  delicate  than  the 
majority  of  pictures  by  this  artificial  artist.  The  ambitious,  proud, 
and  violent  character  by  which  this  lady  acted  so  important  a 
part  in  the  affairs  of  her  own  family,  of  England,  and  even  of 
Europe,  is  clearly  expressed  in  her  features. 

Titian. — 1.  St  Sebastian,  whole-length,  the  size  of  life.  The 
figure  is  fine  and  slender,  the  expression  noble,  the  tone  of  the 
flesh  warm  and  clear.  A  landscape  in  the  background.  The 
picture  unfortunately  hangs  in  a  very  bad  light 

Peter  Neefä  —The  interior  of  a  church.  A  very  good  but 
dirty  picture. 

PiETRo  Francesco  Mola. — A  very  poetical  landscape,  the 
distance  in  a  warm  tone.     About  6  ft.  high,  and  9  ft.  wide. 

Jan  Baptista  Weenix. — A  seaport  with  niunerous  figures. 
A  large  and  very  carefully-executed  picture  by  this  rare  master, 
which  would  be  much  improved  by  varnishing. 

Carlo  Dolce. — 1.  The  Adoration  of  the  Kings.     A  small  pic- 

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Letter  XXIV.         COLLECTION  OF  PICTURES.  123 

ture.  Less  affected  and  truer  in  the  feeling  than  usual,  and 
highly  finished  in  all  the  parts ;  for  instance,  in  the  gold  brocade 
dresses  of  the  kings. 

Frans  Frank  the  elder. — ^The  Destruction  of  Pharaoh's  Host 
in  the  Red  Sea.     A  small  picture  of  extraordinary  delicacy. 

Roland  Savery. — Orpheus  attracting  the  animals  by  his  lyre. 
A  remarkably  pleasing  picture  by  this  master,  here  marked  as  "  un- 
known." 

Paull  Brill. — A  landscape  of  the  later  and  best  period  of  the 
master  ;  the  light  admirably  managed.  Here  erroneously  called 
a  Claude  Lorraine,  though  it  cannot  be  denied  that  pictures  of 
this  kind  by  Paul  Brill  had  a  very  decided  influence  in  forming 
Claude's  style. 

Lambert  Lombard. — ^The  Virgin  and  Child  Pale  in  colour- 
ing, but  very  delicately  blended.  The  pictures  by  this  master, 
one  of  the  most  eminent  Netherlanders  who  imitated  the  great 
Italian  masters,  are  in  general  mistaken  for  Italian  works ;  thus 
this  pictiffe  is  ascribed  to  Correggio. 

The  East  Parlour. 

Vandyck. — 3.  Mary  Duchess  of  Richmond,  whole-length,  the 
size  of  life,  about  to  take  a  pair  of  gloves  which  a  female  dwarf  is 
presenting  to  her.     Of  the  later,  elegant  time  of  the  master. 

Rubens. — 1.  A  Bacchanalian  festival  is  ascribed  to  him,  which 
is,  however,  by  an  able  master  of  his  school,  who  has  had  in  view  his 
celebrated  Bacchanalian  festival  in  the  Gallery  at  Munich.  Many 
parts  call  to  mind  the  earlier  period  of  Vandyck. 

TiTLAN. — 2.  A  male  head.  Admirably  drawn,  and  coloured 
very  warmly,  but  rather  later  than  Titian  ;  a  combination  of  the 
Italian  and  Flemish  styles. 

Holbein. — A  male  head.  Admirably  modelled  and  true  to 
nature.     Painted  about  the  year  1530. 

Vandyck. — 4.  The  Duchess  of  Buckingham,  with  her  two  sons 
and  a  daughter.  She  is  sitting  in  an  arm-chair.  The  black 
dress,  and  the  circumstance  that  she  is  pressing  a  miniature  to  her 
heart,  give  reason  to  conjecture  that  this  picture,  which  is  admir- 
ably painted  in  a  broad  silvery  tone,  was  executed  after  the  as- 
sassination of  her  husband  On  canvas,  about  8  ft.  high,  6  ft  wide. 
5.  Catherine  Countess  of  Chesterfield.  Bust  pictura  2  ft. 
6  in.  high,  2  ft.  1  in.  wida  Also  in  a  tender  tone,  and  of  great 
elegance. 


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124  BLENHEIM  PALACE.  Letter  XXIV. 

The  Large  Drawing-room. 

In  this  magnificent  apartment  a  noble  view  over  the  park  is 
commanded,  which  often  drew  my  eyes  away  even  from  the  master- 
pieces around  me. 

Rubens. — 2.  Lot,  with  his  wife  and  daughters,  conducted  by  two 
angels  from  Sodom.  The  moment  is  realised  in  the  most  vivid 
manner ;  he  is  folding  his  hands,  she  shedding  tears.  This  picture, 
presented  to  the  Duke  by  the  city  of  Antwerp,  is  one  of  the  choicest 
works  of  the  master's  middle  period.  The  characters  are  far  nobler, 
the  colours  truer  and  more  subdued  than  usual,  the  execution 
extremely  careful.  Engraved  by  Vostermann.  On  canvas,  6  ft. 
8  in.  high,  7  ft.  6  in.  wide. 

3.  The  Return  of  the  Holy  Family  from  Egypt.  This  picture, 
which  has  been  engraved  by  Vostermann,  may  perhaps  have 
been  painted  but  shortly  before  the  celebrated  Descent  from  the 
Cross,  in  the  cathedral  at  Antwerp ;  for  the  wing  of  it  on  which 
the  Visitation  is  painted  has  the  greatest  resemblance  to  it, 
especially  in  the  character  of  the  Virgin.  The  naivete  and  ear- 
nestness of  feeling,  and  the  cool,  serene,  subdued  morning  tone  in 
which  the  whole  is  most  carefully  carried  out,  render  this  work  one 
of  the  most  delightftJ  and  remarkable  productions  in  the  extensive 
sphere  in  which  Rubens  laboured.  This  picture  is  calculated  to 
gain  him  the  good  will  of  those  amateurs  who  do  not  like  his  usual 
more  arbitrary  and  fantastic  manner.  On  canvas,  6  ft.  8  in. 
high,  4  ft.  6  in.  wide. 

4.  A  Roman  Charity  is  worthy  to  accompany  the  preceding. 
This  subject,  otherwise  so  far  from  pleasing,  is  here  treated  so 
discreetly,  the  afiecting  expression  of  filial  piety  is  so  happily  ren- 
dered, the  execution  is  so  careful,  and  the  admirable  colouring  so 
true,  that  the  whole  impression  is  highly  satis&ctory.  Of  the 
middle  time  of  the  master ;  6  ft.  high,  6  ft.  wide. 

5.  The  portrait  of  Paracelsus,  remarkably  decided  in  the  forms, 
and  very  careftiUy  executed.  The  landscape  of  the  background, 
by  Wildens,  has  something  of  an  antiquated  character.  If  this 
plump-looking  man  really  represents  the  celebrated  physician 
Theophrastus  Bombastus  Paracelsus,  Rubens  must  have  painted 
him  from  some  earlier  picture,  as  he  died  in  1541,  On  panel, 
about  2  ft;  6  in.  high,  2  ft.  1  in.  wide. 

Carlo  Dolce. — 2.  The  Virgin  with  a  crown  of  stars,  her  eyes 
raised  towards  heaven  ;  half-length  figure.     The  expression  is  not 

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Letter  XXIV.         COLLECTION  OF  PICTURES.  125 

only  noble,  and  less  weak  and  effeminate  than  usual,  but  the  draw- 
ing is  finer,  the  colour  uncommonly  clear,  and  the  execution  of 
extreme  delicacy.  The  hand  which  is  stretched  out  is  particularly 
and  justly  admired  for  its  beauty  and  truth  to  nature.  The  picture 
is  of  octagonal  form,  like  St.  John  the  Evangelist,  by  Carlo  Dolce, 
in  the  Museum  at  Berlin,  and  of  about  the  same  size. 

Raphael. — This  name  is  aflSxed  to  a  female  portrait,  which  is 
said  to  represent  Raphael's  mistress,  here  called  Dorothea.  Nei- 
ther the  one  nor  the  other  of  these  assertions  is  tenable  ;  but  the 
picture  is  truly  the  portrait  of  a  beautiful  woman,  by  a  very  great 
master.  I  think  I  decidedly  recognise  the  hand  of  Sebastian 
DEL  PioMBO.  The  conception,  the  colouring,  the  landscape  of  the 
background,  and  the  arrangement  of  the  colours,  are  entirely  in 
his  taste.  The  splendid  dress  she  wears — ^a  mantle  of  red  velvet — 
indicates  a  lady  of  rank. 

Titian. — 3.  Pope  Gregory  and  a  female  saint  with  the  palm ; 
the  figures  two-thirds  the  size  of  life.  A  bright,  clear,  carefiilly 
executed  picture,  of  the  master's  earlier  period.  Unfortunately, 
the  hands  are  effaced  by  cleaning. 

Rubens. — 6.  The  Adoration  of  the  Kings.  Though  the  ori- 
ginal picture  is  in  the  Louvre,  the  hand  of  Rubens  is  manifest  in 
many  parts  of  this  repetition ;  and  it  has  the  advantage  of  the 
other  in  being  in  a  better  state  of  preservation.  Here  too  we 
recognise  the  earlier,  more  severe  style  of  the  master,  and  the  in- 
fluence of  his  studies  in  Italy.     8  ft.  6  in.  high,  6  ft.  3  in.  wide. 

Carlo  Maratti.— -The  Virgin,  standing  on  a  celestial  globe, 
surrounded  by  angels.  A  very  careftiUy  executed  and  warmly 
coloured  picture ;  a  happy  imitation  of  Guido.    life  size. 

Rubens. — 7.  A  Holy  Family.  Though  the  subject  is  not  treated 
in  a  very  elevated  way,  yet  it  is  distinguished  by  a  certain  cor- 
diality and  naivete  of  feeling,  and  is  very  pleasing  for  its  admir- 
able colouring  and  careful  execution.  On  canvas,  6  ft.  6  in.  high, 
by  4  ft.  B  in,  wide. 

8.  *' Suffer  little  children  to  come  unto  me  :"  half-length  figures. 
The  conception  of  this  subject  is  highly  characteristic  of  the  ten- 
dency of  the  Netherlanders  to  portray  BibUcal  events  in  the 
form  of  their  contemporary  life.  We  have  here  the  patron  of  the 
picture  and  his  family  worshipping  the  Saviour  in  their  Flemish 
costume.  The  Saviour,  seen  in  profile,  is  laying  his  hand  on  the 
head  of  a  boy,  blessing  him.  Behind  him  stands  a  little  girl,  who 
is  followed  by  the  mother,  with  an  infant  in  her  arms,  and  bv  the 

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126  BLENHEIM  PALACE.  Letter  XXIV. 

fether.  Next  to  Christ,  on  the  other  side,  are  three  apostles. 
Though  this  picture  decidedly  deviates  from  the  style  of  Rubens, 
I  yet  do  not  know  any  of  his  scholars  who  could  have  painted  it 
The  portraits  of  the  family  are  of  the  most  simple  truth  of  nature, 
full  of  health  and  life,  freely  and  yet  carefully  modelled  in  a  fiill, 
warm  tone.  The  head  of  the  woman  is  a  real  masterpiece  for 
softness,  clearness,  and  roimdness.  On  the  other  hand,  dignity  is 
admirably  expressed  in  Christ,  and  displeasure  in  the  apostles. 
The  colouring  is  of  astonishing  warmth  and  depth.  On  canvas, 
4  ft.  3  in.  high,  6  ft.  4  in.  wide. 

9.  The  Virgin  and  Child.     Of  his  later  period ;  carefully  ex- 
ecuted in  admirable  impasto,  and  with  the  greatest  brilliancy  of 
colouring.     On  panel,  3  ft.  5  in.  high,  2  ft.  5^  in.  wide. 
The  LiTTiiB  Parlouk. 

Rembrandt. — The  Woman  taken  in  Adultery.  Christ,  St. 
John,  the  woman,  and  two  accusers,  half-length  figures,  the  size 
of  life.  Though  not  to  be  compared  with  the  picture  in  the  Na- 
tional Gallery,  the  expression  of  Christ  is  here  very  noble ;  the 
clear,  full  tone  more  subdued  than  usual,  and  the  treatment,  not- 
withstanding its  breadth,  careful. 

PiETRO  DA  CoRTONA. — ^The  Rape  of  the  Sabmes.  The  chief 
characteristics  of  this  master — a  powerful  eflFect  and  an  agitated 
scene — are  here  attained  in  a  high  degree.  To  this  is  added 
unusual  force  of  colouring  and  careful  execution ;  so  that  this 
picture  is  one  of  his  best  works,  and  proves  the  ability  of  the 
master  when  more  careftd  than  usual 

Gonzalez  CoQUEa — ^The  portraits  of  a  Dutch  family,  in  a 
roouL     A  remarkably  choice  picture  by  this  rare  master. 

Rubens. — 10.  Catherine  de  Medicis ;  to  the  knees.  She  is  seated 
in  an  arm-chair,  in  a  black  silk  dress  with  a  broad  white  collar. 
Of  the  painter's  earlier  period ;  of  refined  truth  of  nature,  decided 
forms,  and  delicate  tone.  If  it  really  represents  that  queen,  it 
must  have  been  painted  from  an  earlier  picture,  because  Rubens 
was  only  twelve  years  old  when  she  died.  But  it  does  not  seem 
to  me  to  be  intended  for  her. 

11.  Helena  Formann,  the  second  wife  of  Rubens,  in  a  magnifi- 
cent dress,  and  richly  adorned.  A  black  velvet  head-dress  enhances 
the  dazzling  whiteness  of  her  complexioa  She  is  walking  in  the 
open  air ;  a  page  with  his  hat  in  his  hand  following  her.  Incom- 
parably animated  and  elegant,  and  at  the  same  time  truly  brilliant 
in  colouring.     On  canvas,  G  ft.  6  in.  high,  4  ft.  6  in.  wide^^^i^ 


Lbpter  XXIV.  COLLECTION  OF  PICTURES.  127 

Annibale  Carracci. — The  Virgin  with  the  Child  appearing 
to  a  worshipping  saint.  A  small  picture,  finished  like  a  miniature ; 
a  happy  imitation  of  Correggio. 

Artus  Van  der  Neer. — 1  and  2.  A  small  simset,  and  another 
larger  landscape,  are  here  erroneously  attributed  to  the  painter  of 
subject  pieces,  Eglon  Van  der  Neer,  though  the  second  has  even 
the  monogram  of  Artus. 

Raphael. — In  the  centre,  the  Virgin  enthroned,  under  a 
canopy  elegantly  ornamented  with  coral.  With  her  right  hand 
she  supports  the  Child,  who  is  sitting  on  her  lap,  and  looking  into 
a  book  upon  her  knee,  which  she  holds  with  her  left  hand.  At 
the  right  hand  of  the  throne  St.  John  the  Baptist,  represented  as 
a  man  of  mature  age,  stands  looking  up  in  adoration,  holding  in 
one  hand  an  elegant  ciystal  cross,  which  reaches  to  the  ground, 
and  pointing  with  the  other  to  the  infant  Christ ;  on  the  left  is  St. 
Nicholas  of  Bari,  in  pontificals,  holding  in  his  right  hand  a  golden 
crosier,  in  his  left  an  open  book,  in  which  he  is  looking  with  de- 
Tout  meditation.  The  background  is  formed  by  a  building  with 
large  semicircular  arches,  of  a  delicate  light  grey  colour,  through 
which  there  is  a  view  of  a  landscape.  The  figures  are  three- 
quarters  the  size  of  life.  On  panel,  about  9  ft.  high  and  5  ft 
wide. 

This  picture,  which  Raphael,  according  to  Vasari,  painted,  after 
his  first  residence  in  Florence,  for  the  family  chapel  of  the  Ansidei, 
in  the  church  of  the  Serviti,  or  S.  Fiorenzo,  at  Perugia,  is  a  highly 
important  work  in  the  history  of  his  artistic  development,  showing 
the  transition  from  the  Perugian  to  the  Florentine  style.  Here 
we  find  all  the  enthusiastic  depth  of  religious  feeling,  and  much 
of  the  external  school  style  of  the  former,  combined  with  the 
endeavour,  by  thorough  study,  to  obtain  greater  truth  of  nature 
and  more  freedom ;  qualities  which  he  first  acquired  in  Florence. 
The  excellent  state  of  preservation  also  allows  of  more  instructive 
observation  than  any  other  picture  of  that  period  of  Raphael's 
career.  To  his  earlier  Perugian  manner  we  ascribe  the  head 
of  the  Vir'gin,  which,  however,  is  the  most  beautiful  and  noble 
development  of  this  whole  style,  the  rather  too  round  body  of 
the  otherwise  very  lovely  Child,  the  expression  of  ardent  yearning 
in  St.  John,  as  well  as  the  poation  of  his  feet,  resembling  that  of 
St  Joseph  in  the  Sposalizio,  the  cast  of  the  draperies  of  the 
Vir^n  and  St.  Nicholas,  the  use  of  several  colours  which  have 
turned  very  dark,  such  as  the  blue  in  the  robe  of  the  Yii^gin.  the 

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128  BLENHEIM  PALACE.  Letter  XXIV. 

green  in  the  canopy,  in  the  upper  garment  of  St  Nicholas,  and  in 
the  landscape,  and  the  use  of  gold  in  the  hems,  in  the  glories,  in 
the  two  Greek  borders,  and  in  the  inscription  Salve  Mater 
Christi  on  the  wooden  throne,  to  which  there  is  an  ascent  of 
three  steps.  The  following  portions,  on  the  contrary,  indicate  the 
first  movements  towards  the  freer  development  of  his  genius,  which, 
a  few  years  after,  took  so  lofty  a  flight  in  the  realms  of  art : — the 
position  and  the  head  of  St  Nicholas ;  the  first  is  characteristic  and 
free  ;  the  head,  happily  foreshortened,  and  leaning  forward,  shows, 
in  the  admirable  modelling,  an  attentive  study  of  nature ;  in  the 
shadows,  clearness  and  rounding  by  means  of  reflections ;  in  the 
whole  local  tone,  an  aim  at  truth ; — and  the  flesh  of  St.  John,  as 
well  as  the  hands  of  St  Nicholas.  With  all  correct  understanding 
of  the  details,  we  here  remark  a  meagreness  not  found  in  many 
earlier  pictures  of  Raphael,  but  into  which  young  artists  easily  fall 
in  endeavouring  strictly  to  follow  nature.  In  the  left  arm  of  the 
Child,  and  of  St  John,  foreshortenings  have  been  attempted,  but 
have  not  been  successftd.  The  red  dress  of  St.  John — the  folds 
of  which  already  betray  the  peculiar  taste  of  Raphael — the  slender 
proportions  of  the  figures,  and  the  light  blue  of  the  sky,  are  imitated 
from  the  Florentine  painters  of  that  time.  Every  portion  of  the 
picture  is  executed  with  great  care,  in  a  solid  impasto.  The 
general  impression  of  the  colours  is  clear,  forcible,  and  harmo- 
nious. In  the  flesh  the  shadows  are  grey,  the  local  tone  delicately 
yellowish,  and  the  lights  whitish.  On  the  hands,  feet,  and  knees 
those  reddish  tones  appear  which  indicate  an  accurate  observation 
of  nature.  In  my  opinion,  this  admirable  picture,  which  bears  on 
the  hem  of  the  Virgin's  robe  the  date  MDV.,  may  be  placed 
between  the  Crucifixion,  in  the  collection  of  Lord  Ward,  and  the 
Lunette  in  S.  Severo  in  Perugia,  painted  in  fresco,  which  is  well 
known  to  be  also  of  the  year  1505,  and  which  is  the  oldest  example 
of  the  freer  style  of  Raphael.  Till  the  year  1764  this  picture 
remained  in  the  church  of  S.  Fiorenzo.  At  that  time  it  was  pur- 
chased by  Mr.  Gavin  Hamilton  for  Lord  Spencer,  who  subsequently 
presented  it  to  the  Duke  of  Marlborough. 

The  Great  Parlour. 
Sir  Peter  Lely. — Portraits  of  Lady  Morton  and  Mrs.  Killi- 
grew.  Though  flatter  and  more  motley  than  Vandyck,  this 
picture,  nevertheless,  proves,  by  its  delicate  clear  colour  and 
elegant  design,  that  Lely  sometimes  successfully  endeavoured  to 
rival  that  master.  ^  i 

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Letter  XXIV.  BLENHEIM  PALACE.  129 

Vandyck. — 6.  King  Charles  I.  in  complete  armour,  on  a  cream- 
coloured  horse,  nearly  in  profile ;  at  his  side,  Sir  Thomas  Morton, 
master  of  the  horse,  on  foot,  with  his  helmet ;  in  the  background, 
a  cavalry  combat  On  canyas,  12  ft.  6  ia  high,  9  ft.  6  in.  wide, 
full  of  life.  The  clear,  bright,  warm  tone  of  the  flesh  reminds 
us  of  the  great  Venetian  artists,  in  whose  taste  the  beautiful  land- 
scape is  likewise  designed.  The  horse  appears  rather  clumsy. 
This  picture,  which  was  sold  for  a  paltry  sum  at  the  sale  of  the 
collection  of  Charles  I.,  was  purchased  by  the  Great  Duke  of 
Marlborough  at  MunicL 

RuBENa — 12.  Andromeda,  chained  to  the  rock,  in  terror  at 
the  approach  of  the  monster ;  over  her  head  Cupid  with  his  torch, 
while  Perseus,  mounted  on  Pegasus,  is  seen  in  the  distance  de- 
scending firom  the  skies  to  defend  her.  On  panel,  6  ft.  6  in.  high, 
3  ft  1  in.  wide.  The  elevated  taste  of  the  forms,  and  the  style  of 
the  subdued  colouring,  induce  me  to  believe  that  Rubens  painted 
this  fine  picture  while  he  was  in  Italy. 

Vandyck.—  7  and  8.  Charles  I.  and  his  Queen ;  half-length 
figures.  Each  picture  3  ft  high,  2  ft  4  ia  wide.  Very  ele- 
gantly executed  in  a  tender  silvery  tone. 

RuBENa — 13.  Family  portrait  The  painter  walking  with  his 
second  wife,  Helena  Formann,  in  an  elegant  flower-garden ;  she  has 
a  little  child  in  leading-strings ;  figures  the  size  of  life.  On  canvas, 
6  ft.  8  in.  high,  7  ft.  8  in.  wide.  If  no  other  picture  by  Rubens 
were  in  existence,  this  would  suffice  to  prove  him  one  of  the  greatest 
painters  that  ever  lived.  The  conception  of  the  portraits  is  highly 
poetical,  and  the  feeling  of  calm  domestic  happiness  most  pleasingly 
expressed.  The  splendid  Spanish  costume  in  which  the  figures  are 
dressed  gives  at  the  same  time  the  impression  of  easy  circumstances. 
The  drawing  also  is  so  decided,  the  execution  throughout  so  careftd 
and  perfect,  the  colouring  of  such  depth  and  fulness,  and  the  har- 
mony of  the  whole  so  pleasing  and  powerful,  that,  in  these  respects, 
few  other  pictures  of  Rubens  equal,  and  none  probably  surpass  it 
It  is  evident  that  the  city  of  Brussels,  to  which  the  Duke  was 
indebted  for  this  masterpiece,  offered  its  best,  for  all  the  other 
pictures  by  Rubens  that  still  remain  in  that  city  are  inferior  to  this. 

RuBENa — 14.  The  Virgin  and  Child  on  the  throne,  surrounded 
by  four  angels,  and  worshipped  by  St  Catherine,  St  Barbara,  St. 
Dominick,  and  three  sainted  monks ;  below  are  Archduke  Albert 
of  Austria  kneeling  on  one  side,  and  on  the  other  his  consort  the 

VOL.  III.  K 

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130  BLENHEIM  PALACE.  Letter  XXIV. 

Archduchess  Eugenia  Isabella  and  the  Archduke  Ferdinand.  A 
beautiful  composition  ;  the  heads  extremely  fine  and  animated,  tlie 
forms  not  exaggerated.  This  spirited  sketch  for  a  larger  work 
was  painted  in  the  first  years  after  the  return  of  Rubens  from 
Italy.     On  panel,  2  ft.  2  ia  high,  1  ft.  8  in.  wide. 

15.  A  Holy  Family.  A  picture  of  his  later  period,  in  a  rather 
common  Flemish  character ;  the  colouring  brilliant 

Sir  Joshua  REYNOLDa — 1.  Family  portrait  of  the  late  Duke 
of  Marlborough,  with  his  Duchess  and  six  children.  They  are  in  a 
hall,  with  a  landscape  background  Sir  Joshua  appears  to  great 
advantage  in  this  fine  work.  The  arrangement,  which  is  so  rarely 
satisfactory  in  such  pictures,  is  here  pleasing  and  happy.  With 
great  animation  in  all  the  heads,  and  very  careful  execution  of  the 
details,  it  combines  a  general  harmony  in  a  bright,  warm,  and 
fiill  tone  of  colouring.  The  artist  received  for  this  picture  700 
guineas,  a  very  moderate  sum  compared  with  the  present  prices. 

Vandyck. — 9i  Lord  Strafford  and  his  secretary  Sir  Thomas 
Mainwaring ;  to  the  knees ;  on  canvas,  3  ft.  4  ia  long,  4  ft  6  ia 
wide.  This  is  one  of  the  few  truly  dramatic  portrait  pictures  by 
Vandyck.  Earnest  thought  is  strikingly  expressed  in  the  head  of 
the  nobleman,  who  holds  a  letter  in  his  hand,  the  answer  to  which 
he  is  dictating  to  his  secretary,  who  is  listening  with  the  greatest 
attentioa     The  execution  is  very  careful,  the  tone  clear  and  warm. 

The  Dining  Room. 

Gainsborough. — John  Duke  of  Bedford.  Superior  to  many  of 
the  portraits  by  this  master  in  faithful  and  careful  execution. 

Sir  Joshua  Reynolds. — 2.  Lady  Charlotte  Spencer,  repre- 
sented as  a  little  gipsy  girl,  telling  the  fortune  of  her  brother,  Lord 
Henry  Spencer.  A  picture  which  is  very  pleasing  for  naivete, 
animation,  and  clearness  of  the  bright  warm  tone. 

Among  the  other  portraits  by  Sir  Joshua,  the  best  are  those  of 
Lord  Charles  Spencer — 3,  and  the  Marquis  of  Tavistock — 4.  Of  the 
others,  some  are  faded,  the  remainder  originally  of  less  importance. 

Rubens. — 16.  Lot  and  his  Daughters — a  present  fix)m  the  Em- 
peror to  the  Great  Duke  of  INIarlborougL  This,  like  many  other 
pictures  of  his  later  period,  excites  admiration  for  its  skill  and 
energy,  but  is  at  the  same  time  disagreeable  in  the  vulgarity  of 
the  forms  and  characters.  The  charm  of  truth  is  also  wanting  in 
the  blue  half-tints,  in  the  red  reflections,  and  in  the  shining  lights 
in  the  flesh.     On  canvas,  6  ft  high,  7  ft  wide. 

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Lktper  XXIV.  BLENHEIM  PALACE.  131 

17.  Three  women  gathering  fruit  Cupid,  on  a  tree,  pre- 
senting one  of  them  with  a  branch  of  apricots.  A  very  pleasmg 
composition,  in  which  a  feeling  for  beauty  and  truth  is  combined 
with  a  blooming,  transparent,  yet  not  extravagant  colouring.  The 
fruit  is  painted  with  extraordinary  force  and  taste  by  Snyders.  On 
panel,  7  fL  6  in.  high,  7  ft  6  in.  wide. 

18.  Venus  and  Cupid  endeavouring  in  vain  to  dissuade 
Adonis  from  going  to  the  chase.  A  grand  picture  of  the  master's 
middle  period.  Refined  feeling,  beautiful  heads,  more  noble 
forms,  and  careful  execution,  are  here  united  with  a  brightness, 
warmth,  and  deamess  of  colouring,  which  make  one  involuntarily 
recollect  Guido's  exclamation  at  the  first  sight  of  a  picture  by 
Rubens — "  Does  this  painter  mix  blood  with  his  colours  ?  "  Venus, 
in  particular,  is  very  delicately  coloured,  the  landscape  of  the 
background  remarkably  beautiful.  This  picture  was  also  a  present 
from  the  Emperor.     On  canvas,  6  ft.  high,  7  fl.  6  in.  wide. 

19.  A  Bacchanalian  procession.  Of  all  Rubens'  pictures  of 
this  kind,  I  am  inclined  to  give  the  preference  to  thia  In  the 
figures  of  the  corpulent  Silenus,  the  negro,  and  the  nymphs, 
drunkenness  is  expressed  in  all  its  odious  truth.  The  compo- 
sition agrees  nearly  throughout  with  the  Bacchanalian  Festival 
in  the  Berlin  Museum,  which  was  for  the  most  part  executed 
by  JoMaens,  but  far  surpasses  it  in  the  prodigious  force  of  the 
execution,  in  the  impasto,  depth,  and  clearness  of  the  colouring. 
The  principal  female  figure,  and  a  child,  are  unfortunately  damaged, 
and  a  panther  has  been  added  by  another  hand.  On  canvas,  7  ft. 
8  in.  high,  9  ft  6  in.  wide. 

Benedetto  Castiglione. — A  very  carefiilly-executed  and  fine 
picture  for  the  painter,  in  which,  as  usual,  cattle  are  the  chief 
objects.     About  5  ft.  high,  6  ft.  wide. 

The  State  Drawing-boom. 

Bernardo  Strozzi,  called  II  Prete  Genovese. — St  Law- 
rence. For  impasto,  force  of  colouring,  and  careful  execution,  a 
very  distinguished  picture  by  this  affected  master. 

The  State  Bed-room. 
LucA  Giordano. — ^The  Death  of  Seneca.   A  picture  of  unusual 
finish  for  the  master,  in  which,  however,  the  figure  of  Seneca 
^ves  a  disagreeable  impression. 

K  2 

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132  BLENHEIM  PALACE.  L>ji:terXX1V. 

The  Library. 

This  gallery,  which  is  180  feet  in  length,  produces  a  striking 
efiect  by  the  splendid  pillars  and  pilasters  of  coloured  marble 
which  support  the  cornice.  The  library,  which  is  placed  in  richly- 
ornamented  cases,  contains  about  17,000  volumes.  At  one  end  is 
the  marble~  statue  of  Queen  Ann^,by  Rysbrach,  a  Netherlandish 
sculptor.  The  rich  brocade,  and  the  many  jewels  which  adorn 
the  dress,  are  imitated  with  much  skill  and  care.  This  statue 
is  truly  a  superb  example  of  this  style,  which  is  so  incompatible 
with  the  true  spirit  of  sculpture. 

At  the  other  end  is  a  marble  bust  of  Alexander  the  Great, 
found  in  Herculaneum,  which  agrees  with  the  only  one  which  can 
be  depended  upon  as  genuine  in  the  Louvre,  and  which  was  pre- 
sented to  Napoleon  by  the  Chevalier  d'Azzarra ;  the  head,  how- 
ever, here  is  grander  and  nobler,  and  rather  more  idealised  in 
form,  the  hair  resembling  that  of  Jupiter,  richer  and  fuller,  and 
the  workmanship  good. 

This  gallery  is  also  richly  adorned  with  many,  other  sculp- 
tures and  pictures,  for  the  most  part  portraits  of  the  family,  or  of 
other  English  notabilities.  A  large  bow-window  commands  a 
view  over  part  of  the  Duke's  private  garden,  which,  for  the  rarity 
and  beauty  of  the  plants,  is  one  of  the  first  in  the  world. 

The  Titian  Room. 
This  is  the  name  given  to  an  apartment  near  the  theatre, 
adorned  with  nine  paintings,  said  to  be  by  Titian,  which  Victor 
Amadeus,  King  of  Savoy,  presented  to  the  great  Duke  of  Marl- 
borough. The  subjects  of  these  large  pictures  are  the  following: — 
Mars  and  Venus ;  Cupid  and  Psyche  ;  Apollo  and  Daphne  ;  Pluto 
and  Proserpine;  Hercules  and  Dejanira;  Vulcan  and  Ceres; 
Bacchus  and  Ariadne  ;  Jupiter  and  Juno ;  Neptune  and  Amphi- 
trite.  They  are  painted  on  large  pieces  of  leather,  after  the 
fashion  of  the  leather  hangings  which  were  in  vogue  in  the  middle 
ages,  each  of  them  with  an  architectural  border.  The  absurd 
taste  of  these  borders,  which  is  of  a  rather  later  period,  is  alone 
suflScient  to  prove  that  the  pictures  cannot  be  by  Titian,  and  this 
is  stiU  more  evident  from  the  pictures  themselvea  Where  do  we 
ever  find,  in  this  greatest  of  colourists,  such  heaviness  and  opacity 
and  such  red  shadows  as  here  in  the  flesh  of  the  male  figures  ?  On 
the  other  hand,  the  character  of  the  heads,  the  occasionally  bard 

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Lettbb  XXIV.  BLENHEIM  PALACE.  133 

forms,  and  the  feebleness  of  the  drawing,  particularly  in  many  of 
the  feet,  indicate  the  style  of  Alessandro  Varotari,  called  II 
Padovanino,  bom  in  1590,  died  1650 ;  by  which  master  these 
are,  however,  comparatively  careful  and  select  works. 

An  English  connoisseur  has  since  drawn  my  attention  to  the 
feet  that  the  compositions  of  these  pictures  belong  to  Perino  del 
Vaga,  and  have  been  engraved  by  Caraglio.  Titian,  however, 
was  in  every  way  too  great  a  master  to  condescend  to  work  from 
the  compositions  of  another  painter,  and  especially  of  one  so 
inferior  to  himself.  It  is  therefore  more  probable  that  Padovanino, 
who  was  so  limited  in  powers  of  invention,  painted  these  pictures 
from  Caraglio's  engravings. 

On  one  of  the  walls  of  the  same  room  is — 

Rubens. — 20.  The  Rape  of  Proserpina  This  picture,  about  6 
ft.  8  in.  high,  and  13  ft.  wide,  is  in  every  respect  one  of  the  capital 
works  of  the  master.  In  the  group  of  Pluto,  who,  on  his  car  drawn 
by  spirited  brown  horses,  is  carrying  off  the  struggling  goddess 
in  his  vigorous  arms,  that  power  of  seizing  momentary  bursts  of 
feeling  is  manifested  in  the  highest  degree.  The  forms  too  are 
far  more  decided,  more  slender,  and  less  extravagant  than  is  often 
the  case.  This  is  particularly  evident  in  Proserpine  and  her 
attendants,  which  latter  are  endeavouring  in  vain  to  hold  her  back. 
We  recognise  among  them  Minerva,  Venus,  and  Diana.  The 
latter  is  distinguished  by  a  beauty  of  form  seldom  met  with  in 
Rubens.  The  flesh  too  is  throughout  of  a  light  subdued  tone. 
Cupid,  victorious,  flies  before  the  car.  The  blue  sea,  warmly 
illumined  by  the  sun,  forms  a  grand  termination  to  the  back- 
ground. This  masterpiece  was  probably  painted  by  Rubens  in 
the  first  years  after  his  return  from  Italy,  and  is  executed  through- 
out with  the  greatest  care  by  his  own  hand. 

In  1850  I  accompanied  Dr.  Chaffers,  with  other  friends,  in  a 
second  visit  to  Blenheim,  where  I  enjoyed  the  treasures  of  art 
there  preserved  the  more  for  being  ahready  acquainted  with  them. 


On  another  lovely  summer's  day  I  accompanied  Mr.  Murray, 
with  my  friend  Passavant  and  Mr.  Peter  Cunningham,  to  Ditchley 
Park,  the  seat  of  Viscoimt  Dillon,  in  Oxfordshire.  The  beautiful 
park  and  well-kept  pleasure-grounds  surround  most  delightftdly  a  re- 
sidence in  the  Italian  style.  Among  a  number  of  pictures  distributed 
in  various  apartments  I  found  the  following  worthy  of  notice : — 

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134  LORD  DILLON'S  COLLECTION.         Letter  XXIV. 

Sir  Anthony  More. — 1.  An  excellent  male  portrait  Lively 
in  conception,  warm  and  transparent  in  colouring,  very  solid  in  exe- 
cution, and  of  admirable  preservation.  The  supposition  that  this 
picture  represents  Sir  Francis  Drake  is  refuted  by  the  date  1568, 
which  is  inscribed  as  well  as  the  artist's  name  on  the  picture,  in 
which  year  Sir  Francis  Drake  was  only  23  years  of  age,  while  the 
individual  here  represented  is  in  mature  manhood. 

2.  A  portrait  of  Philip  II.  of  Spain,  to  whom  Sir  Anthony 
More  was  court-painter. 

Two  portraits  of  English  ladies,  full-length  figures,  by  Sir  Peter 
Lelt,  belong  to  his  best  works. 

Many  other  portraits  are  more  remarkable  as  representations  of 
members  of  old  English  families  than  as  works  of  art. 

I  can  only  regret  not  to  have  had  the  opportunity  of  visiting 
the  pictures  of  George  Vernon  Harcourt,  Esq.,  at  Nuneham  Park, 
not  &r  from  the  London  railroad,  in  the  neighbourhood  of  Oxford ; 
but  a  permission  from  the  family  to  that  effect  only  arrived  after 
I  had  quitted  Oxford. 

Nor  was  I  able  to  visit  Basildon  Park,  the  seat  of  James  Mor- 
rison, Esq.,  in  Berkshire,  which  I  regret  the  more  as  I  have 
reason  to  know  that  his  coUection  is  one  of  a  very  high  class.  I 
subjoin  a  list  of  the  chief  pictures  : — 

Nicolas  Poussin. — Bacchanalian  fete.  From  Lord  Ashbum- 
ham. 

Ruben& — Holy  Family.     Sir  Simon  Clarke. 

Rembrandt. — His  daughter.     Mr.  Gray. 

Leonardo  da  Vinci. — Flora.    Sir  Thomas  Baring. 

Hobbema. — Landscape.     Mr.  Gray. 

Both. — 1  and  2.  Falls  of  Term  ;  a  landscape.  Mr.  Beckford 
and  Duke  de  Berri. 

Vandyck. — 1  and  2.  Female  portraits.     Strawberry  Hill. 

Adrian  van  Ostade. — ^Interior — small.    Mr.  Gray. 

Gaspar  Poussin. — ^Disciples  going  to  Emmaus.  Sir  Thomas 
Baring. 

Paul  Potter. — Landscape.     Mr.  Harman. 

Carel  Dujardin. — 1.  Woman  spinning. 

2.  Shoeing  a  horsa     Mr.  Gray. 

Backuutsen. — Sea-piece.    Duchess  de  Berri. 

Teniers. — Several  small  pictures. 

Also  some  choice  specimens  of  the  Modern  English  School^ 


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Lbttkb  XXV.  WINCHESTER  CATHEDRAL.  135 


LETTER   XXV. 

Winchester  Cathedral  and  Collie  —  Salisbury  Cathedral.— Longford  Castle, 
seat  of  Earl  of  Radnor:  Holbeins  —  Iron  chair.— Wilton  House,  seat  of 
Earl  of  Pembroke :  Antique  sculptures  —  Antique  painting  —  Pictures  — 
Italian,  German,  and  Flemish  schools  —  Vandycks  —  Building  by  Holbein. 
—  Stonehenge. — Bowood,  seat  of  Marquis  of  Lansdowne  :  Collection  of 
pictures  —  Raphael  picture  —  Italian,  Spanish,  Netherlandish,  French, 
and  English  schools  —  Groimds  at  Bowood. — Charlton  Park,  seat  of  Earl 
of  Suffolk :  Collection  of  pictures  —  Leonardo  da  Vinci's  "  Vierge  aux 
Rochers  **  —  Miscellaneous  schools. —  Wardour  Castle  —  Stourhead  House 
— Lougleat. 

WINCHESTER  CATHEDRAL. 

This  edifice  is  one  of  the  most  considerable  in  England  for 
size  and  style  of  building«  The  space  where  the  transepts 
meet,  and  also  the  heavy  tower  above  it,  are  in  the  earlier 
Norman  style.  The  choir  is  of  the  utmost  slendemess  of  forms, 
with  clusters  of  pointed  arches,  belonging  to  the  later  Norman 
style.  Finally,  the  nave  is  in  the  richly  developed  Gothic  style, 
here  called  "  decorated  English,"  the  beautiful  arched  roof,  with 
its  extended  palm-like  ribs,  proving  how  early  this  form  obtained 
in  England.  The  effect  of  the  interior,  which  is  of  great  length, 
is  of  peculiar  beauty,  and  very  imposing  in  character. 

The  oldest  of  the  numerous  monuments,  which  give  to  this 
cathedral  a  very  rich  and  picturesque  appearance,  is  a  font,  seem- 
ingly of  basalt,  which  rests  on  four  short  pillars,  one  of  which  is 
slightly  twisted.  The  very  rude  workmanship  of  the  bas-relief — 
the  legend  of  a  saint — the  extremely  short  proportions  of  the  figures 
— the  faces  with  the  thick  noses,  which  exactly  correspond  with 
the  miniatures  in  MSS.  of  the  9th  century,  lead  me  to  assign  the 
date  of  this  font  at  the  latest  to  the  commencement  of  the  10th 
century. 

In  a  large  space  behind  the  choir  are  two  important  sepulchral 
monuments,  with  Gothic  canopies  of  elegant  open  work.  One  is 
that  of  the  Cardinal  Beaufort,  whose  ambition  and  folly  Shak- 
speare,  in  his  *  Henry  VI.,'  has  painted  with  such  overpowering 
truth.   He  is  represented  lying  at  full  length  in  his  cardinal's  robes. 

An  alabaster  monument  of  a  Bi^op  is  distinguished  by  good 

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136  SALISBURY  CATHEDRAL.  Letier  XXV. 

workmanship.  Excepting  the  hands  and  face,  all  is  painted,  which 
however  has  no  bad  eflFect. 

In  recesses  on  the  outside  of  the  wall  which  encloses  the  choir 
are  two  recumbent  statues,  disgustingly  represented  as  half  skele- 
tons. One  is  that  of  Bishop  Gardiner,  the  persecutor  of  the  Pro- 
testants in  the  time  of  Queen  Mary,  a  chair  belonging  to  whom  is 
also  preserved  here. 

The  stalls  are  of  fine  carved  work,  and  a  new  Bishop's  stall 
is  executed  in  the  same  style. 

Besides  the  cathedral,  I  visited  the  college,  a  learned  insti- 
tution for  the  education  of  two  himdred  scholars :  this  is  a  very 
noble  establishment,  the  principal  buildings  of  which  are  of 
the  14th  century.  The  chapel  is  of  considerable  size,  and  of 
good  proportions.  The  painted  glass  windows  are  for  the  most 
part  modem.  A  courtyard  surrounded  with  cloisters,  in  the 
middle  of  which  is  a  small  Gothic  building  in  the  form  of  a 
chapel,  has  a  very  fine  effect.  Some  old  statues,  though  rudely 
executed,  are  in  a  very  good  style.  In  the  Dean  and  Chapter's 
library  I  understand  there  is  a  library  with  remarkably  beautiful 
miniatures. 


SALISBURY  CATHEDRAL. 
From  Winchester  I  proceeded  the  same  day  to  Salisbury,  and 
hastened  from  the  inn  to  see  the  cathedral,  which  is  considered 
one  of  the  finest  in  England.  The  effect  of  this  building,  which 
stands  in  a  large  churchyard  with  fine  old  trees  and  the  richest 
verdure,  is  grand,  noble,  and  picturesque ;  the  uniformity  of  the 
design  espedally  has  a  good  effect,  the  whole  church  being  built 
in  the  pure  Gothic  style,  between  the  years  1220  and  1258.  The 
slender  spire  rises  like  an  arrow  into  the  air  from  the  centre  of 
the  transept.  The  windows  give  it  a  still  lighter  appearance,  and 
at  the  base  are  elegant  crocketed  pinnacles.  The  spire  itself  is 
not  pierced  like  that  of  the  cathedral  of  Freiburg  in  the  Breisgau, 
but  is  only  divided  by  three  bands.  The  fa9ade  is  not  striking :  ^, 
nay,  some  arches,  half-furnished  with  windows,  half-blind,  indicate 
a  certain  unskilfulness  in  the  plaa  The  choir  is  divided  into  four 
rectangular  portions,  each  narrower  and  lower  than  the  preceding, 
which  give  it  a  rather  mean  appearance.  Other  projecting  and  re- 
ceding parts  ako  interrupt  the  rimplicity  of  the  lines.  In  many 
parts  remains  of  the  Norman  style  may  still  be  seen ;  for  instance, 

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LBfiTER  XKV.  SALISBURY  CATHEDRAL.  137 

in  the  arrangement  of  the  lower  row  of  windows,  where  the  centre 
one  of  three  is  always  higher  than  the  other  two,  and  in  the  zig- 
zag ornament.  The  interior  of  the  building,  consisting  of  three 
aisles,  has  a  very  beautiful,  but  not  so  grand  an  effect  as  that  of 
the  cathedral  of  Winchester.  Under  the  windows  of  the  nave  runs 
a  fretwork  cornice,  the  arches  of  which,  with  their  broad  and 
heavy  proportions,  indicate  the  Norman  styla  The  four  piers  on 
which  the  tower  rests  are  comparatively  slender ;  the  lower  part, 
with  which  the  choir  terminates,  is  supported  by  very  slender  and 
elegant  pillars.  On  a  continued  base,  between  the  pillars  which 
connect  the  nave  with  the  aisles,  are  here  and  there  very  ancient 
monuments,  such  as  recumbent  figures ;  among  which  I  noticed  as 
particularly  simple  and  dignified  those  of  two  knights  of  the  name 
of  Longsword,  father  and  son,  and  of  two  bishops  of  the  twelfth 
centiuy. 

There  is  also  no  lack  of  monuments  of  a  later  date.  One  of 
the  most  important  is  that  of  an  Earl  of  Hertford,  who  died 
in  1621.  It  is  executed  in  white  marble  in  the  Italian  style, 
which  appears  quite  out  of  place  here. 

Three  monuments  by  Flaxman,  two  of  which  are  in  the  Gothic 
taste,  prove  that  he  was  superior  to  most  English  sculptors  in 
knowledge  of  the  architectonic  style.  There  is  nothing  extraor- 
dinary in  the  design,  but  the  workmanship  b  good,  and  there  is 
real  feeling  in  the  heads. 

Some  painted  windows,  executed  by  Flemish  artists,  are  of  very 
great  beauty ;  they  were  brought  from  Dijon  during  the  French 
Revolution.  Here  and  there,  however,  more  modern  work  has  been 
mixed  up  with  them.  A  large  painting  on  glass,  by  Egginton, 
representing  the  Resurrection,  after  a  design  by  Sir  Joshua  Rey- 
nolds, affords,  in  the  extravagantly  dramatic  composition,  a  melan- 
choly proof  how  much  the  correct  feeling  for  this  kind  of  art  had 
been  lost,  while  the  heavy  brown  colouring  shows  the  low  ebb  to 
which  technical  execution  had  also  sunk  towards  the  end  of  the  last 
century. 

To  the  cathedral  are  attached  cloisters,  which,  with  their  richly- 
adorned  Gothic  arches,  are  certainly  some  of  the  most  beautiful  in 
the  world.  The  chapter-house  is,  however,  still  more  important. 
This  is  an  octagonal  Gothic  building  of  the  14th  century,  with 
eight  large  windows,  in  the  centre  of  which  rises  a  slender  pillar, 
which,  spreading  like  a  palm,  supports  the  roof.    The  lightness 

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138  LONGFORD  CASTLE.  Lbttbr  XXV. 

and  elegance  of  the  effect  are  wonderful  A  series  of  bas-reliefe, 
bepnning  with  the  Creation  of  the  World,  and  ending  with  the 
History  of  Joseph,  are  unfortunately  injured.  Yet  we  may  still 
recognise  the  good,  and  even  unconstrained  attitudes,  and  the 
correct  style  in  the  treatment  of  the  alto-rilievo. 


LONGFORD  CASTLE. 

It  was  early  in  the  morning,  on  my  first  visit  to  England  in 
1835,  when  I  set  out,  in  the  finest  weather,  for  Longford  Castle, 
the  seat  of  the  Earl  of  Radnor,  three  miles  from  Salisbury.  The 
mansion,  situated  in  a  beautiful  park,  was  built  in  the  year  1591, 
by  a  Marchioness  of  Northampton,  a  lady  of  the  court  of  Queen 
Elizabeth,  in  the  unusual  form  of  a  triangle :  three  round  towers, 
with  broad  battlements  at  the  comers,  give  it  the  appearance  of  an 
old  feudal  castla  I  had  in  vain  requested  Lord  Radnor,  through 
Mr.  Rogers,  for  an  order  to  his  people  to  allow  me  to  study  his 
pictures  at  my  leisure.  Accordingly,  on  requesting  permission  to 
view  them,  it  was  flatly  denied  ma  Fortunately,  Mr.  Pusey,  a 
Member  of  Parliament,  with  whom  I  had  become  acquainted  in 
Berlm,  and  who  has  taken  every  opportunity  to  oblige  me,  had 
given  me  a  letter  to  Lady  Radnor,  by  which,  though  she  was 
not  there,  I  at  least  obtained  the  favour  of  bemg  hastily  driven 
through  the  collection.  Under  such  circumstances  there  was  no 
possibility  of  taking  any  notes  in  the  presence  of  the  pictures ;  I 
must,  therefore,  be  content  with  recording  some  particulars  from 
memory,  which,  unfortunately,  can  neither  be  so  accurate  nor  so 
complete  as  the  collection  deserves ;  for,  besides  being  perhaps 
the  most  important  in  England  for  pictures  by  Holbein,  it  con- 
tains works  by  Titian,  Claude,  Nicolas  Poussin,  and  Velasquez, 
worthy  of  the  first  gallery  in  the  world.  The  principal  pictures  are 
on  the  first  floor,  in  a  long  saloon  and  two  adjoining  apartments. 

Holbein. — 1.  Portrait  of  Erasmus.  The  name  of  Hans  Hol- 
bein and  the  date  MDXXHI.  are  on  a  book.  The  shortness  of 
the  time  would  not  allow  me  to  decipher  a  Latin  inscription. 
From  Dr.  Mead's  collection.  Of  all  the  portraits  of  Erasmus  by 
Holbein,  this,  which  is  rather  below  the  size  of  life,  is  the  most 
animated  and  true  to  nature,  and  probably  one  of  those  which 
Erasmus  sent  to  Sir  Thomas  More  before  Holbein  came  to  Eng- 

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Läctbr  XXV.      EARL  OF  RADNOR'S  COLLECTION.  139 

land.     It  is  painted  in  the  bright,  yellowish,  yet  clear  tone  of  the 
flefi»h,  which  Holbein  had  adopted  from  his  father. 

2.  The  portrait  of  the  celebrated  traveller  Peter  iEgydius; 
the  companion  picture.  On  Holbein's  visit  to  England,  in  1526, 
Erasmus  gave  him  a  letter  of  recommendation  to  this  friend,  who 
lived  at  Antwerp ;  and  it  is  very  probable  that  Holbein  painted 
this  picture  while  he  stopped  at  Antwerp  on  this  journey.  There 
is  much  intelligence  and  some  archness  in  the  countenance.  The 
tone  and  treatment  are  very  much  the  same  as  in  the  portrait  of 
Erasmua 

3.  Two  male  portraits,  full-length  figures,  the  size  of  life ;  in 
one  picture,  about  8  ft.  high  and  9  ft.  wide.  On  one  side  of  a 
table,  in  the  centre,  stands  a  man  of  rank,  with  a  short  beard,  in 
a  short  pelisse  with  red  sleeves.  On  the  richly-ornamented  sheath 
of  a  dagger  by  his  side  is  inscribed  '^  Etatis  29 ;"  to  a  gold 
chain  hangs  a  medal  with  St  Michael  upon  it  On  the  other 
side  of  the  table,  on  which  are  geometrical  instruments,  is  a 
man  of  learning  in  a  long  garment  of  a  dark  colour.  Upon  a 
book  which  he  holds  in  his  hands  stands  **  Etatis  25"  or  26  ;  for 
I  could  not  accurately  distinguish  the  second  figure,  which  is  in 
shadow.  An  open  musio-book  contains  a  very  legible  German 
text  On  a  bench  are  some  wind-instruments  and  a  globe.  I  do 
not  know  on  what  ground  these  two  portraits  are  here  called  two 
Ambassadors.  The  picture,  however,  is  the  most  important  of  all 
I  have  yet  seen  in  England  by  the  master.  The  flesh  is  still 
painted  in  the  warm  yellowish-brown  tone  which  characterises 
Holbein's  second  period.  Judging  from  the  delicate  execution  of 
all  the  parts,  and  a  certain  freedom  in  the  attitudes,  1  should  fix 
the  date  of  it  at  1529,  or,  at  the  latest,  1530.*  The  ornaments 
are  tastefully  painted  in  gold,  the  impasto  admirable. 

4.  Luther,  half-length.  There  is  no  ground  whatever  for 
giving  it  this  name.  The  refined  feeling  for  nature,  so  peculiar 
to  Holbein,  is  here  combined  with  a  certain  grandeur  of  concep- 
tion and  drawing  which  is  particularly  remarkable  in  the  hands. 
The  flesh  is  in  a  warm,  brownish  tone ;  an  inscription  contains 
only  a  Latin  sentence. 

5.  Anthony  Derry,  chamberlain  and  favourite  of  Henry  VIII. ; 
leas  precise  in  the  forms,  but  remarkably  brilliant  in  the  colouring. 

*  I  heard  afterwards  tliat  the  date  is  inscribed  upon  it.    It  is,  however,  no  wonder 
that  it  escaped  me,  chased  as  I  was  through  the  rooms. 

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140  LONGFORD  CASTLE.  Letter  XXV. 

6.  (Ecolampadius,  a  man  of  remarkably  ugly  features  and  very 
red  complexion.  It  hangs  too  high  to  admit  of  a  positive  opinion, 
but  I  much  doubt  its  being  by  Holbein. 

7.  King  Edward  VI.  Too  poor  a  production  for  Holbein ;  it 
is  also  much  injured. 

The  Virgin  and  Child  enthroned,  surrounded  by  male  and 
female  saints.  The  name  of  Albert  Durer,  here  given  to  this 
picture,  is  quite  an  error ;  it  is  a  later  but  very  excellent  picture 
by  Herri  db  Bles,  called  Civetta.  This  master,  on  whose 
historical  pictures  Mabuse  and  Lucas  van  Leyden  had  great 
influence,  was  one  of  the  first  in  the  Netherlands  who  painted 
landscapes  as  a  distinct  class.  He  followed  the  manner  of 
Patenier,  who  was  rather  older. 

Titian. — 1.  Portrait  of  a  knight ;  whole-length  figure,  the  size 
of  life,  with  his  helmet  by  his  side.  The  drawing  of  the  head  and 
hands  is  very  fine,  and  the  whole  is  most  carefully  executed  in  a 
full,  warm,  golden  tone. 

2.  Caesar  Borgia ;  half-length  figure.  A  delicate,  clever,  but  most 
perfidious  countenance,  admirably  painted ;   the  hands  are  injured. 

3.  A  male  portrait,  with  a  piece  of  sculpture,  appears  to  me  to 
be  rather  a  choice  portrait  by  Tintoretto. 

4.  Violante,  daughter  of  Palma  Vecchio.  A  good  early  repe- 
tition of  an  admirable  portrait  by  Paris  Bordone. 

Sebastian  del  Piombo. — St.  Sebastian,  after  a  design  by 
Michael  Angelo.  Most  carefully  executed  in  very  dear  colouring. 
In  the  background  rocks  and  ruins  of  singular  forms. 

A  female  portrait,  here  ascribed  to  Raphael,  and  called  his 
mistress,  has  nothing  to  do  with  this  master,  nor  with  the  Foma- 
rina,  but  has  a  certain  severity  of  character.  It  appears  to  be  also 
an  excellent  work  by  Sebastian  del  Piombo. 

Guido  Reni. — ^The  Magdalen  with  features  of  extraordinary 
beauty,  painted  with  great  cleamesa 

Car£o  Dolce, — His  own  very  carefully-executed  portrait  He 
holds  another  in  his  hand,  where  he  appears  in  profile. 

Claude  Lorraine. — 1.  A  seaport  at  sunrise,  with  the  landing 
of  iEneas  in  Latiunt  The  morning  freshness  of  nature  typifies 
here  the  beginning  of  the  Roman  Empire. 

2.  The  companion  A  sunset,  with  antique  ruins  and  an  aque- 
duct. The  setting  sun  is  here  applied  to  the  fall  of  the  Roman 
Empire ;  its  beams  illumine  only  the  remains  of  departed  splen- 

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Lbtter  XXV.      EARL  OF  RADNOR'S  COLLECTION.  141 

dour.  These  are  two  large,  masterly  pictures  belonging  to  the 
transition  from  his  middle  to  his  later  period,  in  which,  therefore, 
a  more  accurate  rendering  of  the  details,  with  great  depth  and 
fulness  of  colour,  is  combined  with  softness  of  gradations  and  a 
marvellous  general  keeping.  The  Morning  has  been  engraved  by 
Mason,  and  the  Evening  by  WooUett 

Caspar  Poussin. — 1  and  2.  Two  small  but  very  attractive 
landscapes. 

Salvator  Rosa. — ^A  sea-coast ;  remarkable  for  deamess  and 
careful  execution. 

Velasquez.— 1.  Portrait  of  Adrian  Pulido  Pareja.  In  energy 
of  conception,  masterly  boldness,  and  yet  careful  execution,  and 
admirable  keeping,  a  portrait  of  the  first  class. 

2.  His  own  portrait ;  bust-size,  truly  Spanish  in  character  and 
painting,  but  of  a  heavy  brown  in  the  general  tone ;  and  if  by 
Velasquez,  probably  of  an  early  date. 

MuRiLLo. — ^Two  figures  as  large  as  life,  in  a  landscape.  The 
impasto  very  solid,  and  the  tone  warm. 

Nicolas  Poussin. — 1.  The  Departure  of  the  Israelites  from 
Egypt.  A  rich  and  successful  composition,  of  extraordinary  power 
and  deamess  of  tone,  and  very  careful  execution. 

2.  Worshipping  the  Golden  Calf.  The  companion  picture; 
also  full  of  happy  movements,  and  in  other  respects  not  inferior 
to  the  preceding.  Both  the  pictures  are  of  unusual  dimensions, 
and  yet  with  figures  of  that  size  in  which  Poussin  most  excelled 
They  are  capital  works  of  his  best  period,  and  are  equalled  by 
very  few  of  the  numerous  Poussins  in  the  Louvre. 

Rubens. — 1.  A  large  landscape,  representing  the  dedolate 
country  in  which  the  Escurial  is  situated.  Though  carefully  and 
admirably  painted,  this  is  not  the  original  of  this  often  repeated  view ; 
the  original  is  said  to  be  at  the  Earl  of  Egremont's,  at  Petworth. 

2.  Venus  with  her  nymphs,  returning  from  the  chase.  A  most 
spirited  sketch  for  a  large  picture.  Formerly  in  the  Orleans  Gal- 
lery. Two  other  excellent  sketches  by  Rubens,  the  Duke  of  Alba 
on  horseback,  and  the  portrait  of  a  son  of  Rubens,  which  are 
stated  to  be  in  the  possession  of  Lord  Radnor,  either  escaped  me 
in  my  hurry,  or  are  not  at  Longford  Castle. 

Jan  Wynants. — 1.  A  hilly  country,  with  trees  and  farm- 
houses. On  a  winding  road  are  many  spirited  figures  by  Adrian 
Van  db  Velde.      Inscribed  1662.     In  size  and  keeping,  as  well 

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142  WILTON  HOUSE.  Lbtteb  XXV. 

as  in  tone,  and  in  the  numerous  highly-finished  details,  this  is  one 
of  the  choicest  pictures  of  the  master. 

2.  A  smaller  and  very  delicate  landscape,  also  with  figures  by 
Adrian  Van  de  Velde. 

William  Van  de  Velde. — 1.  A  somewhat  agitated  sea, 
with  numerous  vessels,  among  which  a  yacht  is  the  most  striking. 

2.  View  of  the  Dutch  coast  in  a  brisk  gale.  A  yacht  is  just  enter- 
ing the  harbour ;  a  firigate  lies  at  anchor.    A  rich  and  choice  picture. 

I  also  remarked  some  good  pictures  by  Pietro  da  Cortona, 
and  respectable  portraits  by  Zücchero,  Jansen,  Mireveldt, 
and  DoBSON. 

Lastly,  here  is  a  truly  magnificent  specimen  of  ironwork,  in 
which  art  the  city  of  Augsburg  was  particularly  distinguished  in  the 
16th  century.  It  consists  of  an  arm-chair  presented  to  the  Emperor 
Rudolph  II.  by  the  city  of  Augsburg,  adorned  with  small  statues, 
and  relie&  representing  numerous  events  from  the  flight  of  ^neas, 
and  the  history  of  the  Roman  Emperors,  down  to  the  time  of 
Rudolph  II.  On  the  back  is  the  dream  of  Nebuchadnezzar,  and 
Daniel  before  him  interpreting  the  dream.  In  one  comer  of  it 
is  engraved,  "Thomas  Ruker  fecit,  1574."  It  is  very  remark- 
able that  nothing  more  of  this  eminent  man  was  known  to  Paul 
van  Stetten,  a  local  writer  on  the  artists  of  Augsburg.  On  the 
conquest  of  Prague  the  Swedes  carried  off  this  chair  from  the 
cabinet  of  curiosities.  After  l>eing  long  in  the  possession  of  a 
noble  family  in  Sweden,  it  was  brought,  in  the  second  half  of  the 
18th  century,  to  England  by  Gustavus  Brander,  an  Englishman  of 
Swedish  descent,  who  sold  it  to  the  frither  of  the  present  Lord 
Radnor.  It  is  the  richest  aud  most  tasteful  work  of  the  kind  that 
I  am  acquainted  with. 

After  noting  down  these  recollections,  I  again  visited  the  beau- 
tiftd  cathedral,  and  then  sauntered  through  the  moderately  large 
city.  Behind  high  walls  is  a  large  old  building  called  the  Col- 
lege of  Matrons.  The  city  consists  chiefly  of  low,  inconsiderable 
brick  houses,  and  most  of  the  streets  are  very  narrow,  yet  almost 
all  have  flag  pavements  for  foot-passengers. 


WILTON    HOUSE. 
The  next  day*  I  drove  from  Salisbury  to  Wilton  House,  the  seat 
of  the  Earl  of  Pembroke,  three  miles  f^om  that  city.     This  estate 

*  On  my  first  Titit  to  England,  in  1835. 

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Letter  XXV.    EARL  OF  PEMBROKE'S  COLLECTION.  148 

was  for  several  centuries  an  abbey,  which,  at  the  dissolution  of  the 
monasteries,  was  given  by  Henry  VIIL  to  Sir  William  Herbert, 
the  first  Earl  of  Pembroke.  Even  thus  early  that  nobleman  was  a 
firiend  of  the  fine  arts,  and  engaged  Holbein  to  design  a  plan  for  the 
palace  which  he  built  at  Wilton.  A  part  of  it  being  subsequently 
burnt,  a  later  Earl  of  Pembroke  caused  the  portion  which  had  been 
destroyed  to  be  rebuilt  by  Inigo  Jones.  This  Earl  was  a  great 
patron  of  Vandyck,  and  laid  the  foundation  of  the  collection  of 
paintings.  On  my  arriving  I  sent  in  a  letter  from  Lord  Howe  to 
a  near  relation  of  the  feonily,  which  obtained  for  me  the  kindest 
reception,  and  I  soon  began  my  inspection  of  the  various  objects 
of  art  under  the  most  agreeable  auspices.  On  entering  the  hall 
you  are  received,  as  is  but  reasonable,  by  family  trophies ;  various 
suits  of  armour,  taken  by  William  Earl  of  Pembroke  from  French 
knights  in  the  battle  of  St  Quentin,  in  1557,  being  very  tastefrdly 
arranged  upon  the  walls.  The  most  distinguished  among  them  is 
that  of  Duke  Anne  de  Montmorency,  Constable  of  France,  whom 
he  made  prisoner  on  tiiat  occasion,  and  also  that  of  the  Earl  of 
Pembroke  himself,  which  he  wore  in  the  battle.  It  is  very  rich, 
and  elegantiy  decorated  with  gold  ornaments.  From  this  hall  you 
enter  a  stately  and  very  light  corridor,  which  runs  round  all  the 
four  sides  of  the  courtyard,  so  that  the  doors  of  the  apartments 
open  into  it  The  visitor  may  fancy  himself  at  once  transported 
to  Italy,  for  the  large  collection  of  antique  sculpture,  amounting  to 
179  specimens,  is  arranged  in  this  gallery  with  great  attention  to 
picturesque  effect  This  whole  arrangement  was  not  completed 
till  the  fourth  side  was  added  by  the  present  Earl,  of  whose  im- 
provements the  Countess  spoke  with  great  praise.  Sir  Richard 
Westmacott  directed  the  arrangment  of  the  whole.  The  proper 
founder  of  the  collection  was  Thomas  Earl  of  Pembroke.  In  the 
year  1678  he  purchased  the  antiques  remaining  in  the  London 
house  of  the  celebrated  Earl  of  Arundel,  collector,  and  patron  of 
the  arts.  Subsequently,  when  the  rich  collection  of  antiquities  of 
the  Giustiniani  femily  was  sold,  he,  next  to  Cardinal  Albani,  was 
one  of  the  principal  purchasers.  He  also  obtained  many  of  the 
specimens  of  antique  sculpture  belonging  to  Cardinal  Mazarin ; 
and,  lasdy,  some  busts  from  the  Valetta  Gallery  at  Naples.  It 
may  be  supposed  that,  among  so  large  a  number,  many  are  of 
little  value,  and  many  badly  restored.  After  a  critical  examina- 
tion of  the  Iconographies  of  Visconti,  the  names  also  given  to 

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144  WILTON  HOUSE.  Letter  XXV. 

many  of  the  busts  appear  now  to  be  arbitrary  and  untenable.  I 
must  therefore  confine  myself  to  the  consideration  of  those  which, 
in  an  inspection  of  several  hours,  appeared  to  me  particularly 
remarkable.* 

No.  1.  A  circular  marble  altar  of  Bacchus.  Upon  it,  in  relief, 
is  the  bearded  Bacchus,  holding  in  one  hand  the  thyrsus,  and  in 
the  other  a  drinking  vessel.  At  each  side  is  a  Bacchante  in  the 
archaic  finely  plaited  draperies,  in  which,  however,  there  are  some 
dawning  signs  of  freedom.  This  is  still  more  the  case  in  the 
noble,  beautiful  countenances,  and  most  of  all  in  a  panther  behind 
the  Bacchus,  the  movement  of  which  is  very  spirited.  The  figures 
in  mezzo-rilievo,  about  1  fl.  10  in.  high,  are  of  very  slender  pro- 
portions. According  to  all  appearance,  this  is  a  work  in  the 
Hieratic  style ;  that  is  to  say,  in  the  style  which,  long  after  art 
had  become  quite  free,  was  often  retained  from  religious  consi- 
derations. The  ground  has  been  restored.  Towards  the  upper 
edge  the  following  inscription,  in  old  Greek  characters,  runs 
round  the  altar : — MiXvouLBv  :  Ak^vi/ö-ov  :  dy'KaofMqpoy :  jSaxxci^ro^« : 
^avöoÄCE^fvov  (Let  us  sing  Dionysus,  the  beautiful,  the  reveller,  the 
yellow-haired).  The  genuineness  of  this  inscription,  in  which, 
instead  of  m  and  9),  o  and  e  are  used,  has  been  before  doubted,  and 
it  appears  also  that  Boeckh  (Corpus,  inscription,  tom.  L  p.  54) 
entertained  the  same  suspicion. 

On  the  altar  stands  a  cinerary  urn,  of  compact  limestone, 
adorned  above  and  below  with  a  kind  of  fluting,  and  in  the 
centre  with  a  very  flat  relief  of  slight  workmanship.  It  represents 
Apollo,  to  whom  a  genius  is  bringins:  an  ofiering ;  behind  him  is 
another  figure.  The  attitudes  of  the  group  agree  with  the  ancient 
reliefe  of  this  subject,  of  which  there  is  one  in  the  Berlin  Mu- 
seum. Here,  however,  everything — attitudes,  draperies,  &c. — is 
treated  with  great  freedom  and  beauty.  In  the  upper  comer, 
behind  the  genius,  b  a  small  recumbent  figure,  in  the  usual  posi- 
tion of  Jupiter. 

No.  5.  The  combat  between  Hercules  and  Achelous,  or,  pro- 
bably, as  Mr.  Newton  also  thinks,  with  a  giant.  Roman  work- 
manship, of  tolerably  good*  quality,  but  much  restored. 

*  I  have  adopted  the  account  of  the  sculptures  from  my  friend  Mr.  Charles  Newton's 
work  *The  Sculptures  at  Wilton  llouse/  Murray,  1849,  partly  rectifying  a  few 
errors,  and  partly  extending  the  remarks.  I  have  confined  myself  to  the  most  im- 
portant specimens. 

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Letter  XXV.  COLLECTION  OP  SCULPTURE.  145 

No.  8.  A  sleeping  nymph ;  corresponding  much,  both  in  posi- 
tion and  drapery,  with  the  Ariadne  in  the  Vatican. 

No.  13.  Statue,  entitled  Antinous,  but  more  probably  Mer- 
cury. The  torso,  with  perhaps  also  the  head  and  right  hand,  are 
antique. 

No.  23.  The  Gods  summoned  by  Vulcan  to  see  Venus  and 
Mars  taken  in  the  net ;  a  relief  of  an  oval  shape.  This  is  a  very 
good  and  spirited  work  of  the  dnquecento  time. 

No.  48.  Bas-relief.  On  the  right  hand,  Jupiter  enthroned, 
with  the  eagle  on  his  outstretched  left  hand ;  before  him  a  kind 
of  small  altar,  in  the  form  of  the  foot  of  a  candelabrum.  Oppo- 
site him  a  naked  youth  putting  his  hands  into  a  vessel  shaped  like 
a  kettle,  which  is  supported  on  a  stand  with  three  long  feet,  of  a 
simple,  elegant  form.  In  front  of  him,  the  boustrophedon  inscrip- 
tion (so  called  from  the  line  returning  on  itself  as  an  ox  in  plough- 
ing), MatvOgor  AXBou  Bvxaqia-TBi  Ai»  «rJ  vi'xrj  ^gvraÖXot/  vat^os ; 
that  is,  Mantheos,  the  son  of  iEthos,  brings  to  Jupiter  an  offering 
for  the  victory  of  the  youth  in  the  fivefold  combat — that  is,  in  leap- 
ing, throwing  the  discus,  running,  wrestling,  and  boxing.  The 
genuineness  of  this  inscription  has  been  disputed  by  Maffei. 
Ottfried  Müller,  on  the  contrary,  thinks  it  genuine.  Boeckh  (loc. 
cit.,  p.  50,  &c.)  refiites,  indeed,  Maffei's  arguments,  but  leaves 
the  matter  undecided,  on  account  of  the  unusual  sense  in  which 
the  word  svx^q^^^TeT  is  used.  At  all  events  the  marble-dust  in  the 
letters,  and  in  the  outlines  of  the  figures,  shows  that  both  have 
been  retouched  in  later  times.  The  extremely  low  relief  is  in  a 
very  good  style ;  the  forms  and  countenances  very  strongly  call  to 
mind  the  old  pictures  on  vases,  so  that  the  workmanship  might  be 
supposed  to  be  very  ancient.  From  the  character  of  the  inscrip- 
tion, however,  as  MuUer  and  Boeckh  show,  the  work  must  be 
later  than  the  lOOth  Olympiad — that  is,  after  the  year  350  before 
the  birth  of  Christ,  proving  to  how  late  a  period  this  antique 
style  was  retained  in  monuments  of  this  kind.  According  to 
Boeckh,  Mantheos  had  probably  gained  the  victory  in  the  Nemaean 
games,  dedicated  to  Jupiter. 

No.  61.  The  reliefe  on  the  front  of  a  large  sarcophagus,  with 
three  events  from  the  story  of  Meleager.  1.  Meleager  killing 
his  mother's  brother.  2.  The  mother  avenging  the  death  of  her 
brother  by  throwing  into  the  flames  the  billet  of  wood,  to  the 
preservation  of  which  the  Fates  had  attached  the  life  of  Meleager. 

VOL.  III.  L 

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146  WILTON  HOUSE.  Letteb  XXV. 

3.  The  death  of  Meleager,  and  Atalanta  mourning.  The  fine 
designs  of  the  13  figures  indicate  a  Greek  model ;  the  workman- 
ship itself  is  indifierent 

No.  62.  Silenus,  sitting  crouched  down,  drinking  out  of  a  can- 
tharus.  The  workmanship  is  rude,  but  the  action  extremely 
original  and  spirited. 

No.  74.  Statue  of  some  Egyptian  official  doing  homage  to 
Phtha  Socharis,  probably  of  the  26th  dynasty,  about  700  years 
before  Christ.     Head  and  bust  are  restored  as  an  Isis. 

No.  96.  Statue  entitled  Meleager,  perhaps  Hercules ;  the  torso 
only  appears  to  be  antique. 

No.  97.  A  draped  and  much-restored  figure,  called  Esculapius, 
but  probably  meant  for  an  oriU;or. 

Na  106.  Silenus  in  a  leaning  position.  The  torso  and  head 
only  appear  to  be  antique. 

Na  109.  A  Cippus,  about  3  ft.  high,  with  four  figures  in  a 
*  square  hollow,  the  two  larger  of  which  give  each  other  the  hand, 
as  if  taking  leave.  Between  them,  upon  a  pillar,  is  a  genius  with 
a  lyre,  above  which  is  a  laurel  wreath.  Near  one  of  them  is  the 
head  of  a  horse  ;  a  smaller  figure  is  before  the  pillar,  and  another 
in  the  comer  on  the  right,  in  a  contemplative  attitude.  All  the 
figures  are  very  noble  and  simple  in  action.  Over  the  hollow  is 
the  following  inscription,  which  appears  to  be  genuine : — 6  SfS/xo^ 
Aioyi/<rioy  Aiovt/JioD  *rov  MeiTpoiopov ;  that  is,  ^  the  people  have 
crowned  Dionysius,  the  son  of  Dionysius,  the  son  of  Meitrodorus." 

No.  113.  A  small  altar,  on  the  four  sides  of  which  Jupiter, 
Minerva,  Neptune,  and  a  fourth  divinity,  which, — ^as  it  is  placed, 
cannot  be  seen, — are  represented  in  relief,  in  imitation  of  the  severe 
ancient  Greek  style.     The  surface  is  unfortunately  much  damaged. 

No.  114.  The  bust  of  a  rather  aged  Satyr,  of  coarse  work- 
manship but  very  good  character.     The  tip  of  the  nose  is  wanting. 

No.  115.  A  relief,  with  Venus  between  two  Tritons  and  two 
Nereids,  of  bold  and  spirited  design. 

No.  116.  Statue  called  Livia,  but  rather  a  seated  Muse.  Very 
much  restored. 

No.  117.  Statue  of  a  female  seated.  Of  refined  taste  in  the 
drapery,  and  good  and  careful  workmanship. 

No.  124.  Cupid  bending  his  bow.  One  of  the  numerous  copies 
firom  a  well-known  statue  by  Praxiteles.  The  antique  torso  is  of 
very  good  workmanship. 

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Lettee  XXV.  COLLECTION  OF  SCULPTURE.  147 

No.  130.  A  female  figure,  restored,  and  probably  correctly  so, 
as  a  sea-nympb.     Of  very  graceful  action. 

Na  137.  A  complete  sarcophagus,  adorned  on  three  sides, 
and  on  the  lid,  with  reliefs.  The  front  contains  representations 
from  the  story  of  Ceres  and  Bacchus,  which,  in  many  respects,  is 
interesting  to  the  antiquary.  The  principal  subject  represents 
Ceres  sending  forth  Triptolemus  to  sow  com.  On  each  of  the 
ends  are  two  gryphons  with  a  tripod,  and  on  the  lid  the  four 
seasons  are  represented.  The  workmanship  is  indiflerent,  of  the 
earlier  period  of  the  Roman  empire.  A  Greek  inscription  is  as 
follows:—©.  K.  AYPHAia  EinA<I)POAEITß  2YAAEBIß 
ANTftNIA  BAAEPIA  E0HKE;  that  is,  "dedicated  to  the 
gods,  the  Manes ;  Antonia  Valeria  erected  this  to  Aurelius  Epa- 
phroditus,  her  mate."  According  to  Montfaucon,  this  sarcophagus 
was  found  near  Athens  by  travellers,  who  intended  to  present  it 
to  Cardinal  Richelieu.  His  death  taking  place  in  the  mean  time, 
it  is  said  to  have  come  first  into  the  possession  of  the  Rostains 
family,  and  subsequently  into  that  of  M.  Foucoult 

A  male  statue  m  the  archaic  style,  with  a  ram  upon  his  shoulder, 
called  Jupiter,  but  probably  Hermes  Kriophoros ;  and  apparently 
a  copy  of  the  statue  of  Calamis,  which  Pausanias  describes  as 
existing  at  Tanagra  in  his  time. 

No.  146.  Statue  of  a  naked  boy,  with  his  hands  bound  behind 
him,  with  the  head  of  Telesphorus,  the  Genius  of  the  Convalescent, 
placed  on  his  shouldera 

No.  150.  A  female  bust,  called  Marcia  Ottacilia,  though  of 
rather  late  date,  of  fine  workmanship. 

No.  151.  The  statue  of  a  young  Satyr,  eagerly  looking  round. 
Of  very  original  motive,  and  of  excellent  and  delicate  execution. 
At  page  49  of  Kennedy's  book*  there  is  an  engraving  of  it. 

No.  158.  A  bust,  with  a  short  beard,  called  Lucan,  is,  in  my 
opinion,  a  highly-finished  work  of  the  time  of  Adrian,  and  in  an 
excellent  state  of  preservation.  A  print  of  it  is  in  Kennedy's 
book,  page  65. 

The  bust  of  Lucilla,  daughter  of  Antonius,  and  wife  of  Lucius 
Verus.  Of  very  pleasing  features,  and  refined  feeling  for  nature 
in  the  admirable  workmanship.  I  am  not  able  to  decide  on  the 
correctness  of  the  name.     The  same  may  be  said  of  the  bust  of 

♦  A  description  of  the  Antiquities  and  Curiosities  in  Wilton  House,  1  vol.  4to.  1769. 
A  very  defective  work. 

l2 

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148  WILTON  HOUSE.  Letter  XXV. 

Julia  Moesa,  grandmother  of  Heliogabalus  and  Alexander  Severus, 
of  very  excellent  workmanshipi     The  nose  is  new. 

No.  163.  A  very  large  sarcophagus^  on  which  the  death  of  the 
fiimily  of  Niobe  is  represented  in  very  high  relief,  in  twenty 
figures.  The  arbitrary  arrangement,  which  is  wholly  deficient  in 
style,  indicates  a  late  period ;  but  very  beautiful  motives  have 
been  retained  from  some  preceding  models,  and  the  workmanship 
is  careful     It  is  restored  in  many  parta 

No.  164  A  well-executed  draped  female  statue,  called  Sabina ; 
the  head,  however,  does  not  seem  to  belong  to  it. 

No.  170.  An  Amazon  defending  herself,  kneeling,  against  a 
horseman,  of  whom,  however,  only  one  of  the  hoofe  of  his  horse 
remain  behind  the  shield  of  the  Amazoa  The  head,  and  much 
beside,  is  restored. 

No.  171.  The  family  of  Niobe,  above  them  Apollo  and  Diana. 
A  very  elegant  bas-relief  of  the  Cinquecento  time,  which  strongly 
resembles  the  works  of  the  able  Florentine  sculptor,  Benedetto  da 
Rovezzano,  who,  it  is  well  known,  was  for  a  time  in  England. 

Diana  with  a  stag.  A  pretty  bas  relief,  in  the  taste  of  Jean 
Goujon,  the  greatest  French  sculptor  of  the  16th  century.  This 
probably  refers  to  the  celebrated  Diana  de  Poitiers,  mistress  of 
ELing  Henry  II.  of  France. 

No.  175.  A  statue  of  Hercules,  in  a  forced  position  and  with 
exaggerated  and  not  well-understood  muscles.  A  remarkable  spe- 
cimen of  the  theatrical  and  violent  style  into  which  late  Roman 
art  degenerated. 

Entrance  Hall. 

The  colossal  statue  of  Apollo.  The  character  of  the  head  is 
very  noble  and  delicate ;  the  workmanship  of  the  torso  admirable. 
In  my  opinion  an  excellent  work  of  the  1st  century  of  the  Christian 
era.     The  nose,  as  well  as  the  arms  and  legs,  are  restored. 

The  statue  of  the  elder  Faustina,  in  Greek  marble.  In  the 
action,  as  well  as  in  the  drapery,  this  statue,  which  is  of  most 
excellent  workmanship,  greatly  resembles  the  statue  of  Pudicitia 
in  the  Gallery  of  Antique  Sculpture  at  Dresden.  The  nose  and 
chin  are  new. 

A  colossal  male  statue,  clothed  in  the  manner  of  Jupiter,  so 
that  the  upper  half  of  the  body  remains  uncovered.  The  youthful 
head  has  much  of  a  Bacchus  in  the  cast  of  the'  hair,  and  in  the 
features,   which    however   have   also  some   resemblance   to   the 

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Letter  XXV.  COLLECTION  OP  SCULPTURE.  149 

Apollo.  He  holds  a  cornucopia  with  fruits,  grapes,  and  ears  of 
com.  His  left  foot  rests  on  a  fish  of  a  long  eel-like  form.  The 
manner  in  which  the  forms  of  the  body  are  conceived,  as  well  as 
the  whole  very  careful  treatment,  indicate  the  first  century  of  the 
Christian  era. 

The  colossal  statue  of  a  Hercules,  the  head  of  which  is  very 
noble ;  but  the  nose,  the  mouth,  the  beard,  and  almost  the  whole 
body,  the  forms  of  which  are  extravagantly  prominent  and  clumsy, 
are  new.     The  workmanship  of  the  antique  parts  is  fine. 

An  alto-rilievo,  executed  in  mosaic,  13  ft.  high  and  16  wide, 
from  the  Arundelian  Collection,  is  very  remarkable.  Hercules, 
represented  young,  and  beardless,  reposes  unclothed,  except  by 
the  chlamys,  which  is  thrown  over  his  left  arm,  upon  the  stump 
of  a  tree,  on  which  the  lion's  skin  is  spread.  His  right  hand, 
which  hangs  down,  touches  the  club  standing  near  him,  and 
in  his  left  hand  he  holds  his  quiver  by  a  band.  His  hair  is 
adorned  with  a  golden  bandeau.  Round  the  branch  of  a  tree, 
with  four  golden  firuits,  which  rises  behind  him,  a  large  serpent  is 
entwined,  the  tail  of  which  appears  under  the  lion's  skin.  The 
eyes  of  Hercules  are  turned  upon  a  female  figure  opposite  him, 
without  doubt  one  of  the  daughters  pf  the  Hesperides,  who,  holding 
in  her  left  hand  a  branch  with  three  similar  firuits,  and  her  right 
hand  very  gracefully  raised  towards  her  face,  looks  at  him  with 
interest  Over  a  tunic  of  a  bright  blue  colour  she  wears  a  peplos 
of  the  colour  of  red  porphyry.  The  proportions,  attitude,  design, 
and  treatment  of  the  relief  are  admirable ;  the  pieces  of  mosaic, 
which  are  about  iS  of  an  inch  square,  are  pressed  into  a  white 
mass  at  such  distances  that  the  interstices  filled  with  this  mass 
form  a  white  net  over  the  whole.  The  eyeballs  are  indicated  by 
little  stripes  of  a  black  stone.  I  know  of  no  other  work  of  anti- 
quity of  this  kind,  neither  can  this  method  of  employing  mosaic 
be  termed  happy  ;  the  conception,  however,  is  so  noble  and  simple, 
that  I  should  not  like  to  question  its  antique  origin.  (Represent 
in  Kennedy,  p.  20.) 

In  conclusion  I  must  mention  a  cinerary  urn  in  one  of  the 
apartments,  on  which  is  executed  in  relief,  in  slight  workmanship, 
the  figure  of  a  woman  weeping,  of  extraordinary  beauty  and 
truth. 

I  commence  my  observations  on  the  pictures,  which  occupy  a 
suite  of  rooms,  with  an  antique  painting,  on  which  the  Divinities, 


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150  WILTON  HOUSE.  Letteb  XXV. 

Minerva,  Hercules,  Diana,  Apollo,  Ceres,  Vertumnus,  and  Juno 
are  represented  Notwithstanding  the  great  rudeness  of  the 
treatment,  and  the  deep  brown  of  the  tone,  it  is  well  worthy  of 
notice,  on  account  of  the  broad  handling,  which  was  peculiar  to 
the  antique  painters. 

I  examined  with  much  interest  the  celebrated  Diptych  of  King 
Richard  11.  Each  of  the  two  tablets  of  which  it  is  formed  is  1  ft 
9  ia  high,  1  ft.  4^  ia  wide.  On  the  one  at  the  right  stands  the 
Virgin,  holding  on  her  arm  the  Infant,  which  is  in  the  act  of 
blessing,  and  is  partly  wrapped  in  a  golden  drapery.  She  is  sur- 
rounded by  numerpus  angels  clothed  in  blue,  and  crowned  with 
white  roses,  having  on  their  left  shoulder  a  recumbent  stag,  the 
arms  of  the  king.  On  the  other  tablet  is  King  Richard  in  profile, 
kneeling,  and  with  folded  hands,  having  on  a  golden  mantle  with 
similarly  recumbent  stags.  Behind  him  stand  his  three  patron 
saints,  St.  John  the  Baptist  with  the  Lamb,  King  Edward  the 
Confessor  with  a  ring,  and  King  Edmund  with  an  arrow.  The 
ground  is  golden.  As  the  king,  whose  features  have  something 
very  characteristic,  here  appears  very  young,  it  has  with  justice 
been  concluded  that  the  picture  was  probably  painted  soon  after 
his  accession  in  1377.  But  if  Horace  Walpole  meant  to  infer 
from  this  that  oil-painting  was  known  previous  to  its  supposed 
discovery  by  Jan  Van  Eyck,  about  the  year  1414,  it  is  a  proof 
that  he  did  not  understand  the  practical  part  of  painting ;  for  the 
first  glance  is  sufficient  to  show  anybody  who  is  acquainted  with 
the  Italian  tempera  painting  of  the  14th  century  that  this  work  is 
executed  in  that  vehicle.  It  also  agrees  so  fully  in  the  stage  of 
development  and  in  conception  with  the  works  of  contemporary 
Tuscan  masters — of  Arcagnuolo  (commonly  called  Orcagna),  of 
Taddeo  di  Bartolo,  and  with  the  miniatures  of  Don  Silvestro  Ca- 
maldolense,  that  it  is  without  doubt  by  a  very  able  Italian  painter, 
who  probably  lived  at  the  court  of  King  Richard  11^  in  the  same 
manner  as,  in  the  13th  century,  a  painter  from  Florence,  named 
William,  was  in  the  service  of  King  Henry  III.  The  execution 
is  as  delicate  as  a  miniature ;  the  heads,  in  the  partially-opened 
eyes,  have  something  of  the  type  of  Giotto.  In  the  drapery  of  the 
Virgin  there  is  the  Gothic  sweep  of  the  lines,  which  was  lost  in 
Italy  at  the  end  of  the  14th  century.  The  extremities  are  still 
feeble  and  meagre.  This  very  remarkable  and  admirably-pre- 
served relic  was  given,  as  Vanderdoort  tells  us,  to  King  Charles 

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Letter  XXV.    EARL  OF  PEMBROKE'S  COLLECTION.  151 

I.  by  Sir  James  Palmer,  who  had  it  from  Lord  Jennmgs.  From 
the  circumstantial  description  by  Vanderdoort,  it  appears  that  it 
was  at  that  time  still  folded  together  as  a  Diptych,  and  that  on 
the  outside  of  the  upper  tablet  were  the  arms  of  Edward  the  Con- 
fessor. Even  at  that  time  it  was  engrayed  by  Hollar,  with  the  de- 
nomination Tabvla  antiqua^  and  dedicated  to  the  king.  King 
James  II.  afterwards  made  a  present  of  it  to  Lord  Castlemaine, 
when  he  went  as  ambassador  to  Rome,  and  after  his  death  it  was 
purchased  by  Thomas  Earl  of  Pembroke. 
Italian  School. 

Andrea  Mantegna. — Judith  about  to  put  the  head  of  Holo- 
femes  into  a  bag,  which  an  old  female  attendant  is  holding.  In 
the  background  of  the  tent  is  seen  the  bed,  and,  very  judiciously, 
but  little  of  the  body.  The  features  of  Judith,  as  well  as  the  action, 
are  very  noble  and  graceftil.  The  execution  is  very  careful ;  yet 
a  certain  hardness,  and  a  too  evident  imitation  of  antique  sculp- 
tures, show  that  it  is  of  the  earlier  period  of  the  master.  It  is 
probably  the  picture  which,  according  to  Vanderdoort's  account, 
passed  for  a  Raphael  in  Charles  L's  collection,  and  which  he  ex- 
changed with  the  Earl  of  Pembroke  for  a  picture  by  Parmi- 
gianino. 

Baldassare  Peruzzl — The  Birth  of  the  Virgia  In  my  opinion, 
a  very  pleasing  little  picture  by  Garofalo. 

Francesco  Penni,  called  II  Fattore. — ^The  pleasing,  fre- 
quently occurring  composition  by  Raphael,  with  the  Virgin  stooping 
to  the  Child,  who  is  playing  with  the  lamb,  Joseph  being  behind 
her.     A  small  picture  painted  in  the  early  manner. 

Parmigianino. — Ceres,  a  genuine  picture;  but  disagreeable 
from  the  affected  attitude. 

Federigo  Zucchero. — 1  and  2.  Francis  II.  and  Charles  IX., 
Kings  of  France.  Small  whole-length  figures.  Inscribed  1559  and 
1560.  Very  elegant  little  pictures,  resembling  similar  ones  by  Janet 

ScHiDONE. — The  Virgin  and  Child,  and  St  Joseph.  A  very 
warmly-coloured  picture. 

Salvator  Rosa. — A  small  Waterfall.    Spirited. 

The  three  pictures  ascribed  to  Raphael  are  very  mediocre  per- 
formances, which  merit  no  further  mention. 

The  chief  strength  of  the  collection  consists  of  works  of  the 
German  and  Flemish  Schools. 

JARENua — ^A  Pieta  with  the  disciples ;  a  rich  composition,  very 

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152  WILTON  HOUSE.  Letter  XXV. 

carefully  executed ;  in  both  respects  the  mfluence  of  the  school  of 
Van  Eyck  is  evident.  Three  larger  pictures  by  the  same  master 
in  the  Berlin  Museum  (Nos.  173,  183,  and  184,  third  division), 
from  a  church  in  the  town  of  Soest  in  Westphalia,  render  it 
probable  that  he  lived  there,  in  the  second  half  of  the  15th 
century. 

Lucas  van  Leyden. — ^Men  and  women  assembled  round  a 
card-table  ;  half-length  figures.  Though  the  rude  inscription  of  his 
name  is  by  a  later  hand,  this  picture  is,  nevertheless,  one  of  the  very 
rare  genuine  works  of  this  master ;  the  heads  are  very  truthful 
and  able ;  the  execution,  in  the  yellowish  lights  and  brownish 
shadows  characteristic  of  his  style,  is  admirable.  It  has  unfor- 
tunately been  somewhat  injured  by  cleaning. 

Mabdse. — A  repetition  of  the  three  Children  of  Henry  VII., 
the  original  of  which  is  at  Hampton  Court,  is  so  good,  that  it 
may  almost  be  pronounced  to  be  a  repetition  by  the  hand  of  the 
master  himself.     It  is  inscribed  1495. 

Holbein. — 1.  The  Father  of  Sir  Thomas  More ;  half-length. 
A  serious,  dignified  diaracter  is  here  represented  with  all  the 
simple  truth  of  nature  peculiar  to  Holbein.  The  hands  are  excel- 
lent. From  the  yellowish  colour  of  the  lights  and  the  brownish 
tone  of  the  shadows  this  picture  may  have  been  painted  in  the  year 
1526,  soon  after  the  artist's  arrival  in  England,  when  he  was  chiefly 
employed  by  Sir  Thomas  More. 

2.  William,  furst  Earl  of  Pembroke ;  a  standing  whole-length 
figure,  the  size  of  life.  This  indifi*erent  and  coarse  picture  is 
either  not  the  work  of  Holbein  at  all,  or  it  has  been  so  painted 
over  as  to  be  wholly  unworthy  of  him.  How  could  Holbein  ever 
pmnt  such  miserable  hands  ? 

3.  King  Edward  VI.,  with  a  flower  in  his  hand  ;  to  the  kneea 
Inscribed  "  E.  VI.  R,"  and  "  Hans  Holbein,  P."  Though  so  much 
damaged  that  no  opinion  can  be  formed  of  it,  it  seems  very  doubts 
fill  whether  it  ever  was  an  original  by  Holbeia 

4.  Lord  Cromwell.  A  drawing  in  black  and  red  chalk,  which  I 
did  not  see. 

Rubens. — 1  •  The  Assumption  of  the  Virgin,  surrounded  by  Che- 
rubim, and  borne  aloft  by  nine  angek  1  ft.  1  ia  high,  9^  ia  wida 
This  small  picture,  painted  for  Lord  Arundel,  was  afterwards 
executed  by  Rubens  on  a  large  scale,  for  a  church  in  Antwerp. 

2.  A  beautiful  landscape  with  sunset 

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Lktteb  XXV.    EARL  OF  PEMBROKE'S  COLLECTION.  153 

3.  Christ  and  St  John  as  children,  with  a  lamb ;  beside  them  a 
little  girl  and  an  angeL  A  beautiful  example  of  the  picture  so 
often  met  with,  to  which,  however,  I  prefer  those  in  the  Galleries 
of  Vienna  and  Berlin. 

Vandyck. — 1.  The  celebrated  picture«  of  Philip  Earl  of  Pem- 
broke, and  his  family.  The  Earl  and  the  Countess,  in  dresses  of 
black  silk,  are  seated  on  a  platform  raised  three  steps.  On  his 
Lordship's  right  hand  are  five  sons,  most  of  them  in  gay-coloured 
•  silk  dresses.  About  the  middle  of  the  picture,  on  the  steps,  stands 
Lady  Mary,  daughter  of  George  Duke  of  Buckingham.  On  the 
lefi  hand  of  the  Countess  is  her  daughter.  Lady  Anna  Sophia, 
in  a  blue  silk  dress,  with  her  husband  Lord  Caernarvon.  Above 
them,  two  sons  and  a  daughter,  previously  dead,  are  introduced  as 
angels.  The  background  is  formed  by  hangings — on  which  are 
the  family  arms — a  green  curtain,  and  two  pillars.  This  largest 
of  all  Vandyck's  family  pictures  is  about  11  ft.  high  and  19  ft;. 
wide.  The  persons  are  not  dramatically  connected  together,  but 
all  look  out  of  the  picture,  and  have  in  a  high  degree  the  ele- 
gance peculiar  to  Vandyck.  From  some  better-preserved  parts 
it  appears  that  the  execution  was  very  careful,  and  the  tone  very 
warm ;  for,  after  the  repeated  ill-usage  that  this  picture  has  under- 
gone, scarcely  a  shadow  of  the  original  harmony,  force,  and  deli- 
cacy remains.  The  lower  part  especially  had  been  damaged  by 
a  fire,  so  that  the  canvas  is  much  blistered.  In  1773,  being  in  a 
very  wretched  condition,  it  was  put  into  the  hands  of  a  Mr. 
Brompton  to  be  repaired,  who,  according  to  his  own  account,  pro- 
ceeded in  the  following  manner :  after  lining  it  and  taking  the  old 
varnish  ofi^,  he  soaked  it  with  poppy  oil  till  it  could  imbibe  no 
more ;  he  then  extracted  the  cement  and  the  wax  with  which  the 
cracks  in  the  colour  had  been  filled,  and  replaced  them  by  a  pre- 
paration of  the  finest  white  wax.  He  then  proceeded  to  paint 
over  the  background  and  some  other  less  important  parts,  and  to 
restore  the  glazings  where  they  had  vanished ;  and  lastly,  com- 
pleted his  work  by  two  coats  of  the  finest  copal  varnish.  Truly 
a  horrifying  example  of  the  senseless  restorations  by  which  so  many 
masterpieces  have  been  and  are  still  daily  sacrificed !  Vandyck  is 
said  to  have  received  for  this  picture  the  moderate  sum  of  500 
jacobuses  I — a  gold  coin  of  James  I. 

2.  King  Charles  L  in  armour,  with  a  truncheon  in  his  right 
hand,  and  his  left  upon  a  helmet,  which,  with  the  crown,  lies  upon 

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154  WILTON  HOUSE.  Letter  XXV. 

a  table.   To  the  knees ;  4  fL  2  in.  high,  3  ft  2  ia  wide.    A  genuine, 
carefully-executed,  and  elegant  picture. 

3.  Queen  Henrietta  Maria,  the  companion-picture.  Not  quite 
so  good. 

4.  Philip  Earl  of  Pembroke,  as  a  youth.  A  small  whole-length, 
very  delicately  executed,  but  unfortunately  damaged. 

5.  Three  children  of  Charles  I.:  Pt-ince  Charies,  Princess 
Mary,  and  Prince  James.  Inscribed  1635.  A  very  carefully- 
executed  picture  ;  the  original  of  which^  however,  is  said  to  be  in 
the  Royal  Collection  at  Turin. 

-  6.  The  Duke  of  Epernon  on  horseback ;  Fame  and  Victory  are 
about  to  crown  him.     A  very  spirited  sketch  in  black  and  white. 

7.  Lady  Mary  Herbert,  Duchess  of  Richmond,  in  a  blue  silk 
dress,  receiving  her  gloves  from  a  female  dwarf.  The  beauty  of 
the  lady  and  the  careful  execution  render  this  picture  very  pleasing. 
Whole-length,  the  size  of  life. 

Besides  these,  eighteen  other  pictures,  some  of  them  also  family 
portraits,  are  ascribed  to  Vandyck,  which  appear  to  me  to  be 
partly  of  less  importance,  partly  old  repetitions,  and  some  of  them 
originally  by  other  masters.  Among  these  is  a  portrait  of 
Prince  Rupert,  which  I  take  to  be  a  good  picture  by  William 

HONTHORST. 

William  Van  de  Veldb. — ^Two  small  pictures,  a  slightly 
agitated,  and  a  calm  sea,  are  very  charming. 

Brarenburg. — ^A  toWably  large  and  very  genuine  picture,  only 
in  some  parts  rather  dark,  by  this  master,  who  painted  in  the 
style  of  Adrian  van  Ostade. 

Lastly,  I  may  remark  of  the  English  school,  the  Beheading  of 
St  John,  by  Dobson  :  a  large,  very  well  executed  picture,  in  which 
he  appears  in  conception  and  effect  to  have  taken  Gerard  Hon- 
thorst  for  his  model 

While  I  was  viewing  the  pictures  I  was  very  agreeably  interrupted 
by  the  entrance  of  the  Earl  of  Pembroke,  who  being  indisposed 
had  not  appeared  before,  and  now  came  to  invite  me  to  luncheon. 
He  is  one  of  those  characters  who  impress  you  fi&vourably  at  first 
sight,  which  he  confirmed  by  his  amiable  manners  and  graceful 
conversation.  After  I  liad  completed  my  studies,  the  Countess, 
accompanied  by  her  son,  took  me  to  see  the  garden,  which  is  very 
much  to  my  taste.  It  is  an  ornamental  garden,  in  the  old  French 
style,  though  not  so  formal,  but  with  a  happy  mixture  of  appa- 

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Letter  XXV.  STONEHENGE.  155 

rent  accident  and  regularity.  Noble  cedars  of  Lebanon  and  other 
trees  which  grow  luxuriantly  on  the  velvet  turf,  which  was  then 
glowing  in  the  sun,  attest  the  mildness  of  the  climate.  The 
garden  inspired  such  a  feeling  of  comfort  and  enjoyment,  that  I 
was  the  more  sensible  of  the  refined  taste  which  had  presided  in 
its  formatioa  As  the  grounds  surroimding  a  residence  ought  to 
partake  somewhat  of  the  studied  character  of  an  artificial  structure, 
so  the  park,  on  a  similar  principle,  may  be  allowed  to  form  a 
gradual  transition  to  firee  and  independent  nature. 

At  the  end  of  the  garden  the  Countess  pointed  out  to  me  a 
moderate-fflzed  building  by  Holbein,  which  formerly  served  as  the 
vestibule  to  the  mansion,  where  it  must  have  appeared  diminutive, 
and  was,  therefore,  very  properly  removed  by  the  present  Earl  to 
this  new  site.  It  is  in  the  form  of  a  triumphal  arch  of  very  happy 
proportions,  with  two  rows  of  elegant  pillars,  one  above  the  other. 
In  the  £eiqade  and  the  sides  there  are  recesses,  with  busts  of  King 
Edward  VL  and  of  the  Pembroke  feonily.  Inside  is  a  kind  of 
waggon  roof.  The  architectonic  features  are  richly  ornamented 
in  the  Cinquecento  style,  which  Holbein  first  introduced  into  Eng- 
land. It  was  originally  painted,  as  some  remains  of  coloiu^  are 
still  visible. 

On  looking  at  the  antiques  and  the  paintings  afterwards  toge- 
ther, I  had  an  opportunity  of  admiring  the  warm  interest  and 
correct  judgment  of  the  Countess  and  her  son.  I  declined  an 
invitation  to  remain  to  dinner  the  more  unwillingly,  as  I  would 
gladly  have  seen  the  collection  of  drawings  by  old  masters ;  but  I 
had  already  taken  a  place  in  the  coach  which  was  to  start  in  the 
afternoon  for  Devizes, 


The  road  to  Devizes  passes  over  Salisbury  Plain,  a  bare  desert 
tract  of  land,  such  as  is  seldom  seen  in  England,  with  considerable 
inequalities  of  ground.  At  some  distance  I  saw  the  rude  masses 
of  the  celebrated  Stonehenge,  where,  in  the  time  of  the  ancient 
Britons,  the  Druids  celebrated  the  rites  of  their  gloomy  religion. 
I  should  much  have  liked  to  have  had  a  closer  view  of  this  greatest 
of  all  the  monuments  of  the  Celtic  race  in  Europe.  As  it  is, 
I  must  be  content  to  tell  you,  from  a  model  which  I  saw  in  the 
house  of  Mr.  John  Britton,  in  London,  that  it  consisted  of  four 
concentric  circles  of  rude  unhewn  stones,  which  were  placed  at 
moderate  distances  from  each  other.     In  the  exterior  circle,  which 

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156  BOWOOD.  Letter  XXV. 

is  about  110  ft.  in  diameter,  these  stones  are  about  16  ft:  high, 
7  ft:  wide,  and  3  ft:  thick.  Similar  stones  laid  across  connected 
them  together,  and  formed  a  rude  kind  of  architrave.  In  the 
same  manner,  every  two  of  the  ten  stones,  about  20  ft:  high,  which 
form  the  third  circle,  were  connected  together.  Most  of  these 
stones  are  now  thrown  down  and  broken.  In  the  centre  of  the 
innermost  circle  is  a  blackish,  now  broken,  stone,  which  formerly 
perhaps  was  an  altar.  The  most  remarkable  circumstance  is,  that 
these  large  blocks  consist  of  a  light  grey  sandstone,  found  at  Grey 
Wethers,  near  Marlborough,  sixteen  miles  fi^om  Stonehenge. 
What  efforts  must  it  have  cost  to  drag  these  masses  hither  from 
such  a  distance,  and  then  to  raise  to  such  a  height  those  which 
formed  the  architraves  1  In  Passavant  you  will  find  a  more  minute 
description  and  a  view,  with  a  ground-plan  and  elevation. 

I  felt  very  sensibly  the  abrupt  contrast  between  the  scenery 
of  the  morning  and  that  of  the  afiemooa  If  at  Wilton  House  I 
had  felt  myself  placed  at  the  summit  of  the  civilisation  of  the  pre- 
sent period,  surrounded  with  the  productions  of  the  most  flourishing 
period  of  the  arts  that  the  world  has  known,  and  with  nature 
converted  into  a  Paradise,  where  the  ornaments  of  different  zones 
flourish  and  bloom  side  by  side,  here,  on  Salisbury  Plain,  I 
fancied  myself  carried  back  for  some  thousand  years.  There  was 
no  sign  of  the  works  of  man,  except  the  ndns  of  that  rude  monu- 
ment, and  nature  showed  me  unchanged  the  same  barren,  lifeless 
face  which  it  had  displayed  to  those  ancient  Druids.  The  sky, 
heavily  laden,  with  black  clouds,  enhanced  the  melancholy  of  the 
impression ;  and  a  cutting  wind  made  my  situation  very  uncom* 
fortabla 


BOWOOD. 
Having  visited  Bowood,  the  seat  of  the  Marquis  of  Lansdowne, 
in  1835,  I  was  the  more  gratified  to  be  able  to  pay  a  second  visit 
in  1850.  A  long  drive  through  a  finely  wooded  park  conducts  to 
the  mansion,  which  is  built  in  the  noble  and  cheerftil  Italian  taste. 
A  certain  irregularity  in  the  disposition  of  the  group  of  buildings 
produces  a  variety  of  agreeable  combinations,  and  makes  the 
architecture  harmonise  in  a  picturesque  manner  with  the  surround- 
ing scenery.  The  principal  fit)nt,  which,  from  its  grand  propor- 
tions, has  a  very  stately  appearance,  is  joined  on  the  right  side  by 
a  wing  only  one  story  high  and  of  great  length,  standing  rather 


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Letteb  XXV.    MARQUIS  OP  LANSDOWNE»S  COLLECTION.      157 

back,  more  in  the  style  of  a  villa,  with  a  long  open  colonnade. 
On  a  terrace  before  it  is  an  elegant  flower-garden,  divided  into 
beds  of  regular  shape.  The  wall  gf  the  colonnade  was  adorned  with 
larger  plants— myrtles,  pomegranates,  passion-flowers — ^all  in  full 
blossom.  The  view  from  the  house  is  singularly  fine.  At  the 
foot  of  the  gently-sloping  hill  a  lake  of  considerable  extent  spreads 
out  in  two  beautifully-winding  arms,  the  farther  bank  of  which 
rises,  and  is  thickly  clothed  with  the  finest  timber.  Further  on 
the  view  is  bounded  by  fruitful  plains,  terminating  with  a  hill. 

On  my  vi^ting  Bowood  for  the  second  time  in  1850,  I  found 
Lord  Lansdowne  absent.  By  Lord  Shelbume's  kindness,  how- 
ever, I  was  allowed  to  inspect  the  pictures,  in  which  occupation 
four  hours  soon  passed  away.  On  this  occasion  I  became  better 
acquainted  with  the  disposition  of  the  apartments,  which,  in  the 
absence  of  all  the  stifiness  and  uniformity  of  a  town  house,  are 
arranged  with  such  picturesque  irregularity,  that  it  is  difficult  for 
a  stranger  readily  to  find  his  way.  The  collection,  which  contains 
pictures  of  the  best  masters  of  the  Italian,  Netherlandish,  Spanish, 
French,  and  English  schools,  is  arranged  upon  walls  of  crimson 
silk,  which  have  an  excellent  effect  Some  good  modem  works 
in  marble  are  also  tastefully  placed ;  beautiful  glasses,  vases,  and 
other  objects,  are  distributed  among  the  furniture ;  while  a  soft 
fragrance  of  dried  flowers,  rising  from  large  China  jars  on  the  floor, 
forms  a  combination  of  the  most  choice  taste  and  refined  enjoy- 
ment.    The  pictures  are  arranged  in  the  following  manner  in  the 

different  room&: — 

Drawing-room. 

Salvator  Rosa. — 1.  His  own  portrait  The  fine  earnest  fea- 
tures differ  from  other  portraits  of  this  master.  He  holds  a  tablet 
with  the  inscription  "  Aut  tace,  aut  loquere  meliora  silentio."  An 
admirable  portrait. 

2.  The  same  may  be  said  of  the  companion  to  it,  a  beautiful 
young  woman,  with  a  book  and  a  pen. 

CiooLi. — ^The  Annunciation.  One  of  the  best  copies  of  Pietro 
Cavallini's  picture  in  the  church  of  the  Santisdma  Annunziata  at 
Florence,  to  which  miracles  have  been  attributed. 

Rembrandt. — 1.  The  celebrated  landscape  from  the  Orleans 
Gallery,  called  Rembrandt's  Mill.  This  picture  is  equal  to  its  repu- 
tation, and  is  the  most  striking  instance  of  the  power  of  treatment 
when  applied  to  the  simplest  subject.     A  mill  and  a  house,  and  a 


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158  BOWOOD.  Lktttbb  XXV. 

rising  ground,  with  water  below  and  a  few  figures,  are  very  com- 
mon elements  in  themselves,  and  yet  Rembrandt  has  imparted  to 
them  a  poetic  charm  of  nature  oC  the  most  enchanting  description. 
The  contrast  between  the  warm  gleams.of  the  setting  sun,  with 
the  deep,  golden,  transparent  tones  of  the  foreground,  the  luminous 
evenmg  sky,  and  the  dark  rain-clouds,  are  as  finely  conceived  as 
they  are  splendidly  executed.  2  ft.  8  in.  high,  3  ft.  2  in.  wide. 
The  Marquis  is  said  to  have  given  800  guineas  for  this  picture. 

LoDOvico  Carracci. — ^The  Virgin  and  the  Child,  adored  by 
four  saints.  This  is  one  of  the  most  delicate  and  graceful  pictures 
of  the  master  in  imitation  of  Correggio. 

DoMENicHiNo. — 1.  A  small,  very  attractive  landscape,  with  still 
water  in  the  foregroimd. 

Watteau. — 1  and  2.  Two  charming  little  pictures,  in  his  well- 
known  style. 

GiACOMo  Bassano. — ^The  Entombment  More  dignified  than 
usual  in  conception,  and  carefully  executed  in  that  glowing  trans- 
parent tone  which  was  even  the  admiration  of  Titian. 

PiETRO  Francesco  Mola. — 1.  A  Riposo,  clearly  and  carefully 
executed,  and  very  attractive. 

Gainsborough. — ^A  herd  of  cattle  in  a  landscape.  The  very 
warm  sunny  lighting  is  most  harmoniously  carried  out 

Angelo  BaoNZiNa — 1.  Portrait  of  a  young  standard-bearer. 
Very  naturally  conceived,  and  unusually  warm  and  transparent  in 
colour. 

Sir  Joshua  Reynolds. — 1.  A  child  seated  in  a  contemplative 
position.  The  very  natiu*al  and  attractive  conception  is  combined 
with  a  refined  and  true  colouring,  though  not  of  so  brilliant  a  cha- 
racter as  is  usual  with  him. 

2.  A  peasant  girl,  with  hands  crossed  over  one  another.  Very 
unaffected,  and  with  all  his  glow  of  colour. 

Pietro  Francesco  Mola. — 2,  A  landscape  of  poetic  compo- 
sition and  very  warm  lighting,  with  the  Virgin  and  the  Child,  who 
is  caressing  the  little  St  John. 

Jacob  Ruysdaeu — 1.  A  heavy  storm  at  sea.  In  the  foreground 
two  piers,  against  which  the  waves  are  raging.  A  momentary  gleam 
of  sun,  breaking  through  the  driving  clouds,  throws  a  lurid  light 
upon  the  breakers.  Near  a  kind  of  lighthouse  are  two  seamen 
with  poles,  for  the  purpose  of  assisting  a  boat  which  is  entering 
the  harbour.     Two  other  boats  are  lying  at  anchor.     Among  the 

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Lktteb  XXV.    MARQUIS  OP  LANSDOWKE'S  COLLECTION.       159 

few  pictures  of  this  class  by  Ruysdael,  this,  in  point  of  grandeur 
of  conception  and  astonishing  truth,  is  one  of  the  finest.  Smith's 
catalogue  raisonne  shows  how  little  such  a  chef-d'cBuvre  was  esti- 
mated in  the  foregoing  century ;  in  1766  it  was  purchased  from 
the  Sydervelt  collection  in  Amsterdam,  for  19/. ;  in  1771  from  the 
Braamcamp  collection,  for  25/. ;  in  1802  from  the  Paillot  collec- 
tion, for  58/.  In  1824,  however,  Mr.  Smith  purchased  it  from  the 
Marquis  Rialva,  for  360/. ;  and  in  1829  Lord  Lansdowne  obtained 
it  for  535/. 

Philip  Wouvermans. — 1.  A  landscape,  in  his  first  maimer,  of 
warm  and  very  transparent  tone,  in  which  the  chiaroscuro  of  the 
foreground  finely  contrasts  with  the  lighting  of  the  middle  distance. 
This  is  himg  somewhat  too  high. 

Juan  Fernandez  Nav arete,  called  El  Mudo. — Portrait  of 
a  Spanish  lady  in  a  black  mantilla.  This  brings  before  us  in  the 
most  lively  way,  and  with  a  Rembrandt  glow  of  colour,  the 
genuine  character  of  those  Spanish  women  whom  Calderon  loves 
to  describe.  The  drawing  is  also  very  delicate,  and  the  execution 
uncommonly  carefiiL 

Albert  Cctp. — 1  and  2.  Two  small  and  most  charming  sea- 
pieces. 

Bernardo  Bellotto. — ^Two  architectural  pieces  of  the  most  de- 
licate style  are  here  erroneously  ascribed  to  his  master  Canaletto. 

Titian. — ^The  Virgin  and  Child,  with  the  little  St  John,  in 
glory,  with  angels.  Realistic  in  forms,  but  noble  in  feeling,  and 
painted  in  the  clear  golden  tones  of  his  earlier  period. 

HoBBEMA. — 1.  A  landscape,  with  two  pointed  village  steeples. 
The  harmony  of  this  beautiful  picture  is  wonderfrdly  sustained  in 
the  golden  clouds  and  illumined  field. 

Bernardino  Luini. — ^The  Magdalen ;  half-length  figure.  The 
beautifrd  features  are  the  same  which  occur  so  frequently  in  hiswomen. 

Lo  Spagna. — ^To  this  master,  judging  from  character  and  colour, 
I  am  inclined  to  attribute  a  Virgin  with  the  Child,  in  the  act  of 
benediction,  here  ascribed  to  Perugino. 

Albert  Cuyp. — 3.  A  view  on  the  Maas,  with  the  town  of  Dort 
on  the  left,  and  enlivened  with  numerous  large  and  small  vessels. 
Three  men  are  upon  a  raft,  five  in  a  boat  The  evening  quiet 
of  a  warm  sunset  is  rendered  with  admirable  transparency  in 
this  excellent  picture,  which  is  painted  in  a  fine  body.  The  form 
also,  3  ft.  7  in.  high,  by  4  ft.  4i  in.  wide,  is  very  happy.    It  was 

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160  BOWOOD.  Lettbb  XXV. 

purchased  by  Mr.  Nieuwenhuys  of  the  family  in  1829,  and  passed 
into  the  choice  collection  of  Edward  Gray,  Esq.,  of  whose  heirs 
Lord  Lansdowne  obtained  it  for  12502. 

Jacob  Rutsdael. — 2.  View,  taken  firom  a  height,  of  a  town 
upon  a  stream.  This  picture,  which  is  inscribed,  is  a  fine  specimen 
of  that  charming  variety  of  light  and  shadow  which  Ruysdael  knew 
how  to  produce  by  the  broken  play  of  the  sunbeams  through  clouds. 
1  ft.  4^  in.  high,  1  ft.  4^  in.  wide. 

Angeld  Bronzing. — 2.  A  very  pretty  boy  with  a  book.  A 
companion  to  the  one  mentioned  above,  and  not  less  beautiful. 

Hogarth. — ^Portrait  of  a  young  woman  ;  of  singular  liveliness 
of  conception,  and  of  great  warmth  and  transparency  of  colouring, 
though  somewhat  empty  in  the  forms. 

Andrea  del  Sarto. — ^Portrait  of  a  young  man ;  altiiough  very 
animated,  yet  it  appears  to  me  too  crude  for  him,  too  red  in  the 
flesh-tones,  and  too  green  in  the  shadows. 

MuRiLLO. — ^Portrait  of  an  ecclesiastic ;  of  delicate  features,  and 
of  earnest  and  dignified  character  and  beautiful  hands,  seated 
in  an  easy  position ;  at  his  feet  a  dog.  In  point  of  elevation  of 
conception,  delicacy  of  drawing,  admirable  keeping  in  silvery 
tones,  and  careful  execution,  extending  equally  to  the  accessories, 
among  which  is  a  clock,  this  is  one  of  the  finest  pictures  I  know 
by  the  master.  In  the  background  is  a  view  of  a  landscape. 
Whole-length  figure ;  life-size. 

Sir  Joshua  Reynolds. — 3.  Mrs.  Billington  as  St  Cecilia ;  an 
excellent  and  warmly  coloured  portrait.  The  two  angels,  perhaps 
intentionally,  border  on  the  humorous. 

4.  Portrait  of  a  Greek  lady,  in  her  national  costume,  looking 
at  a  medallion,  with  black  but  very  sunken  eyes.  This  is  most 
remarkable  for  the  dear  and  warm  colouring. 

Berohem. — A  landscape,  with  stream,  houses,  and  cattle  in 
the  foreground,  and  a  castie  on  a  rock  in  the  middle  ground :  of  a 
golden  warm  tone ;  the  hills  in  the  distance  kept  cool.  This  picture 
is  of  great  refinement 

Annibale  Carracci. — A  landscape,  which,  though  only  1  tt. 
3  in.  high,  1  ft  9  ia  wide,  makes  an  extraordinary  impression  by 
the  grand  composition  of  mountains,  sea,  and  lofty  trees.  At  the 
same  time,  the -colouring  is  of  a  deep  and  dear  tone,  the  execution 
remarkably  careful,  and  the  figures,  a  numerous  procession,  very 
spirited.     From  the  Orleans  Gallery. 

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Letter  XXV.    MARQUIS  OF  LANSDOWNE'S  COLLECTION.      161 

IIoBBEMA. — 2.  A  small  landscape,  with  a  village  buried  in 
treea  In  the  foreground  a  small  wooden  bridge;  in  the  back- 
ground a  gleam  of  sun.     Of  great  delicacy. 

3.  The  companion  to  it ;  water  in  the  foreground ;  behind, 
ja  village  in  sunshine.     Of  great  beauty  in  the  silvery  tones. 

Carel  Dujardin. — A  brown  horse,  two  falconers,  and  four 
dogs.  The  clouds  well  express  the  sultry  heat  of  the  day.  A  good, 
inscribed  picture. 

Claude  Lorraine. — ^View  of  a  seaport  in  morning  light. 
Tliis  small  picture,  which  was  originally  in  the  Danoot  collection 
at  Brussels,  is  of  the  best  time  of  the  master,  combining  decision 
of  forms  and  an  admirable  impasto  with  great  softness  and  trans- 
parency of  colom*. 

Sir  Joshua  Reynolds. — 5.  Love  nourished  by  Hope.  The 
motive  of  the  Cupid  is  very  graceful,  and  the  colouring  appears 
warm ;  but  it  hangs  in  an  unfavourable  position. 

Sir  David  Wilkie. — 1.  A  young  Capuchin  monk  confessing 
to  an  old  priest  Also  unfavourably  placed,  but  apparently  of  fine 
character  and  careful  treatment. 

Library. 
Raphael. — ^The  middle  portion  of  the  predella  to  the  altar- 
piece  by  Raphael,  now  at  Blenheim,  which  picture,  according  to 
Vasari,  was  executed  in  the  year  1505  for  the  church  of  S.  Fio- 
renzo,  at  Perugia,  and  purchased  by  Lord  Robert  Spencer.  This 
portion  of  the  predella  was  afterwards  sold  to  the  Marquis  of  Lans- 
downe :  it  represents  St  John  the  Baptist  preaching  in  the  wil- 
derness, and,  like  the  large  picture,  is  a  most  interesting  specimen 
of  Raphael's  transition  from  his  Perugiau  to  his  Florentine 
style.  Quite  on  the  left  of  the  picture,  on  a  moderate  eminence, 
stands  St.  John  preaching,  with  the  Cross  in  his  right  hand.  A 
youth  in  the  group  next  to  him,  resting  on  his  arm,  and  looking 
with  fervent  and  enthusiastic  devotion  into  the  face  of  St  John, 
shows  still  in  full  force  the  feeling  of  Pernio.  In  the  other 
figures  of  this  admirably  composed  group  ardent  devotion  is  com- 
bined with  a  more  free  observation  of  natura  A  youth  in  a  green 
cap  is  evidently  the  portrait  of  Raphael  himself.  In  the  two  other 
groups,  which  are  disposed  with  his  usual  refinement,  there  is  a 
manifest  tendency  to  introduce  forms  from  every-day  life — a 
manner  then  much  in  vogue  at  Florence.     Hence  the  figures 

VOL.  III.  M 

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162  BO  WOOD.  Letteb  XXV. 

throughout  look  like  portraits,  with  the  rather  strange  costume 
and  head-dresses  of  that  age.  Nay,  a  corpulent  man  in  the  third 
group,  on  whom  the  sermon  does  not  seem  to  make  any  very  deep 
impression,  verges  on  the  humorous,  which  Raphael  was  otherwise 
not  used  to  introduce  in  scriptural  subjects.  The  episode  of  two 
very  pretty  children  playing  with  each  other  is  also  a  result  of  the 
pleasure  he  took  in  attractive  natural  incidents.  In  the  slender 
proportions,  and  in  other  respects,  it  has  a  close  aflüiity  to  Ra- 
phael's two  drawings  for  the  fresco-paintings  executed  by  Pintu- 
ricchio,  in  the  library  of  the  cathedral  of  Siena.  The  bright  tone 
of  the  flesh  approaches  the  Madonna  del  Granduca ;  and  in  the 
broader  folds  of  the  drapery  the  study  of  Masacdo's  frescoes  is 
obvious.  On  the  other  hand,  the  dark,  full  colours  of  the  drapery, 
the  blackish-green  trees  of  the  landscape,  which  is  otherwise  beau- 
tiful, are  quite  in  the  manner  of  Perugino.  This  precious  little 
picture,  about  8  in.  high,  and  1  ft.  9  in.  wide,  has  been  very  in- 
diflferently  engraved,  on  the  same  scale,  by  Capcllan.  Unfortu- 
nately, it  has  been  unequally  cleaned ;  so  that  in  some  places  it 
has  still  spots  of  dirt,  and  has  been  injured  in  others. 

Sebastian  del  Piombo. — A  monk  with  a  skull.  A  close 
study  of  this  master  has  convinced  me  that  I  had  erred  in  doubt- 
ing the  genuineness  of  this  picture  before.  The  warm  transparent 
coloiu»  bespeaks  the  earlier  period  of  his  residence  at  Rome. 

GiORGioNE. — A  shepherd  in  a  sheepskin,  with  his  staff  This 
figure  is  meant  to  represent  Giorgione  himself,  as  is  evident  from 
his  portrait  in  the  Gallery  at  Munich,  as  well  as  from  the  well- 
known  engraving.  Nobly  conceived,  and  admirably  executed  in 
a  reddish  golden  tone. 

Raphael. — One  of  the  Apostle's  heads  from  the  cartoon 
"  Feed  my  sheep."    This  is  an  able  work  by  one  of  his  scholara 

DoMENicHiNO. — 2.  A  small  landscape  with  Abraham  and  Isaac 
going  to  Mount  Moriah.  The  poetic  composition,  fine  trans- 
parent colour,  and  singularly  carefid  execution  render  this  a  perfect 
jewel 

The  Cabinbt. 

This  apartment  is  in  charming  proportion  with  the  choice  little 
pictures  it  containa 

Sir  David  Wilkie. — 2.  A  father  playing  with  his  child,  and 
acting  the  part  of  the  mother,  whose  cap  he  has  put  on  ;  the  nurse 

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Letter  XXV.    MARQUIS  OF  LANSDOWNE^S  COLLECTION.      163 

trying  to  take  the  child  away.  A  charming  humour  pervades 
the  picture,  which  is  warmly  painted  and  solidly  executed. 

LuDOLPH  Backhuysen. — ^A  quiet  sea*  Small  and  delicate 
picture. 

Van  der  Heyden. — 1.  The  street  of  a  Dutch  town  with  a  canal, 
in  which  the  houses  are  reflected.  Of  a  depth  of  warm  colouring 
such  as  this  master  seldom  attains. 

Philip  WouvERMANa — 2.  A  flat  landscape  of  great  distance, 
in  which  is  a  man  on  a  grey  horse,  with  a  felcon.  Another  figure 
is  coming  out  of  a  house  with  a  basket  of  vegetatles.  The  admir- 
able precision  of  the  execution,  and  the  sunny  silvery  tones  in 
which  the  whole  is  carried  out,  render  this  a  perfect  little  gem ; 
in  the  third  manner  of  the  master. 

TENiEna — 1.  The  Temptation  of  St  Anthony.  A  good  spe- 
cimen. 

2.  A  peasant  man  and  woman  in  a  landscapa    Of  equal  merit. 

3.  A  building  and  a  bridge.  Three  figures  in  the  foregroimd, 
one  of  whom  is  angling.  Of  fine  lighting  and  powerful  and 
transparent  colour. 

4.  The  painter  on  a  rising  ground  playing  the  violoncello,  his 
wife  seated  beside  him  singing  to  it.  Warm  in  tone  and  treated 
with  refinement 

Albert  Cuyp. — 3.  A  cow  is  being  milked  in  the  foreground ; 
further  back  is  another.  The  warmest  sunshine  pervades  the  picture, 
which  is  admirably  executed. 

Verelst. — A  young  girl  making  a  dog  sit  up.  Of  singular 
delicacy,  in  his  reddish,  somewhat  insipid  tone. 

Greuze. — A  young  girl,  who  has  just  finished  a  meal,  watching 
a  cat  playing  with  a  ball.  Very  naturally  conceived,  and  as  ten- 
derly executed. 

Van  der  Heyden. — 2.  View  of  a  town  gate,  with  admirable 
figures  by  Adrian  Van  de  Veldb.  Delicate  in  tone,  and  of  the 
most  solid  treatment. 

Nicolas  Maa& — ^A  child  in  the  cradle,  the  sister  near,  pre- 
paring its  food.  Particularly  soft  in  execution  and  of  simny  eflPect. 
Inscribed. 

Jan  Steen. — A  doctor  feeling  the  pulse  of  a  girl  in  presence 
of  her  mother.  The  head  of  the  doctor  is  of  very  ironical  expression. 
The  execution  is  of  a  delicate  silvery  tone,  executed  with  mastery 
and  precision. 

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164  BO  WOOD.  Letter  XXV. 

Kembrandt. — 2.  A  flat  country  in  rainy  weather,  with  the  rays 
of  the  evening  sun  falling  upon  a  bridge,  and  illumining  two  houses 
and  trees.  Of  astonishing  truth  of  effect  and  masterly  breadth  of 
treatment 

Sir  David  Wilkie. — 3.  A  father  piping  to  his  two  children. 
Actions  and  expression  very  animated  and  true ;  the  treatment 
sketchy. 

Velasquez. — 1.  Two  gentlemen  on  horseback,  one  of  them  of 
great  grandeur  of  mien,  and  a  man  on  foot.  In  a  reddish  flesh 
tone,  with  deep  glow  of  colouring.  The  hilly  landscape  is,  how- 
ever, in  a  silvery  tone.  Of  masterly  and  broad  treatment,  and 
painted  in  a  solid  body. 

2.  The  companion  to  it.  A  lady  seated,  holding  a  fan  before 
her ;  a  dwarf,  dressed  in  red,  pointing  t-o  her.  Also  another 
dwarf  and  three  men  in  conversation.  In  the  middle  distance 
a  party.  The  landscape  with  water  and  hills  in  the  distance  very 
poetical,  especially  the  sky,  which  has  a  deep  glow  of  colour. 

William  Van  de  Veldr — 1.  A  quiet  sea,  in  his  light  tone 
and  of  tender  treatment 

Jacob  Ruysdael. — 3.  A  bare  and  somewhat  hilly  landscape 
with  a  stream.  Two  men  on  a  road,  and  a  loaded  hay-cart. 
These  are  the  insignificant  objects  which  enliven  this  beautiful 
picture.  In  foreground  and  background  is  a  gleam  of  light,  in 
the  middle  ground  light  shadows  of  clouds.  The  picture  shows 
the  intensest  feeling  for  nature,  and  is  executed  with  admirable 
body.     1  ft.  li  in.  high,  1  ft.  4  in.  wide.     Inscribed. 

Jan  Wynants. — A  delicate  little  picture  with  water  in  front 
and  his  favourite  sand-hill  behind.     Inscribed. 

Breakfast-room. 

Sir  Edwin  Landseer. — A  number  of  highlanders  returning 
along  the  banks  of  a  lake  to  the  sound  of  the  bagpipe,  laden  with 
the  spoils  of  the  chase.  The  scene  is  upon  a  bridge.  The  cha- 
racter of  the  men  and  dogs  is  admirable,  the  light  keeping  of  the 
whole  most  masterly,  the  execution  careful  even  in  the  accessories, 
and  the  colours  transparent.  "" 

Van  de  Capella. — A  slightly  agitated  sea,  with  a  boat  in  the 
foreground  lowering  its  sail.  In  truthful  representation  of  the 
water  and  in  the  exceeding  transparency  of  the  warm  colouring, 
this  is  one  of  his  best  pictures. 

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Letteb  XXV.     MARQUIS  OF  LANSDOWNE'S  COLLECTION.      1C5 

Bauerstadt,  a  painter  quite  unknown  to  me,  with  figures  by 
LiNGELBACH.  The  street  of  a  Dutch  town,  with  a  glancing  light, 
of  surprising  and  masterly  chiaroscuro. 

Jan  Both. — A  form  of  art  unusual  for  him — buildings  with 
ninepin-players,  an  ass-driver,  and  cattle;  the  latter  feeble:  a 
puddle  of  water  in  the  foreground.  Admirably  executed  in  a 
sunny,  clear  lighting. 

Teniers. — 5.  A  peasant  woman  coming  over  a  hill;  behind 
her  a  man.     Spiritedly  treated  in  sunny  but  clear  tones. 

Rembrandt. — 3.  A  landscape  ;  a  village-church  among  trees  "7 
in  the  middle  ground,  with  three  figures.     The  lights  on  sky  and    ' 
earth  are  admirably  given.    The  mass  of  trees  has  much  darkened : 
the  execution  is  very  solid. 

Pynacker. — ^A  landscape.  A  genuine  picture,  but  one  of  his 
cold  worka 

William  Van  de  Velde. — 2.  An  almost  calm  sea,  animated 
with  a  man-of-war  and  other  vessels.  Of  singularly  delicate  aerial 
perspective. 

Sir  Augustus  Calcott. — View  of  a  seaport  and  part  of  a 
town  in  morning  light :  in  the  foreground  two  vessels  of  burden 
and  two  boats.  The  lighting  is  here  carried  out  with  so  much 
delicacy,  and  the  careful  treatment  so  solid  in  body,  that  this  pic- 
ture recalls  Cuyp.     Inscribed,  and  dated  1815. 

Goodall. — A  sick  room.    A  very  attractive  picture. 

Cope. — Young  girls  going  to  church  with  their  grandmother. 
Very  pleasing. 

HuRLSTONE. — Cupid.  Poctically  conceived,  graceful  in  motive, 
and  carefully  executed  in  warm  colouring. 

Etty. — ^The  Prodigal  Son.  True  in  feeling,  of  great  power  of 
colour,  and  of  very  careful  completion. 

Leslie. — Sir  Roger  de  Coverley  going  to  church.  A  very 
pleasing  picture. 

Newton. — 1.  Scene  from  the  Beggars'  Opera.  Full  of  charm- 
ing humour. 

2.  The  mother  turning  from  Olivia,  in  the  Vicar  of  Wakefield. 
Well  conceived  in  tlie  spirit  of  the  author. 

Francesco  Albano. — St.  John  preaching  in  the  Wilderness. 
A  very  pretty  cabinet  picture ;  richly  composed  and  carefiiUy  exe- 
cuted in  his  warm  and  transparent  tone. 

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166  MARQUIS  OF  LANSDOWNE»S  COLLECTION.  Lbtteb  XXV. 

E  W.  CooKE. — View  of  Mont  St  Michel  on  the  coast  of 
Normandy.     True,  carefiil,  and  of  admirable  keeping. 

Among  the  many  praiseworthy  sculptures  in  marble — statues 
and  reliefs — ^by  modem  sculptors,  I  was  much  attracted  by  an  alto- 
rilievo  of  Francesca  da  Rimini  and  her  lover,  by  Kichard  West- 
MACOTT,  JUN.  The  feeling  in  the  heads  is  beautiful,  the  motives 
happy,  the  execution  very  careful. 

DlNINQ-ROOM* 

This  apartment  is  adorned  with  pictures  by  two  English  painters. 
Sir  Charles  Eastlake  and  Mr.  Stanfield,  which  are  let  into 
the  walls,  and  thus  form  a  more  complete  whole  with  the  archi- 
tecture. Two  pictures  by  Sir  Charles — Pilgrims  in  sight  of 
Rome — ^are  remarkable  for  beauty  of  expression,  grace  of  motive, 
delicacy  of  colour,  and  careful  execution.  In  the  high  position  at 
which  they  are  placed,  however,  though  the  effect  is  fine,  many  a 
refinement  is  lost  to  the  eye.  The  majority  of  Stanfield's  pictures, 
which  are  of  admirable  keeping,  and  broad,  masterly  execution, 
are  views  of  Venice :  there  is,  however,  among  them  a  view  of 
Tivoli.    The  effect  of  the  whole  apartment  is  very  agreeable. 

Drawing-room  op  Lady  Shelburne. 

Schiavone. — ^Two  long  pictures,  country  people  in  ajandscape, 
of  an  idyllic  character,  here  attributed  to  Tintoretto,  are,  in  my 
opinion,  able  works  by  Schiavone. 

As  I  was  not  able  to  inspect  this  apartment  with  the  same  leisure 
as  the  others,  I  am  not  prepared  to  give  the  same  account  of  other 
valuable  pictures  by  old  masters  which  it  contains. 

Among  the  family  pictures,  a  portrait  of  the  father  of  the  pre- 
sent Marquis  by  Sir  Joshua  Reynolds,  and  the  portrait  of  the 
late  Lady  Lansdowne  by  Lawrence,  are  neither  of  them  remark- 
able specimens  of  the  two  masters. 

I  accepted  with  the  greatest  pleasure  the  kind  offer  for  the  gar- 
dener to  show  me  the  pleasure-grounds.  We  first  went  into  the 
kitchen-garden,  siurounded  with  a  high  wall,  where  everything  is 
reared  which  can  be  produced  in  a  country  so  far  advanced  in  the 
cultivation  of  the  fruits  of  the  earth  as  England.  But  in  the  grounds, 
extending  over  seventy  acres  of  land,  I  learnt  what  art,  in  union 
with  a  situation  favoured  by  nature  and  a  mild  climate,  is  able  to 
effect  The  beauties  of  the  finest  indigenous  trees,  such  as  the 
oak,  the  ash,  and  the  beech,  are  here  happily  united  with  those 

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Letteb  XXV.  CHAELTON  PARK.  167 

of  the  most  various  trees  and  shrubs  of  southern  vegetation. 
Cedars  of  Lebanon  in  their  solemn  majesty,  melancholy  cypresses, 
laurels,  cork-trees,  the  cheerful  arbutus  and  tulip-tree,  and  many 
others,  are  grouped  with  the  most  refined  taste  in  masses  of  various 
sizes,  and  afibrd  the  most  pleasing  alternations  of  sequestered  soli- 
tude and  free  expanse,  with  views  of  portions  of  the  garden,  of 
the  lake  with  its  beautiful  chain  of  hills,  and  then  far  into  the 
coimtry  beyond  it  I  admired  in  particular  the  taste  for  the  pic- 
turesque which  had  superintended  the  beautifully  graduated  middle 
distances,  and  the  velvety  lawn,  which  imited  every  part,  and 
which  is  kept  in  the  most  admirable  order.  The  bright  sunshine, 
now  and  then  interrupted  by  shadows  of  passing  clouds,  produced 
the  most  diversified  and  striking  eflects  of  light  and  shade,  so 
that,  revelling  in  the  enjoyment  of  the  scenery,  I  passed  some 
hours  I  shall  never  forget.  Here  too  I  was  destined  to  be  recon- 
ciled to  artificial  waterfalls,  to  which  I  am  otherwise  a  declared 
enemy.  The  fall  here,  rushing  down  in  a  considerable  body  be- 
tween moss-grown  rocks,  and  overarched  by  the  fresh  verdure  of 
lofty  trees,  affords  the  most  refreshing  coolness,  and  made  me 
quite  forget  its  artificial  origin.  These  grounds  were  laid  out  by 
the  father  of  the  present  Marquis,  who  has  continued  to  improve 
them  in  the  same  spirit.  I  heard  this  from  the  gardener,  who 
appeared  to  be  very  equal  to  his  post,  and  to  perform  its  duties 
con  amove.  From  one  spot  in  the  garden  he  showed  me  the  cele- 
brated white  horse,  of  the  elegant  English  race,  which,  appeared 
to  trot  on  the  declivity  of  a  rock.  He  told  me  that  it  was  about 
five  English  miles  off,  and  that  the  height  of  the  horse  is  about 
forty  feet  It  is  formed  by  the  country  people  pulling  up  all  the 
grass  and  weeds  growing  on  a  chalk  rock,  within  the  outlines  of  a 
horse.  There  are  others  of  the  same  character  in  this  country, 
which,  however,  are  said  to  be  much  more  rude  in  form. 


CHARLTON    PARK. 


Since  my  first  visit  to  England  in  1835,  the  rich  collection  which 
I  then  saw  belonging  to  the  Methuen  family  in  Corsham  House 
has  been  dispersed.  In  its  stead,  however,  and  in  the  company 
of  my  friends  Sir  Charles  Eastlake,  M.  Passavant,  and  Mr.  Murray, 
I  had  the  good  fortune  to  become  acquainted  with  the  collection 

/Google 


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168  CHARLTON  PARK.  Letter  XXV. 

of  the  Earl  of  Suffolk  at  his  seat,  Charlton  Park,  which,  though 
moderate  in  size,  contains  some  valuable  pictures. 

The  most  important  of  them  is  an  example  of  that  composition 
by  Leonardo  da  Vinci  which  is  known  to  the  connoisseur  by  the 
name  of  "La  Vierge  aux  rochers."  I  was  the  more  anxious  to 
see  this  picture  from  a  conviction  I  had  expressed  as  early  as  the 
year  1839*  that  the  picture  in  the  Louvre,  engraved  by  Desnoyers, 
and  by  some  considered  as  the  original,  could  not  be  so  for 
various  reasons,  such  as  the  feebleness  of  drawing  and  want  of 
expression  in  the  heads,  especially  of  the  Virgin  and  of  the  angel, 
and  the  hardness  and  leaden  quality  of  the  draperies.  In  this 
conviction  I  had  been  further  confirmed  during  my  residence  in 
Naples  in  1841  by  an  old  repetition  (containing,  instead  of  the 
rocks  of  the  background,  an  open  landscape),  in  which  the  heads 
of  the  Virgin  and  Child  were  far  more  dignified.  However,  after 
having  seen  the  picture  belonging  to  Lord  Suffolk,  which  I  closely 
examined,  not  only  in  Charlton  Park,  but  again  in  1851  in  the 
British  Institution,  I  have  no  doubt  that  it  is  the  only  picture  of 
this  subject  in  which  the  hand  of  Leonardo  da  Vinci  himself  is 
decidedly  recognizable  in  the  heads,  and  that  therefore  it  is  alone 
to  be  considered  as  the  original  picture.  In  the  composition  also 
this  picture  is  favourably  distinguished  from  that  at  Paris  from 
the  circumstance  that  here  is  not  the  same  action  of  the  right 
hand  of  the  angel  which  in  the  Paris  picture  so  uncomfortably 
disturbs  the  beauty  of  the  lines.  The  decisive  evidence,  however, 
consists  in  the  incomparably  nobler  expression,  in  the  greater 
delicacy  of  drawing,  and  in  the  masterly  modelling  of  the  heads. 
Leonardo  da  Vinci's  participation  in  the  work  is,  however,  con- 
fined to  these  portions,  all  the  rest  being  inferior,  and  some  parts, 
such  as  the  extremities,  one  and  all,  too  clumsy,  and  the  left  hand 
of  the  Virgin  feebly  drawn.  The  comparatively  small  portion 
executed  by  the  hand  of  the  master  will  surprise  none  who  are 
acquainted  with  his  life  and  works.  In  all  Europe  we  might  seek 
in  vain  for  a  large  picture  entirely  finished  by  his  hand.  Gene- 
rally, he  only  commenced  such  works.  Thus  the  cartoon  for  his 
picture  for  the  church  of  the  Serviti  at  Florence,  now  in  the  pos- 
session of  the  Royal  Academy,  is  not  entirely  finished,  and  the 
Adoration  of  the  Kings,  in  the  Gallery  of  the  Ufiizii,  only  drawn 
in  brown.     Such  was  also  doubtless  the  history  of  this  pictura     If 

'*'  Kunstwerke  und  Künstler  in  Paris,  p.  426. 

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Letter  XXV.    EARL  OF  SUFFOLK'S  COLLECTION.     '  169 

it  be  asked,  however,  who  executed  the  other  parts  of  the  picture,  I 
should  assign  Bernardo  Zenale  as  the  most  probable  name.  The 
large  altar-piece  in  the  Brera  by  him,  representing  the  Virgin 
enthroned  with  the  Child,  the  four  fathers  of  the  Church,  and 
Lodovico  il  Moro  with  his  family  (No.  344),  shows  the  same  heavy 
character  of  the  extremities,  the  same  over-prominence  of  forms, 
in  the  aim  at  the  utmost  possible  modelling,  and,  finally,  the  same 
dark  tone  in  the  shadows  and  white  tone  in  the  lights,  only  that 
the  lights  in  the  picture  in  Charlton  Park  have  turned  yellow  with 
an  old  varnish.  The  least  satisfactory  part  is  the  execution  of  the 
accessories,  namely,  of  the  landscape  background,  which  is  far  more 
delicate  and  beautiful  in  the  Louvre  picture,  though  that  alone  is 
not  sufficient  to  constitute  it  an  original.  On  the  other  hand,  the 
originality  of  Lord  Suffolk's  picture  is  confirmed  by  historical 
evidence.  Up  to  the  year  1796  it  was  the  altar-piece  of  the 
Cappella  della  Concezione  in  the  church  of  S.  Francesco  at  Milan, 
and  is  mentioned  by  the  Milanese  writer  Lomazzo,  who  wrote 
only  sixty-five  years  after  Leonardo  da  Vinci's  death,  and  in  two 
different  places,  expressly  as  a  picture  by  that  master,  and  also 
by  the  name  of  the  Concezione.  In  1796  it  was  purchased  by 
Mr.  Gavin  Hamilton  firom  that  chapel  for  thirty  zechini,  and  from 
him  passed  into  the  hands  of  Lord  Suffolk. 

Bagnacavallo. — ^The  Virgin  carried  by  four  angels  to  Heaven ; 
below,  small,  in  a  dark  landscape,  St  Thomas  receiving  the  girdle 
of  the  Virgin,  which  falls  from  above.  Finely  composed,  and  exe- 
cuted with  the  whole  warmth  of  his  colom-ing. 

Sir  Thomas  Lawrence. — A  male  portrait.  One  of  his  good 
pictures. 

PiETRO  Francesco  Mola. — A  landscape  with  Hagar  and 
Ishmael.  Poetic  in  invention,  admirable  in  keeping,  and  carefully 
executed. 

Agostino  Carracci. — ^A  large  landscape  with  the  Baptism  of 
Christ,  the  first  landscape  I  have  ever  seen  by  this  usually  scarce 
master.  The  grandeur  of  the  composition,  even  in  this  depart- 
ment, does  honour  to  his  name.  The  figures  show  the  practised 
historical  painter.  Formerly  in  the  Aldobrandini  collection  at  Rome. 

Annibale  Carracci. — 1.  A  large  landscape  with  the  Flight 
into  Egypt  Li  poetry  of  invention  and  in  power  of  colour  this 
belongs  to  his  best  works  in  the  landscape  department.  Formerly 
in  the  Giustiniani  collection  at  Rome. 

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170  CHARLTON  PARK.  Letter  XXV. 

'    Ci^4UDE  Lorraine. — 1  and  2.  Two  very  pleasing  small  land-  • 
scapt.\H  of  his  somewhat  later  time.  The  evening  light  is  very  refined. 

Caspar  Poussin. — 1  and  2.  Two  small  landscapes  from  the 
Cnlonna  Palace.  All  the  master's  peculiar  poetry  of  feeling  is 
seen  in  these  pictures. 

DoMEKiCHiNO. — 1.  The  widow  of  Cosmo  IL,  Grand  Duke  of 
Tuscany,  by  birth  an  archduchess  of  Austria,  whole-length  figure, 
the  size  of  life,  with  a  little  dog.  Portraits  of  this  kind  by 
Domenichino  are  extremely  rare :  the  conception  is  animated, 
the  execution  carefuL 

Daniel  da  Volterra. — Christ  lamented  by  his  disciples,  a 
very  dramatic  composition  of  six  figurea  Inscribed  with  the  Bar- 
berini  arms. 

MuRiLLO. — 1  and  2.  The  Ascension  and  the  Coronation  of 
the  Virgin,  two  spirited  and  pretty  careful  sketches  for  a  rich  and 
beautiful  composition. 

William  Van  de  Velde. — A  quiet  sea,  of  singular  delicacy 
and  transparency.  Formerly  in  tiie  collection  of  the  Duke  de 
Choi  Beul. 

Van  der  IIeyden. — A  pretty  architectural  piece,  with  figures 
by  Adrian  Van  de  Velde  but  now  defaced  by  broad  and  dark 
cracks. 

Frax^^is  Milet. — A  fine  hilly  landscape  in  the  teste  of  his 
great  model,  Gaspar  Poussia 

IIoLBEiN. — Catherine  Howard,  Queen  of  Henry  VHI.  It  ap- 
pears tuo  heavy  and  gloomy  in  tone  for  hiia 

Cornelius  Jansen. — 1  and  2.  Charles  I.  and  Lord  Aylesbury. 
Two  pictures  the  size  of  life,  which  in  animation  of  conception, 
clearness  of  colouring,  and  carefulness  of  execution,  belong  to  his 
best  pictures. 

A  NN  f  BALE  Carraccl — 2.  A  male  portrait,  energetically  con- 
oalved  and  of  masterly  painting. 

Gaspar  Poussin. — -3,  A  landscape  with  the  Temple  of  the 
Sibyl  at  Tivoli,  and  the  Flight  into  Egypt  in  the  foreground.  Of 
siiiguliir  freshness  and  transparency,  and  most  careful  executioa 

Paitl  Brill. — A  large  and  very  poetic  landscape  of  his  latest 
and  best  time. 

Guido  Renl — ^The  Adoration  of  the  Shepherds.  A  small  and 
delicate  picture  of  unusual  warmth,  approaching  very  near  the  pic- 
ture of  that  composition  in  the  Grosvenor  Gallery. 

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LettebXXV.  WARDOUR  castle.  171 

Paul  Veronese. — 1.  A  Flight  into  Egypt,  called  a  Lorenzo 
Lotto,  I  am  inclined  to  attribute  to  this  master :  it  is  in  his  heavy, 
reddish  tones. 

Sir  Anthony  More. — Portrait  of  a  lady  of  honour  to  Queen 
Mary  daughter  to  Henry  VIII.     Very  transparent  and  careful. 

DoMENicHiNO. — 2.  St  Cecilia.  Painted  for  Cardinal  Sansi  on 
a  small  scale,  from  which  the  large  picture  now  in  the  Louvre  was 
executed  for  Cardinal  Ludovisi.  Very  delicate,  careful,  and  trans- 
parent. 

In  a  large  hall,  which  is  adorned  with  family  portraits,  the  fol- 
lowing were  particularly  remarkable : — 

Mark  Gerards.— 1,  2,  and  3.  Three  female  portraits,  whole- 
length  figures,  life  size. 

Van  Somer. — Portrait  of  the  Duke  of  Buckingham,  favourite 
of  James  I.  and  Charles  I,  The  head  delicate  and  transparent ; 
otherwise  rather  dark. 

Janson  van  Ceulen. — ^To  this  painter  I  attribute  a  delicately 
conceived  and  softly  executed  male  portrait,  bust  size. 

In  the  library  is  a  large  and  careful  sketch  by  Paul  Veronese 
— 2f  for  one  of  his  great  feasts. 


To  give  you  some  idea  of  the  abundance  of  works  of  art  in  the 
county  of  Wiltshire,  I  may  remark  that,  besides  the  seats  I  have 
already  described,  there  are  three  others  of  similar  attractions. 
Though  unable  to  visit  them  in  person,  I  am  glad  to  have  it  in 
my  power  to  note  down  the  principal  works  in  two  of  them. 

WARDOUR  CASTLE,  SEAT  OF  LORD  ARUNDEL  OF  WARDOUR. 

Titian. — ^The  in&nt  Christ  sleeping  on  the  Cross. 

Spagnoletto. — A  picture,  the  subject  of  which  is  unknown 
to  me. 

Murillo. — Joseph  relating  his  dream  to  his  brethren. 

Rubens. — 1.  Descent  from  the  Cross  (in  the  chapel),  and — 2, 
the  portrait  of  Hugo  Grotius. 

Gerard  Dow. — A  wood-scene,  with  robbers ;  a  large  picture. 

SwANEVELDT. — Four  laudscapcs. 

J.  Vernet. — ^Three  landscapes. 

Sir  Joshua  Reynolds. — Four  family  portraits. 


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172  STOÜRHEAD  HOUSE.  Letter  XXV. 

STOÜRHEAD  HOUSE,  SEAT  OF  THE  COLT  HOARE  FAMILY. 

Leonardo  da  Vinci. — A  Holy  Family,  painted  on  parchment. 

Fra  Bartolommeo. — A  Holy  Family. 

Andrea  del  Sarto. — An  altar  picture,  the  Virgin  and  Child, 
St,  Julitj  the  Baptist,  and  St.  Ambrose. 

Tit  I  AX. — John  the  Baptist  in  the  Wilderaess.  Sketch  for  the 
picture  in  S.  Maria  Maggiore  in  Venice. 

Paul  Vkjionese. — The  Magdalen  washing  the  feet  of  the 
Saviour.  A  sketch  for  the  large  picture  formerly  in  the  Durazzo 
Palace  at  Genoa,  now  in  the  Royal  Gallery  at  Turin. 

Barocc lo, — ^The  Marriage  of  St.  Catherine. 

A^'NiBALE  Carracci. — A  Holy  Family. 

DoMENicniNo. — Portrait  of  a  prelate. 

Guido  Reni. — St.  Francis.     A  sketch. 

Guerciiso,— 1.  The  Virgin  and  Child.  2.  The  Good  Shep- 
herd,    A  sketch. 

ScHiDONE. — 1.  The  Virgin  and  Child.  2.  St.  John  with  the 
Lamb.     3,  An  old  man.     A  sketch. 

Michael  Angelo  da  Caravaggio. — Card-players  and  sooth- 
sayers. 

Pietro  Francesco  Mola. — David  and  Goliah. 

CiooLL^The  Adoration  of  the  Kings.  A  very  important 
work,  executed  for  the  Albrizzi  family. 

Caru>  Dolce. — ^The  Daughter  of  Herodias  with  the  head  of 
St.  John, 

Claude  I^rraine. — The  Lake  Nemi.    Engraved  by  Vivares. 

Caspar  PorssiN. — A  landscape. 

Cari^  Maratti. — 1.  The  Flight  into  Egypt.  2.  The  painter 
himself,  with  the  three  Graces,  a  picture  mentioned  by  Bellori. 

Oanaletto. — ^Three  pictures. 

MuRiLLtK— An  old  woman. 

Nicolas  Poussin. — 1.  The  Rape  of  the  Sabines.  2.  The 
Choice  of  Hercules.     Engraved  by  Strange. 

Sebastian  Bourdon. — The  Sentence  of  Midas. 

Le  Bourgoignon. — A  battle-piece. 

Rembrandt. — 1.  Elijali  restoring  the  widow's  son  to  life. 
Engraved  by  Earlom.  2.  Two  gipsies  by  moonlight.  Engraved 
by  Canot. 

Raphael  Mengs. — ^Antony  and  Cleopatra. 


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Letter  XXV.  LONGLEAT.  173 

Gainsborough. — Peasants  going  to  market. 
Among  the  sculpture  in  Stourhead  House  is  said  to  be  a  statue 
of  Livia,  and  another  of  Flora,  of  great  beauty. 


LONGLEAT,  SEAT  OF  THE  MARQUIS  OF  BATH. 

This  building,  commenced  as  early  as  1567,  from  a  dc^si^^n  by 
John  of  Padua,  and  not  finished  till  1682,  the  front  of  which  is 
220  feet  long,  is  one  of  the  finest  mansions  in  England.  In  the* 
picture  gallery,  which  is  100  feet  long,  is  a  large  colh^ction  o{ 
portraits.  In  the  hall  are  six  hunting-pieces  by  Wootton,  The 
pleasure-grounds  and  park,  arranged  by  Brown  in  the  time  of  the 
first  Marquis  of  Bath,  in  the  latter  part  of  the  last  centiirj,  are 
among  the  most  remarkable  in  England. 


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174  BATH.  Letter  XXVI, 


LETTER    XXVI. 

Bath :  its  beauty  and  salubrity.  —  Claverton,  seat  of  Mr.  Vivian  :  Collection 
of  pictures.  —  Bristol :  Church  of  St.  Mary  Redcliffe.  —  Leigh  Court, 
seat  of  Mr.  Mileg  :  Collection  of  pictures  —  Italian,  French,  and 
Spanish  schools  —  Christ  bearing  his  Cross,  and  Virgin  and  Child,  by 
Raphael  —  Rubens.  —  Blaise  Castle,  seat  of  Mr.  Harford  :  Collection  of 
pictures  —  Italian,  French,  and  Netherlandish  schools  —  Piet^i,  and  Holy 
Family,  by  Sebastian  del  Piombo  —  Spasimo,  by  Raphael.  —  Knole,  seat 
of  Colonel  Master.  —  Archaeological  Society  at  Bristol.  —  Wells  Cathedral. 

—  Thirlestaine  House,  seat  of  Lord  North  wick  :  Collection  of  pictures  — 
Tuscan  school  —  Virgin  and  Child,  Leonardo  da  Vinci  —  Umbrian-Roman 
school  —  Schools  of  Bologna  and  Ferrara  —  Lombard,  Venetian,  Neapo- 
litan, Spanish,  French,  Netherlandish,  German,  and  English  schools  — 
Miniatures,  gems,  enamels,  cameos,  and  coins.  —  Warwick  Castle  :  Col- 
lection of  pictures  —  Miscellaneous  schools  —  Antique  sculpture  — 
Limousin  enamels  —  Vases,  &c.  —  Weapons  —  Warwick  Vase  —  Chapel 

—  Combe  Abbey.  —  Hadzor,  seat  of  Mr.  Howard  Galton :  Collection  of 
pictures  —  Miscellaneous  schools.  —  Ham  Court,  seat  of  Mr.  Martin.  — 
Worcester  Cathedral.  —  Westwood  Park.  —  Other  collections  in  Worces- 
tershire. 

BATH. 

This  city  is  the  queen  of  all  the  spas  in  the  world,  for  there  are 
certainly  very  few  which  can  compare  with  it  for  beauty  of  situ- 
ation, and  none  for  magnificence  of  buildings.  The  city  rises  in 
terraces  from  the  banks  of  the  Avon,  which  winds  through  the 
valley,  to  the  top  of  the  Lansdowne,  a  rather  steep  eminence, 
about  800  feet  high.  The  vast  piles  of  architecture  rising  one 
above  the  other  have  a  highly  picturesque  and  striking  effect 
when  seen  from  the  valley.  The  eye  is  chiefly  attracted  by  the 
Royal  Crescent,  situated  about  half-way  up  the  hill,  and  by  Lans- 
downe Crescent,  which  towers  above  all.  This  is  the  name  given 
in  England  to  connected  houses  forming  a  curve  more  or  less  ap- 
proaching to  a  semicircle — a  mode  of  building  which  is  certainly  very 
objectionable  in  principle :  they  contain  a  larger  or  smaller  number 
of  dwellings  for  single  families.  The  impression  of  grandeur  and 
solidity  is  enhanced  by  the  material,  which  is  a  stone  found  in 
the  neighbourhood.  The  various  views  from  the  several  points  of 
elevation,  particularly  from  Lansdowne  Terrace  and  King's  Ter- 
race, are  more  beautiful.     From  the  first  you  have  a  view  over 


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Lktteb  XXVI.  GL  AVERTON.  175 

the  whole  rich  valley,  with  the  finely-wooded  eminences  that  rise 
on  the  other  bank  of  the  Avon,  and  the  whole  worid  of  buildings 
more  or  less  elevated  above  the  plain.  The  Gothic  abbey,  which, 
with  its  tower,  rises  peacefully,  low  in  the  valley,  near  the  banks 
of  the  Avon,  has,  in  every  point  of  view,  a  most  picturesque  effect. 
The  whole,  too,  has  such  a  southern  character,  and  the  air  is  so  de- 
liciouely  mild,  that  you  fancy  yourself  in  Italy,  and  cannot  wonder 
that  even  the  practical  Romans  appreciated  the  advantages  of  this 
situation,  as  well  as  the  warm  baths.  It  would  therefore  be  in- 
comprehensible to  me  why  this  paradise,  which  unites  in  the  most 
extraordinary  degree  the  advantages  of  a  great  city  with  those  of 
a  romantic  country  residence,  should  now  be  in  great  measure 
deserted,*  had  I  not  already  become  acquainted  with  the  power  of 
the  only  absolute  sovereign  in  this  constitutional  country,  namely, 
foBhion.  In  some  of  the  chief  streets  through  which  I  passed  to 
go  to  the  Abbey  and  the  Baths,  I  found  such  splendid,  richly-stored 
shops,  that  I  should  have  fancied  myself  in  London  if  the  streets 
had  not  been  so  deserted.  For  I  often  met  only  a  decrepit  old 
lady,  drawn  about  by  a  man,  in  a  chair  with  three  wheels.  These 
vehicles  are  here  very  numerous,  and  the  ground  being  so  very 
hilly  they  are  generally  used  instead  of  carriages. 

Near  the  church  there  is  an  elegant  saloon,  where  the  patients 
drink  the  waters.  There  were,  however,  not  above  twelve  at  the 
most,  who  were  entertained  by  music  which  was  by  no  means 
indifferent.  I  was  much  diverted  with  the  inscription,  blazoned 
in  large  letters  over  the  entrance,  "''A^kjtov  tih  v^wp.^'  The 
great  Pindar,  who  in  that  celebrated  sentence,  "  Water  is  the 
best,**  meant  to  extol  the  all-refreshing  and  vivifying  element, 
was  probably  far  from  thinking  that  some  thousand  years  after 
him  it  would  be  interpreted  as  a  medical  prescription  in  favour 
of  the  use  of  the  Bath  mineral  waters. 


CLAVERTON. 


The  treasures  of  art  formerly  belonging  to  Mr.  Beckford  at  Bath 
were  dispersed  after  his  death.  On  the  other  hand,  Mr.  Vivian, 
whom  I  have  already  mentioned  as  possessing  some  fine  pictures  in 
London,  has  placed  a  collection  of  pictures  at  his  seat,  Claverton, 
near  Bath,  consisting  of  the  Italian,  Spanish,  German,  and  English 

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176  CLAVERTON.  Letter  XXVI. 

schools,  and  containing  some  excellent  pictures  and  many  esti- 
mable ones.  In  the  choice  of  some  of  the  masters,  the  specimens, 
though  genuine,  are  not  happy  ;  others  are  not  rightly  named.  I 
give  them  in  the  order  they  occupy  in  a  gallery  lighted  from  above. 

Tintoretto. — 1.  The  very  large  sketch  for  his  colossal  picture 
of  Paradise,  in  the  Sala  del  Gran  Consiglio  in  the  Ducal  Palace, 
Venice.  Very  spiritedly  treated ;  and  the  more  interesting  as  the 
jHCture  itself  has  so  much  darkened  as  to  have  lost  its  original 
keepiojj  and  eiFect. 

GnioLAMO  Mazzuola. — ^The  Scourging  of  C5hrist.  A  very 
TO  an  lie  red  picture  in  motives  and  heads,  but  carefully  painted  in  a 
wtinii  tone. 

Alessandro  Veronese,  called  L'Orbetto. — A  patron  saint, 
with  his  devotee.     Very  warm  and  soft  for  him. 

Elsasser. — ^The  Ruggiero  Chapel  at  Palermo.  I  was  much 
ititert^stcd  to  see  a  specimen  of  my  highly-gifted  and  too-early- 
doceased  countryman.  This  picture,  in  poetic  composition,  trans- 
parency, sunny  lightmg,  and  careful  execution,  does  great  credit 
tu  him. 

Isaac  Van  Ostade. — Country  people  conversing  in  a  village ; 
with  two  horsemen  and  two  pigs.  This  large  picture  is  of  uncom- 
mon power,  and  of  singular  breadth  of  treatment,  which,  in  the 
JiirvircB,  painted  in  a  heavy  tone,  has  almost  a  rude  appearance. 
iMiiny  parts  have  also  sunk.  Erroneously  inscribed  with  the  name 
of  Adrian  Van  Ostade. 

Parmigianino. — Portrait  of  a  Count  Sanvitale  ;  to  the  knees. 
In  a  somewhat  antiquated  style  for  him,  to  which  may  be  ascribed 
the  gold-patterned  background.  Executed  in  a  warm  and  powerful 
tnne. 

Tixtoretto. — 2.  SS.  Jerome,  Nicolas,  Francis,  and  Stephen. 
Thh  picture  is  here  called  a  Schiavone,  but  I  am  inclined  to  con- 
sider it,  judging  from  conception,  colouring,  and  treatment,  a 
capital  work  by  Tintoretto.  The  colouring  is  of  singular  glow 
mid  depth. 

Andrea  del  Sarto. — ^A  portrait  of  Michael  Angelo,  whole- 
lüugtli,  seated,  and  pointing  to  a  very  red  drawing  of  Hercules 
with  a  fallen  opponent,  is  thus  named ;  but,  judging  from  the 
conception  of  the  very  animated  head,  the  drawing  of  the  hands, 
and  the  whole  colouring,  I  am  inclined  to  attribute  this  interesting 
picture  to  Sebastian  del  Piombo. 

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Lbtteb  XXVI.  MR.  VIVIAN'S  COLLECTION.  177 

The  portrait  of  a  Count  of  Nassau,  called  a  Titian,  is,  in  my 
opinion,  only  a  good  picture  of  his  school. 

A  female  portrait,  ascribed  to  Sir  Anthony  More,  is  a  tolerable 
picture  by  the  Cologne  master  Gualdorp  Gorzius.  The  date  of 
itself  (1685)  excludes  Sir  Anthony  More  from  all  participation, 
as  he  died  as  early  as  1582. 

Brouwer. — Peasants  smoking  and  drinking.  It  is  a  thousand 
pities  that  this  pleasing  picture  should  have  suffered  so  much  from 
cleaning. 

GuERCiNO. — 1  and  2.  A  poetically  composed,  but  much  darkened, 
evening  landscape,  corresponding  with  a  morning  landscape  of 
similar  style. 

Tintoretto. — 3.  A  procurator  of  St.  Mark  in  profile.  Admi- 
rably conceived  and  solidly  executed  in  his  delicate  golden  tone. 
The  landscape  background  also  deserves  great  praise. 

4.  A  Cardinal,  seated.  Admirably  treated  in  his  more  reddish 
flesh-tones. 

Jacob  Rutsdaeu — A  poetically  conceived,  but  very  brown  and 
dark  landscape. 

Sir  Joshua  Reynolds. — A  decided  aim  at  a  Correg^o-like 
chiaroscuro  is  apparent  here.  Unfortunately  the  picture  has  been 
much  retouched. 

Tintoretto.—  5.  The  hall  "  dei  Dieci "  in  the  Doge's  Palace, 
with  the  Ten  assembled.  Spiritedly  touched,  and  also  interesting 
in  an  historical  point  of  view. 

Terburg. — A  male  portrait     Careful  and  delicate. 

Swaneveldt. — A  beautiful  warm  landscape,  in  the  taste  of 
Claude.     This  would  gain  much  by  judicious  cleaning. 

Upon  the  bookcases  of  the  library  are  eleven  Grecian  painted 
terra-cotta  vases,  of  different  styles  and  times ;  some  in  the  archaic 
style,  and  others  belonging  to  a  more  developed  period,  are  par- 
ticularly remarkable. 

An  admirable  male  bust  in  terra-cotta,  in  the  entrance-hall, 
struck  me  as  a  good  work  by  Alessandro  Vittoria,  one  of  the 
best  Venetian  sculptors  of  busts  of  the  16th  century.  To  my 
satisfaction  I  also  discovered  his  initials  upon  it — "  A.  V.  f," 

In  the  entrance-haU  and  staircase  there  are  also  casts  from 
admirable  antique  sculpture. 


VOL.  III.  n 

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178  LEIGH  COÜBT.  Letter  XXVL 

BRISTOL. 

On  my  journey  to  Bristol  I  enjoyed  the  opportunity  of  seeing 
the  rich  and  well-wooded  country  between  Bath  and  this  city. 
On  the  following  morning  I  rose  early  to  look  about  the  city. 
Though  the  vivid  recollection  of  the  wonderful  dty  of  Bath  made 
me  fastidious,  the  situation  of  Bristol  appeared  very  beautiful  and 
picturesque.  Here,  too,  the  inequalities  of  the  ground  produce  a 
variety  of  viewa  The  church  of  St  Mary  Redcliffe  is  a  very 
large  Gothic  edifice  of  the  14th  and  15th  centuries,  situated  on  an 
eminence,  and  has  a  very  stately  appearance.  Over  the  entrance 
rises  a  large  square  tower,  which,  however,  as  is  often  the  case  in 
England,  has  no  spire,  but  has  four  small  turrets  at  the  comers. 
The  nave  is  very  wide,  and,  with  the  vaulted  roof,  has  a  striking 
effect.  The  transepts,  which  are  not  long,  are  of  equal  height, 
and  have  also  lower  side  aisles.  The  windows  are  of  the  per- 
pendicular style.*  Among  the  monuments  I  was  struck  with 
one  of  a  crusader,  which  has  been  brought  hither.  It  is  a  powerful 
figure,  with  the  right  hand  on  the  hilt  of  his  sword,  ad  if  still 
ready  to  keep  the  heathens  from  the  Holy  Sepulchra  Some  other 
monuments  of  the  15th  century  are  rather  rude  for  that  age. 
Next  to  this  church  the  lofty  Gothic  tower  of  the  college  forms  a 
grand  mass,  and  another  with  four  pierced  pinnacles  is  very  elegant 
Of  the  other  large  buildings,  the  Exchange  is  particularly  worthy 
of  notice.  Many  of  the  streets  are  well  built,  and  here,  too,  the 
finest  hewn  stone  is  largely  employed.  Lastly,  the  Avon,  here 
a  considerable  river,  with  numerous  merchant^vessels  upon  it, 
greatly  contributes  to  the  animation  and  beauty  of  the  city ;  though, 
as  in  all  great  manufacturing  towns,  there  are  also  wretched  and 
miserable  quarters  to  be  seea  But,  whichever  way  you  turn,  you 
enjoy  the  surrounding  country  clothed  in  the  most  luxuriant  vege- 
tation. 


LEIGH    COURT. 

On  my  first  sojourn  in  England,  in  1835,  the  fame  of  the  pic- 
tures belonging  to  J.  P.  Miles,  Esq.,  mainly  induced  me  to  visit 
this  part  of  the  country  ;  and  though,  from  the  hurried  manner  in 
which  I  was  driven  through  the  rooms,  I  saw  them  to  great  dis- 

*  Se«  engnTiDgi  in  Britton's  Redcliffe  Church. 

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Lbttbb  XXVI.  MR.  MILES'S  COLLECTION.  179 

advantage,  yet  I  had  time  enough  to  convince  myself  that  they 
far  exceeded  the  expectations  I  had  formed.  The  collection  indeed 
contains  a  series  of  fine  works  by  the  most  eminent  Italian, 
Flemish,  Spanish,  and  French  masters,  which  would  grace  the 
palace  of  any  monarch.  I  was  therefore  the  more  glad,  on  a  later 
occasion,  to  avail  myself  of  the  kindness  of  Mr.  Harford,  who, 
being  acquainted  with  the  family,  drove  me  over  to  Leigh  Court, 
when  I  enjoyed  the  liberty  of  inspecting  the  pictures  at  my  leisure. 
I  am  therefore  now  better  qualified  to  give  a  fuller  and  more  exact 
account  of  them. 

DiNING-BOOM. 

Annibale  Carracci. — 1.  John  the  Baptist  in  the  Wilderness; 
half  the  size  of  life.  A  noble  and  graceful  figure,  and  warmly 
coloured. 

A  female  saint  in  ecstacy,  called  a  Velasquez,  has  an  ideal 
beauty  of  head,  such  as  I  have  never  yet  seen  in  any  authentic 
picture  by  that  master.  Also  in  style  of  painting  it  is  unlike 
hiuL  I  am  inclined  to  attribute  it  to  some  excellent  Spanish 
painter,  unknown  to  me. 

Andrea  del  Sarto. — The  Virgin  with  the  Child,  and  St. 
John.  Of  extraordinary  efiect,  from  the  figures  bemg  above  the 
size  of  life,  and  of  very  powerful  colouring,  though  it  cannot  be 
classed  among  the  graceful  and  attractive  works  of  the  master, 

MuRiLLO. — 1.  The  Martyrdom  of  St.  Andrew,  of  which  I  saw  a 
sketch  in  Dulwich  College ;  figures  about  a  quarter  the  size  of  life. 
The  whole  composition  is  very  discreetly  treated,  the  expression 
of  the  Saint  noble,  the  colouring  singularly  tender  and  clear,  and 
the  execution  uncommonly  carefiil. 

Gaspar  Poussin. — A  very  large  landscape,  almost  square, 
firom  the  Colonna  Palace.  In  the  most  elevated  taste  of  the  master, 
and  in  admirable  harmony  with  the  fine  figures,  by  Nicolas 
Poussin,  of  Elijah,  to  whom  an  angel  is  pointing  out  Jehovah 
passing  over  in  the  clouds.  IS  to  this  be  added  the  remarkable 
clearness  of  the  colouring  and  the  careful  execution,  it  must  be 
confessed  that  the  picture  is  a  chef-d'oeuvre  of  this  great  master, 
— nay,  that  it  is  a  chef-d'oeuvre  of  landscape-painting. 

MuRiLLO*— 2.  The  Holy  Family,  with  angels,  in  a  landscape ; 
figures  almost  the  size  of  life.  Of  the  decidedly  naturalistic  epoch 
of  the  master — Whence  the  forms  are  more  determined,  the  colours 
less  clear  and  tender.     The  impasto  and  execution  are  admirable ; 

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180  LEIGH  COURT.  Letter  XXVI. 

at  the  same  time,  the  expression  is  nohler  than  in  most  of  his 
pictures  of  this  period. 

Claude  Lorraine. — 1.  The  effect  of  the  morning  sun  upon  the 
sea ;  in  the  foreground  fishermen  drawing  their  net.  So  far  as 
the  height  and  dark  situation  of  the  picture  would  permit  me  to 
judge,  it  is  of  his  earlier  time ;  of  great  fireshness  and  clearness  of 
tone,  and  very  good  body, 

Annibale  Carracci. — 2.  Diana  and  Actaeon ;  figures  about 
half  the  size  of  Hfe ;  in  a  fine  landscape,  with  an  open  view  of  the 
sea.  The  horns  of  Actaeon,  who  is  escaping,  are  beginning  to 
shoot  The  figures  are  more  slender  in  the  proportions  and  more 
graceful  in  the  attitudes  than  usual ;  the  colouring  particularly 
clear,  the  execution  careful. 

Guido  Cagnacci. — Susanna  and  the  Elders  ;  half-length 
figures,  the  size  of  life.  A  very  choice  picture,  with  great  power 
of  colouring,  and  particularly  carefuL 

Nicolas  Poussin. — ^The  Plague  at  Athens,  according  to  the 
description  by  Thucydides.  A  large,  very  rich  masterpiece  of 
Poussin,  in  which  we  are  reconciled  by  his  skill  to  the  horrors  of 
the  subject  All  the  motives  suggested  by  the  author  are  here 
employed— disease  and  death  spread  their  terrors  around.  The 
expression  of  a  dying  mother  is  particularly  touching.  Many  in 
vain  implore  help  in  the  temples  of  their  gods.  Very  few  pictures 
of  Poussin  ^are  of  such  masterly  completion  in  all  their  parts,  and 
so  well  understood  in  the  very  difficult  foreshortening :  the  heads, 
at  the  same  time,  are  much  more  varied  and  more  true  to  nature 
than  usual.  In  the  heavy  brownish  tone  of  the  lights,  and  the 
brown  of  the  shadows,  is  seen  the  influence  of  the  Carracci ;  in 
the  deep  blue  tone  of  the  landscape  and  of  the  sky,  that  of  Dome- 
nichino ;  signs  which  indicate  Poussin's  earlier  residence  in  Rome. 
Some  parts — ^for  instance,  the  background  on  the  right  hand — 
have  become  dark. 

On  the  wall  between  the  windows  I  remarked  a  graceful  female 
figure  by  Romanelli  ;  a  small  landscape  with  banditti,  by  Sai/- 
VATOR  Rosa  ;  and  youths  looking  at  a  sleeping  Nymph,  a  happy 
composition,  said  to  be  by  Domenichino,  which,  however,  the 
dark  situation  of  the  picture  would  not  permit  me  to  decide. 

•Saloon. 

Claude  Lorraine. — 2.  A  mountainous,  richly-wooded  land- 
scape, with  rich,  melting  middle  distances.     In  the  background 

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Lettbb  XXVI.  MR.  MILES'S  COLLECTION.  181 

the  sea,  with  distant  coasts;  in  the  foreground  the  Temple  of 
Apollo,  in  which  an  ox  is  being  sacrificed.  A  cool,  morning, 
silvery  tone  most  delicately  pervades  the  whole  picture.  Inscribed 
*'L  Tempio  di  Apollo,  Qaudio  Gille,  Inven.  fecit  Rom.  1662,"  or 
1665,  I  do  not  exactly  remember  which.  This  picture,  which  is 
5  ft.  4  in.  high,  7  fL  4  in.  wide,  is  in  every  respect  one  of  the  finest 
that  ever  came  from  the  hand  of  this  great  master.  The  most 
charming  motives  of  nature  are  here  woven  into  a  ma^c  poem, 
the  whole  of  which  bears  the  impress  of  the  refined  mind  of 
Qaude  Lorraina  This  twofold  charm  of  an  already  highly 
attractive  subject,  and  the  inmost  feeling  of  the  soul  of  the  artist 
— ^like  a  magic  mirror  in  which  the  whole  is  reflected — this  it  is 
which  exercises  so  wonderful  and  irresistible  a  power  on  every 
cultivated  mind.  Besides  this,  the  picture  is  of  that  time  when 
he  had  attained  the  highest  perfection  in  general  keeping,  without 
sacrificing  to  it,  as  he  afterwards  did,  the  vigorous  execution,  the 
local  colours,  and  the  individuality  of  the  detaila  This  picture 
has  been  engraved  by  WooUet. 

3.  The  companion :  also  an  exquisite  composition,  though  much 
paler,  and  more  monotonous  in  the  colour.  The  stiff,  lengthy 
figures,  too,  of  iEneas,  who,  with  his  companions,  is  landing  in 
Italy,  disturb  the  harmony  of  the  effect.  Of  the  inscription  I  can 
call  to  mind  only,  "  Claudio  Gille,  inv.  fecit.  Romae,  1675 ;"  from 
which  it  appears  that  he  painted  this  picture  in  his  seventy-fiftli 
year. 

At  the  time  of  the  French  Revolution  these  two  pictures  formed 
a  chief  ornament  of  the  Altieri  Palace  in  Rome,  whence  they  were 
bought  by  Mr.  Fagan  for  9000  scudi ;  they  afterwards  came  into 
the  possession  of  Mr.  Beckford,  with  four  Italian  cabinet  pictures, 
for  10,000Z.  At  the  sale  of  the  works  of  art  at  Fonthill  Abbey 
they  passed  into  the  hands  of  Mr.  Hart  Davis,  of  whom  Mr.  Miles 
purchased  them. 

Rubens. — 1.  The  Woman  taken  in  Adultery.  A  composition 
of  five  principal  and  seven  subordinate  figures.  To  the  knees ; 
rather  above  the  size  of  life.  On  panel,  4  ft.  8  in.  high,  7  ft.  4  in. 
wide.  This  picture,  which  is  entirely  painted  by  Rubens'  own 
hand,  is  perhaps  of  a  not  much  later  date  than  the  Descent  from 
the  Cross  in  the  cathedral  at  Antwerp.  This  seems  to  be  confirmed 
by  the  elevation  of  feeling  and  the  soberness  of  the  colouring. 
The  woman  stands,  with  an  expression  of  contrition,  in  the  centre. 

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182  LEIGH  COURT.  Letter  XXVI. 

The  calm  dignity  of  Christ  at  her  right  hand  forms  a  striking 
contrast  with  the  vulgar  appearance  of  a  corpulent  priest,  and  the 
cold  refined  malice  of  a  tall,  meagre  Pharisee,  on  Üie  other  side. 
That  Rubens  intended  to  represent  in  them  Luther  and  Calvin  I 
do  not  believe,  as  they  are  not  like  them,  and  Rubens  might 
easily  have  obtained  portraits  of  both.  Another  man,  of  a  digni- 
fied appearance,  is  said  to  be  the  portrait  of  his  master.  Otto 
Venius.  The  flesh  is  of  very  fiill  tone;  the  careful  execution 
admirably  melting.  This  celebrated  picture,  which  is  in  an  extra- 
ordinary state  of  preservation,  is  said  to  have  been  painted  for  the 
family  of  Van  Knyf  at  Antwerp ;  at  all  events  in  the  year  1780  it 
was  in  the  celebrated  collection  of  the  Canon  Van  Knyf  in  that 
dty.  At  the  sale  of  Mr.  Henry  Hope's  collection,  in  the  year 
1816,  it  was  sold  for  2000?. 

DoMENiCHiNO. — St  John  the  Evangelist  in  a  vision,  supported 
by  two  angels ;  full-length  figures,  the  size  of  life.  The  elevated 
character,  the  careful  drawing,  the  glowing  colouring,  and  admir- 
able body,  render  this  picture,  formerly  in  the  Giustiniani  Gallery, 
one  of  the  most  beautiful  by  this  rare  master.  In  the  year  1804, 
6500  scudi  were  refused  for  it  When  the  whole  Giustiniani 
Gallery  was  sent  to  Paris,  it  was  purchased  by  Delahante,  who 
sold  it  to  Mr.  Harris.  It  subsequenüy  passed  firom  the  possesion 
of  Mr.  Hart  Davis  into  that  of  Mr.  Miles.  It  is  in  an  excellent 
state  of  preservation. 

Titian. — Venus  and  Adonis.  A  good  school  copy  of  the  cele- 
brated picture  m  the  Museum  at  Madrid. 

Rubens. — 2,  The  Vir^  supporting  the  infant  Christ  standing 
on  her  lap,  to  whom  St  John  stretches  out  his  arms ;  St  Francis 
of  Assisi  worshipping,  Elizabeth  and  Joseph.  Very  pleasing  in 
the  expresfflon,  warm  but  sober  in  the  colouring,  and  carefully 
finished.  On  canvas,  5  fi;.  8  in.  high,  6  ft.  7  in.  wide.  Though 
there  is  another  larger  and  also  fine  example  of  this  picture  in 
the  royal  collection,  I  am  not  inclined  to  doubt  the  ori^nality  of 
this  one. 

Leonardo  da  Vinci. — Christ  giving  the  benediction.  Of  a 
grave  dignified  character,  but  deficient  in  expression,  and  the 
lifted  hand  rather  too  large.  Though  it  has  much  merit,  it  is  of 
a  later  period  than  Leonardo.     On  canvas. 


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Lbttbb  XXVI.  MR.  MILES'8  COLLECTION.  183 

Drawiko-boom. 

Raphael. — 1.  Christ  bearing  his  Cross.  A  long  narrow  pic- 
ture, formerly  the  centre-piece  of  the  predella  to  the  altar-piece 
which  Raphael  painted  for  the  nuns  of  S.  Antonio  at  Perugia, 
now  in  the  Royal  Palace  at  Naples ;  therefore  painted  in  1505. 
The  beautiful  compoation  is  well  known  to  the  friends  of  art  by 
the  engraving  by  Larmessin  when  in  the  Orleans  Gallery.  The 
group  of  the  mourning  women  is  peculiarly  beautiful  in  the  motives 
and  striking  in  the  expression.  This  small  picture  is  perhaps  of 
rather  a  later  date  than  the  St  John  preaching,  at  Bowood,  for  it 
more  neariy  resembles,  in  the  bright  yellowish  tone  of  the  flesh, 
and  in  the  light  colour  of  the  draperies,  the  Madonna  del  Granduca, 
which  appears  certainly  not  to  have  been  painted  before  the  end  of 
the  year  1505.  Though  rather  injured  by  cleaning,  the  picture 
was  ori^nally  more  slightly  treated  than  the  predella  at  Bowood. 
In  the  free,  dramatic  character  of  the  whole,  and  the  shot  colours 
of  many  of  the  draperies,  the  influence  of  the  Florentine  school  is 
very  apparent  In  the  background  of  the  landscape  there  is, 
however,  still  the  dark  blue  of  the  Perugian  period. 

2.  The  Virgin  lifting  the  veil  fipom  the  Child,  which  has  just 
awaked,  and  with  much  animation  stretches  out  its  arms  to  her. 
Half-length  figures,  the  size  of  life.  The  composition  agrees 
entirely  with  the  celebrated  Loretto  picture,  brought  by  the 
French  to  Paris,  and  which  has  disappeared  since  the  Restoration. 
The  figure  of  Joseph,  however,  is  wanting  here.  Of  all  the  ex- 
amples of  this  picture  with  which  I  am  acquainted,  this  is  by  far 
the  best,  and  much  superior,  for  instance,  to  the  early  copy  which 
in  the  reign  of  Charles  I.  was  purchased  for  the  Gallery  of  the 
Louvre  as  an  original.  The  Child  is  of  the  greatest  beauty,  and 
has  all  the  peculiarities  of  Raphael — the  greatest  vivacity,  the 
delicately-felt  drawing,  and  the  reddish  extremities.  The  Virgin 
has  more  than  any  other  of  Raphael's  the  appearance  of  a  portrait ; 
yet  the  features  are  very  delicate.  The  colouring  is  throughout, 
even  in  the  half-shadows,  extremely  clear.     On  panel. 

Claude  Lorraine. — 4.  A  landscape,  with  a  temple  on  the 
right,  and  hills  in  the  foreground.  The  morning  light  is  very 
harmoniously  carried  out  in  a  delicate  silvery  tone«  From  the 
old  Hope  collection. 

The  Vir^  and  Child,  called  a  Fra  Bartolommeo,  is  not  delicate 
enough  for  him,  but  is  by  the  hand  of  one  of  his  imitators. 

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184  LEIGH  COURT.  Letter  XXVI. 

Guido  Reni. — Cleopatra.  The  original  of  innumerable  repe- 
titions. Extremely  pleasing  in  beauty  of  feature,  expression, 
clearness  of  colouring,  and  melting  execution. 

Velasquez. — Philip  IV.,  King  of  Spain,  on  horseback.  A 
small,  very  excellent  picture,  in  the  bright,  clear,  and  yet  fiill  tone 
peculiar  to  him ;  soft,  and  freely  executed  with  a  flowing  brush. 

Marcello  Venusti. — ^To  this  scholar  of  Michael  Angelo  I 
am  inclined  to  attribute  the  well-known  composition  of  the  Cruci- 
fixion with  the  Vir^n  and  St.  John  at  the  sides.  The  expression 
b  intense,  the  execution  well  understood  and  of  admirable  body. 

Gerard  Dow. — ^The  Doctor.  A  medical  man  looking  at  a 
bottle,  a  woman  watching  him.  1  ft.  7  in.  high,  1  ft  5  in.  wide. 
The  heads  very  expressive ;  the  details  rich,  and  approaching  his 
master,  Rembrandt,  in  warmth  of  colour,  especially  in  the  well- 
known  picture  of  the  Dropsical  Woman  in  the  Louvre. 

Paul  Potter. — Three  cows  in  a  meadow ;  a  white  one  lying 
down.  Inscribed  and  dated  1652.  Admirable  in  composition,  in 
warm  and  luminous  colouring,  and  in  the  spirited  treatment. 

MuRiLLO. — 3.  The  Virgin  with  the  sleeping  Child,  and 
Joseph.  Realistic  in  the  characters,  and  carefiilly  executed  in  a 
warm  and  somewhat  reddish  tone. 

St.  Francis  in  ecstacy,  supported  by  an  angel ;  here  called  a 
Correg^o ;  but  I  believe  it  to  be  a  beautiful  and  careful  picture 
in  the  manner  of  Correggio,  by  Annibale  C  arracci — 3,  to  whom 
an  early  repetition  of  the  same  is  here  erroneously  ascribed. 

Raphael. — 3.  Pope  Julius  II.  I  would  not  mention  this  picture, 
of  which  there  are  such  numerous  repetitions,  were  it  not  different 
from  all  that  I  have  seen,  and  extremely  excellent  The  features 
are  not  so  large,  and  the  genuine  Italian  nose,  in  particular,  is  more 
finely- formed.    The  treatment  is  masterly.    On  panel. 

Carlo  Dolce. — ^The  Virgin,  with  the  blue  mantle  over  her 
head,  so  oft^n  met  with,  here  taken  in  profile,  and  of  great  clear- 
ness and  delicacy. 

Library. 

MuRiLLO. — 4.  St.  John  the  Evangelist  in  ecst^y,  which  is  ad- 
murably  expressed  in  the  realistic  head.  The  execution  masterly, 
in  a  silvery  tone. 

A  John  the  Baptist,  whole-length  figure  the  size  of  life,  which 
is  here  given  to  Correggio,  I  believe,  having  examined  it  closely, 
to  be  a  picture — 1,  by  Parmigianino. 

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Lettbe  XXVI.  MR.  MILES'S,  COLLECTION.  185 

Music-room. 

Gaspar  Poussin. — 1  and  2.  Two  views  of  Tivoli ;  large  upright 
pictures,  which  are  among  his  finest  works,  for  the  happily-chosen 
points  of  view,  the  clearness  and  completion  of  all  the  parts.  A 
smaller,  also  very  beautiful  landscape. 

Holbein. — ^A  half-length  undraped  figure,  here,  in  defiance  of 
all  probability,  called  a  William  Tell,  from  the  circumstance  of 
his  holding  a  bow  and  arrow  in  his  hands.  Most  carefully  mo- 
delled from  nature,  in  a  true,  warm,  and  powerful  tone,  and  in 
very  decided  forms.    The  hand  particularly  admirable. 

Parmigianino. — 2.  A  small  version  of  the  large  picture  in 
the  National  Gallery  ;  careful  and  in  a  warm  tone. 

ScARSELLiNO  DA  Ferrara. — ^This  mastcr,  in  my  opinion, 
painted  the  Entry  of  Christ  into  Jerusalem,  which  here  bears  the 
name  of  Paid  Veronese. 

Raphael  Mengs. — ^The  Virgin  and  Child  enthroned,  sur- 
rounded by  angels ;  feeble  in  character,  but  of  a  delicate  harmony. 

Giovanni  Bellinl — ^The  Adoration  of  the  Kings ;  a  pre- 
della,  of  very  pure  conception  and  peculiar  composition.  Joseph, 
who  is  seated  near  the  Virgin,  appears  of  more  importance  than 
usual.  The  Kings,  remaining  at  a  little  distance,  respectfully 
ofler  their  gifts.  Delicately  executed,  and  with  clear  yellowish 
flesh-tones. 

Stothard. — ^The  Pilgrimage  to  Canterbury.  The  finest  ex- 
ample by  him  of  this  often-repeated  subject.  The  colouring  warm 
and  transparent,  the  execution  careful. 

Gaspar  Poussin. — 3.  A  landscape  with  figures  in  the  fore- 
ground, and  water  in  the  middle  distance.  Nobly  conceived  and 
of  admirable  keeping  in  the  silvery  tones. 

GiROLAMO  Mazzuola. — ^To  this  master  I  am  inclined  to 
attribute  an  allegorical  representation,  with  the  Virgin  borne 
by  angels  above,  and,  below.  Vice  bound :  here  called  a  Parmi- 
gianino. 

Hogarth. — 1.  A  female  portrait :  animatedly  conceived,  and 
coloured  in  a  light  clear  tone. 

Claude  Lorraine. — 5.  A  harbour:  of  great  delicacy  and 
transparency  in  keeping  and  colour. 

Joseph  Vernet. — A  sea-piece  with  the  morning  mist :  of  great 
t.-uth. 

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186  LEIGH  COURT.  Letter  XXVI. 

Little  Dinino-iioom. 

RüBEN8.~3.  The  Conversion  of  St  Paul.  I  was  truly  delighted 
to  see  here,  in  figures  as  large  as  life,  the  composition  which  I 
had  always  admired  in  the  fine  engraving  by  Bolswaert  The 
spirited,  long-maned  horse  of  the  saint  has  &llen  on  his  knee, 
and  Paul,  thrown  over  his  head,  lies  on  the  ground  with  his  eyes 
closed.  Terror  is  most  strikingly  expressed  in  his  noble,  pale 
features.  In  the  position  of  the  arms  Rubens  has  very  happily 
called  to  mind  the  Ananias  of  Raphael,  which  so  incomparably 
expresses  the  irresistible  effect  of  a  superior  power.  In  the 
dazzling  beam  of  light  which  falls  on  him  from  heaven,  appears 
Christ  One  of  the  attendants  is  assisting  Paul ;  all  the  others 
are  seized  with  terror,  while  the  horses  of  three  of  the  riders  are 
rearing  and  running  away.  Rubens  appears  here  not  only  with 
his  wonted  animation,  but  with  an  unususl  sobriety  of  form  and 
colour,  which  latter,  however,  is  of  surprising  depth,  force,  and 
clearness,  and  with  a  sustained  and  careful  execution.  This 
masterpiece  was  formerly  in  the  possession  of  tiie  Montesquieu 
family,  of  whom  Delahante  purchased  it,  and  sold  it  in  England. 
In  tiie  year  1806  it  was  in  the  possession  of  Mr.  Hastings  Elwyn, 
who  sold  it  for  4000  guineas  to  Mr.  Hart  Davis.  In  an  auction 
in  the  year  1810  it  was  sold  for  2550  guineas,  a  proof  of  the 
astonishing  fluctuations  in  the  prices  of  pictures.  Canvas,  8  ft. 
high,  11  fl.  6  in.  wide. 

Lairesse. — Jupiter  and  Antiope.  A  good  picture,  in  which  he 
has  endeavoured  to  imitate  Titian. 

Carlo  Marattl — ^A  Holy  Family.  A  pretty  picture,  warmly 
coloured  for  him. 

HooARTH. — 2.  The  Shrimp  Girl:  animatedly  conceived,  and 
sketched  with  the  utmost  freedom. 

A  picture  of  the  Three  Graces,  here  attributed  to  Titian,  ap- 
pears to  me  rather  the  work  of  Nicolo  dell'  Abbate. 

Some  other  pictures — ^the  Virgin  and  Child,  by  Vandyck  ;  the 
Death  of  Germanicus,  by  Le  Sueur  ;  the  Presentation  in  the 
Temple  and  the  Healing  the  Lame  Man,  by  Giacomo  Bassano  ; 
a  Holy  Family,  by  Lodovico  Carracci  ;  and  two  Franciscans, 
by  Annibalb  Carracci — ^all  of  which  I  saw  in  1835, 1  no  longer 
found  in  the  rooms  I  have  described. 


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Letter  XXVI.  BLAISE  CASTLE.  187 

BLAISE    CASTLE. 

Having  been  favoured  by  the  Chevalier  Bunsen,  in  1850,  with 
an  introduction  to  Mr.  Harford  of  Blaise  Castle,  a  seat  in  Glouces- 
tershire, not  far  from  Bristol,  I  was  received  in  the  kindest 
manner.  The  building,  which  is  Italian  in  taste,  is  of  happy 
proportions,  and  well  arranged  withia  A  stately  picture  gallery, 
lighted  firom  above,  erected  by  Mr.  Harford,  under  the  direction 
of  Mr.  Cockerell,  has  added  to  the  picturesque  effect  of  the  man- 
sion, and  has  the  agreeable  peculiarity  of  leading  straight  into  a 
conservatory.  Both  Mr.  Harford  and  his  amiable  lady  are  enthu- 
siasts for  Üie  arts,  and,  though  very  catholic  in  their  tastes,  they 
appear  especially  to  reverence  those  works  which  the  ancient 
Greeks,  and  the  masters  of  the  period  of  Michael  Angelo  and 
Baphael,  have  bequeathed  to  us.  The  consequence  is,  that 
every  part  of  the  house  is  dedicated  in  some  way  to  the  arts. 
Immediately  in  the  entrance-hall  is  the  beautiful  cast  of  the 
Belvedere  Apollo,  which  occupied  the  place  of  the  ori^nal  while 
that  was  in  Paris.  A  cast  of  the  Versailles  Diana  is  also  here. 
In  a  niche  close  to  the  entrance  to  the  gallery  is  a  cast  of  the 
statue  of  Lorenzo  de'  Medici,  by  Michael  Angelo,  on  the  monu- 
ment of  the  Medici,  which  the  Italians  have  appropriately  named 
"il  Pensieroso."  In  the  conservatory  are  the  casts  of  some  of 
the  finest  heads  of  the  Antinous,  and,  finally,  on  the  first  floor  a 
cast  of  the  exquisite  Diana  of  Gabii. 

The  greater  number  of  the  pictures  are  in  the  gallery ;  the 
walls  are  hung  with  red  silk,  the  lighting  is  most  favourable,  and 
the  arrangement  most  tasteful.  Mr.  Harford  is  a  very  zealous 
admirer  of  Michael  Angelo,  having  compiled  a  work  with  illus- 
trations relating  to  him ;  it  has  been,  therefore,  his  particular  aim 
to  gather  together  such  pictures  as  display  the  characteristics  of 
this  great  man. 

Sebastian  del  Piombo. — 1.  The  composition  of  a  Pieta,  with 
two  angels  supporting  the  arms  of  the  dead  Saviour.  Of  the 
various  repetitions  of  this  picture  that  I  know,  this  is  by  fiir  tiie 
best  The  expression  of  grief  in  the  head  of  the  Virgin  is  of  a 
depth  and  elevation  worthy  of  Michael  Angelo.  The  expression 
of  the  angels  is  also  highly  original  and  grand.  The  style  of 
execution  of  this  small  circular  picture,  which  is  painted  on  black 
marble,  the  fresco-like  manner  in  which  the  draperies  are  treated 

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188  BLAISE  CASTLE.  Letter  XXVI. 

in  the  masses  of  light,  and  the  tone  of  the  landscape,  are  all  evi- 
dences of  Sebastian  del  Piombo.  Fonnerly  in  the  Barberini 
Palace. 

2.  The  well-known  composition  of  the  Holy  Family  by  Michael 
Angelo,  with  the  Child  sleeping  in  the  lap  of  the  Virgin.  This  is 
the  largest  and  most  admirable  example  that  I  have  seen.  Both  the 
manner  of  the  flesh-tones,  and  the  arrangement  of  the  colom^  of  the 
drapery — ^green  and  a  violet  pink  in  that  of  the  Virgin,  and  yel- 
low and  red  in  that  of  Joseph — ^are,  however,  evidences  of  Sebastian 
del  Piombo.  Only  in  the  hair,  the  treatment  of  which  is  too  small 
for  him,  may  a  later  hand  be  recognised.  On  the  other  hand,  the 
rest  of  the  execution  is  worthy  of  him,  especially  the  left  ex- 
tended foot  of  the  Virgin.  Below  is  the  inscription  "  Monstra  te 
esse  matrem." 

3.  A  very  spirited  study  of  a  male  head ;  obviously  irom  the 
same  model  who  served  for  Raphaers  Isaiah. 

Marcello  Venusti. — ^A  careful  and  very  warmly  coloured 
copy  on  a  small  scale  of  the  Christ  bound  to  the  pillar,  by  Sebastian 
del  Piombo,  in  the  church  of  S.  Pietro  in  Montorio  at  Rome. 

Daniel  da  Volterra. — ^The  Entombment  This  fine  and 
rich  composition  contains  thirteen  figures  in  the  foreground  and 
middle  distance,  and  also  a  distance  with  Golgotha  on  the  right, 
with  the  crudfied  thieves,  and  the  horsemen  returning ;  on  the  left, 
the  sepulchre  and  various  figures  occupied  with  preparations  for 
the  Entombment  In  the  middle-ground  is  Joseph  of  Arimathea 
at  the  head,  and  a  disciple  at  the  foot,  in  the  act  of  carrjring  the 
body  of  our  Lord  to  the  sepulchre.  The  left  arm  is  supported  by 
the  Virgin,  whose  pale  countenance  expresses  the  greatest  grief. 
The  Magdalen,  passionately  pointing  with  the  right  hand  to  the 
body,  and  with  her  left  to  the  sepulchre,  tells  the  spectator  what 
is  going  forward,  and  leads  the  eye  from  the  middle-distance  to 
the  background.  Among  the  other  motives  I  may  mention  a 
beautiful  youthful  female  figure  turning  to  an  old  man  who  is  ad- 
dressing her,  and  also  another  turning  away  in  sorrow.  Two 
seated  women  and  a  man  in  the  foreground  have  something  thea- 
trical in  efiect,  and  may  have  been  added  subsequently  by  the 
master.  The  execution  is  throughout  solid,  especially  in  the  body 
of  the  Saviour,  which  is  deep  and  full  in  colour. 

Correooio  is  so  well  represented  here  by  some  copies  by  his 
srhnlar«,  that  I  Ccinnot  omit  to  mention  them. 

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Lettkb  XXVI.       MR.  HARFORD'S  COLLECTION.  189 

The  Christ  on  the  Mount  of  Olives.  Among  the  various  copies 
I  know  from  the  picture  in  Apsley  House,  this  is  hy  far  the  best 
in  delicacy  of  expression,  transparency  and  power  of  colour,  breadth 
of  treatment,  and  solidity  of  execution,  and  may  very  probably 
have  proceeded  from  the  atelier  of  the  master. 

The  Virgin  contemplating  the  Child,  who  lies  on  the  ground 
and  reaches  upwards  towards  her.  The  flesh  parts  approach  the 
tone  of  the  original  in  warmth,  and  are  admirably  painted ;  as  are 
also  the  draperies.  The  other  portions  are,  however,  dark  and 
heavy  in  colour. 

A  copy  of  the  well-known  altar-picture,  with  the  St  George,  at 
Dresden,  of  the  size  of  the  original,  is  very  careful,  but  indicates 
in  the  treatment  and  heavy  dull  tone  of  the  shadows  a  more  mo- 
dem date. 

Parmioianino. — 1.  The  Marriage  of  St.  Catherine:  more 
dignified  and  earnest  in  conception  than  usual.  The  profile  of  the 
St.  Catherine  particularly  noble,  pious,  and  lovely.  The  same 
saint  in  the  background  kneeling  beside  the  wheel,  and  two  angels 
bearing  palms  appearing  to  her,  have  all  the  grace  which  renders 
this  master  so  attractive.  At  the  same  time,  in  colouring  and 
solidity  of  execution,  it  is  worthy  of  his  great  model  Correggio. 

2.  An  original  repetition  on  a  small  scale  of  the  altar-picture 
in  the  Gallery  of  Bologna — the  Virgin  and  Child  adored  by 
St.  Margaret,  St.  Augustin,  and  St.  Jerome.  This  little  pic- 
ture partakes,  it  is  true,  of  the  afiectation  of  the  large  one  in  some 
of  the  motives  and  heads,  but  is  less  black  in  the  shadows,  of 
great  force  of  colour,  and  very  solid  and  careful  in  execution. 
The  figures  of  St.  Augustin  and  St  Jerome  especially  resemble 
Correggio. 

Paul  Veronese. — The  Dead  Christ  on  the  lap  of  the  Virgin, 
with  two  angels,  one  of  them  supporting  him.  Carefully  painted 
in  a  warm  and  very  luminous  tone,  though,  as  is  usual  with  him 
in  such  subjects,  without  any  depth  of  feeling. 

Zend  di  Verona. — ^By  this  name,  which  is  totally  unknown 
to  me,  is  a  pleasing  picture,  related  in  colouring  and  landscape  to 
Palma  Vecchio,  though  less  warm,  representing  the  Virgin  and 
Child,  with  the  little  St  John,  and  St.  Peter  and  St.  Paul  at 
the  sides.      It  bears  the  inscription  ^^Zenon  Veronensis  pinxit 

MDXXVIIII." 

LoDovico  Carracci.. — A  copy  on  a  small  scale  of  Correggio's 

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190  BLAISE  CASTLE.  Letter  XXVL 

altar-piece,  called  the  St  Jerome,  in  the  Gallery  at  Parma :  very 
faithful,  and  carefully  executed  in  a  clear  and  delicate  tone. 

Annibale  Carracci. — ^A  Riposo.  Full  of  significance  as 
regards  both  the  eclectic  standard  and  the  natural  talents  of  the 
master.  In  Joseph,  a  powerful  old  man  in  forcible  action,  the 
imitation  of  Michael  Angelo  is  not  to  be  mistaken,  and  in  the  little 
St.  John  that  of  Raphael.  In  the  motive  of  the  Child,  which  is  of 
fine  forms,  and  who  is  caressing  the  ass,  his  own  native  realistic 
tendency  is  very  apparent  The  landscape  partakes  of  the  same 
tendency,  and  is  carefully  executed :  the  keeping  of  the  whole  is 
in  an  harmonious  but  subdued  tone. 

Guido  Reni. — 1.  The  Assumption  of  the  Virgin.  Her  figure 
is  strongly  foreshortened,  in  the  manner  of  Correg^o,  and  borne 
up  by  two  large  and  four  smaller  angels,  with  three  cherubim. 
This  admirable  picture  is  of  the  same  period  as  the  Murder  of 
the  Innocents  in  the  Gallery  at  Bologna.  The  expression  is  more 
intense  than  is  usually  the  case  with  him,  the  motive  of  the  out- 
stretched arms  of  the  Virgin  very  speaking,  the  modelling  delicate, 
the  shadows  powerful  but  clear  and  warm,  and  the  keeping  of  the 
cool  harmony  masterly. 

2.  The  Crudfixion,  with  the  Vir^n  and  St  John ;  a  careful 
repetition  on  a  small  scale  of  the  altar-piece  at  Bologna,  belon^ng 
to  his  later  time.  The  motives  are  noble,  but  the  colouring  cold, 
crude,  and  heavy. 

3.  An  Ecce  Homo ;  noble  in  feeling,  grand  in  forms,  and  spi- 
ritedly executed  in  a  warm  tone.  The  powerful  rendering  of  the 
shadows  recalls  the  influence  of  Michael  Angelo  Caravaggio. 

GuERCiNo. — 1.  A  youth  with  a  hat  and  feather,  holding  up  a 
bunch  of  grapes  ;  attractive  in  features  and  motive,  but  painted  in 
his  heavy  tone. 

2.  Diana,  a  pleasing  head ;  painted  in  his  warm  and  powerful 
manner. 

Lanfranco. — ^Belisarius ;  a  picture  of  more  feeling,  and  greater 
transparency  in  colour,  and  care  of  execution,  than  usual. 

Carlo  Dolce. — 1.  Christ  and  the  Woman  of  Samaria ;  livelier 
in  expression  and  action  than  usual,  both  very  distinctly  expressing 
the  meaning  of  the  subject,  in  the  style  of  conception  peculiar  to 
him.  The  head  of  the  woman  is  also  very  lovely,  and  the  exe- 
cution very  careful. 

Gaspar  Poussin. — 1.   A  landscape,  with  a  fortress  on  high 

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Lbttbb  XXVI.       MR.  HARFORD'S  COLLECTION.  191 

hills.  In  the  foreground  a  very  graceful  female  figure,  which  I 
attribute  to  the  hand  of  Nicolas  Poussin  ;  carefully  executed  in 
an  unusually  warm,  transparent,  and  powerful  tone. 

Salvator  Rosa.—!  and  2.  Two  large  companion  landscapes ; 
very  poetically  composed,  dear  in  colour,  and  careful  and  solid 
in  execution.    From  the  Ugolino  collection  at  Rome. 

3.  A  somewhat  smaller  landscape,  with  a  male  figure  on  a  rock, 
of  similar  qualities,  but  darker  in  parts. 

4  A  small  landscape,  with  a  view  through  a  care  on  to  water, 
is  also  pleasing. 

5.  A  sea-shore  scene ;  distinguished  for  happy  conception,  great 
transparency,  and  very  careful  treatment 

Vandyck. — Portrait  of  a  lady  in  armour,  as  Minerva,  the  left 
hand  on  a  helmet ;  next  her,  Cupid  pointing  out  of  the  picture,  and 
in  the  background  a  landscape.  This  passes  for  the  wife  of  the 
painter,  but  the  features  of  the  beautiful  face  differ  fi*om  other 
genuine  portraits  of  Vandyck's  wife.  I  am  inclined  to  think  that 
this  is  rather  the  portrait  of  some  unknown  lady,  whom  Vandyck, 
according  to  Bellori,  painted  for  ^  Eenelm  Digby.*  The  head 
has  an  uncommon  charm.  The  careful  execution  is  in  a  warm 
powerful  tone.     Half-length  figure. 

HoBBEMA. — ^A  large  landscape  with  much  wood.  On  the  left  a 
still  piece  of  water  with  fishermen,  and  a  view  into  the  distance ;  in 
the  centre  a  stag-hunt  Of  unusually  broad,  and,  in  some  parts,  even 
slight  treatment     The  figures  may  be  by  the  hand  of  Pynackeb. 

J.  Vernet. — 1.  View  of  a  sea-coast,  in  the  taste  of  Salvator 
Rosa.  Uncommonly  careful  and  clear.  He  presented  the  same 
composition,  on  a  large  scale,  to  the  Academy  of  St.  Luke's  at 
Rome,  on  his  being  elected  a  member. 

2.  A  sea-piece,  poetically  conceived,  but  painted  in  his  later  time. 

Sir  Thobias  Lawrence. — 1.  Portrait  of  Mrs.  Harford.  Ani- 
matedly conceived,  and  carefully  executed  in  good  colouring.  The 
many  cracks  show  the  lamentable  want  of  a  sound  technical  process. 

I  was  next  struck  with  a  work  which  represents  the  genius  of 
Raphael,  as  opposed  to  ISGchael  Angelo,  in  a  grand  manner, 
namely,  the  composition  called  the  Spasimo,  the  original  of  which 
is  in  tiie  Madrid  Gallery ;  it  here  hangs  upon  the  staircase.    This 

*  "  Fecegli  il  ritratto  di  una  donna  bnina  in  habito  dl  Pallade  armata,  con  la  piuma 
air  elmo,  ed  h  ana  testa  vaghissima  e  yiva."— See  W.  H.  Carpenter,  Pictorial  Notices, 
p.  37. 

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192  BLAISE  CASTLE.  Letter  XXVI. 

picture,  which  was  formerly  in  a  convent  church  not  far  from 
Rome,  painted  on  wood,  and  only  a  little  smaller  than  the  original, 
is  however  no  copy,  but  an  independent  work,  and  according  to 
all  appearance  executed  about  the  same  time — ^independent,  as 
containing  various  departures  from  the  original,  as,  for  instance, 
the  position  of  the  hands  of  the  Virgin,  which  I  prefer  to  those  in 
the  Madrid  picture ;  and  contemporary,  because  the  right  side  of 
the  picture,  which  is  alone  finished,  is  very  able,  and  is  treated 
according  to  the  technical  process  of  the  time.  Although,  not 
having  seen  the  Madrid  picture,  I  can  form  no  definite  opinion  as 
to  the  relative  merits  of  the  two  works,  yet,  judging  from  the 
points  of  difference  and  from  the  excellence  of  the  finished  parts, 
I  cannot  doubt  that  Raphael  had  some  hand  in  this  picture.  The 
whole  left  side,  however,  with  the  group  of  women  and  the  cen- 
turion, is  only  prepared  by  an  inferior  hand ;  the  woman  kneeling 
in  the  comer  of  the  picture  seems  to  have  been  wanting  alto- 
gether, and  to  have  been  introduced  by  some  rather  later  but 
skilful  painter,  in  whom  I  am  inclined  to  recognise  Baroccio.  It 
would  be  very  interesting  to  hear  the  opinion  of  artists  or  con- 
noisseurs who  may  be  acquainted  with  both  pictures. 

Drawing-room. 

Guido  Reni. — 4.  St.  Veronica  Of  singular  depth  of  expres- 
sion, and  great  power  of  colouring.  Formerly  in  the  Barberini 
Palace. 

TiARiNi. — ^The  Assumption  of  the  Virgin.  Of  decided  cha- 
racter, and  animated  in  the  heads ;  also  broad  and  powerfiil,  but 
treated  in  his  heavy  and  dull  colouring. 

ScHiDONE. — St  John  the  Evangelist  looking  upwards.  Greater 
elevation  of  form  than  usual  is  here  combined  with  the  power  of 
his  colouring. 

Nicolas  Poussin. — ^A  landscape  of  highly  poetic  composition 
in  the  forms  of  Italian  nature,  and  of  great  freshness  of  colour  for 
him.     In  the  foreground  a  man,  a  woman,  and  a  grey  horse. 

Il  Cavaliere  d'Arpino. — Christ  on  the  Mount  of  Olives. 
An  admirable  work  of  this  so  mannered  master.  The  figure  of 
the  Christ  very  tender;  the  disciples  of  unusual  power.  The 
chiaroscuro  well  carried  out 

Camillo  Procaccini. — The  Tribute-money.  Well  conceived 
and  powerfully  treated. 

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LiTTRR  XXVI.       MR.  HARFORD'S  COLLECTION.  193 

Caspar  Poussin. — 2.  A  storm :  as  poetically  as  it  is  spiritedly 
conceived,  and  treated  in  a  fresco-like  manner,  with  a  singular 
freshness  in  the  greens.  The  tone  of  the  distance  recalls  Salvator 
Rosa. 

Salvator  Rosa. — 6.  A  largish  sea-piece,  with  coast  Warmly, 
clearly,  and  carefully  painted  in  the  style  of  the  large  sea-pieces 
by  this  master  in  the  Pitti  Palace. 

Carlo  Dolcr — 2.  An  Ecce  Homo.  Tenderly  painted  in  the 
manner  of  Cigoli     The  right  hand  is  particularly  delicate  in  tona 

3.  A  very  good  example  of  the  often-repeated  Virgin  in  profile, 
in  the  azure  dress. 

Caspar  Poüssin.-  3.  A  landscape,  with  two  monks  in  the 
middle-ground,  and  two  shepherds  in  the  foreground.  The  light 
is  in  a  warm,  powerful  tone,  and  admirably  carried  out. 

A  Virgin  and  Chili  A  free  repetition  of  the  Belle  Jardiniere. 
Of  cool  reddish  flesh-tones,  recalling  the  St  Dominic  of  Paris 
AlfiEuii,  one  of  Raphael's  fellow-scholars  in  the  school  of  Perugino. 

Dining-room. 

Sir  Thomas  Lawrence. — 2.  The  very  animated  study  for  the 
portrait  of  Cardinal  Gonsalvi  at  Windsor. 

3.  Portrait  of  Mr.  Harford.  Admirably  conceived,  and  care- 
fully painted  in  a  solid  body. 

Aft;er  the  study  of  these  works  of  art,  a  walk  in  the  park,  which 
for  natural  beauties  can  hardly  be  surpassed  even  in  England, 
was  doubly  refreshing.  The  beauty  of  the  ground,  clothed  with 
a  luxuriance  of  vegetation,  consisting  partly  of  arbutus,  with  all 
the  freshness  of  the  orange-tree,  is  diversified  by  projecting 
rocks,  at  the  foot  of  which  runs  a  brook.  Through  this  scenery, 
which  is  one  of  the  chief  features  of  the  park,  well-kept  and 
admirably  laid-out  walks  are  conducted,  from  which  the  various 
points  of  view  can  be  enjoyed ;  while,  on  the  other  hand,  in  fine 
contrast  to  this  portion,  is  seen  a  distant  view  over  land  and 
sea  A  stately  tower  which  Mr.  Harford  has  erected  on  the 
highest  groimd  commands  the  whole  bay  of  the  Severn,  the  mouth 
of  the  Avon,  and  in  the  distance  the  Welsh  mountains.  A  similar 
view,  but  of  greater  extent,  is  obtained  from  a  still  loftier  placed 
tower  at  Knole,  the  seat  of  Colonel  Chester  Master,  a  man  of 
simple  and  frank  manners,  to  whom  I  was  introduced  by  the 
kindness  of  Mr.  Harford,  who  added  this  favour  to  the  many  with 

VOL.  III.  o 

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194  WELLS  CATHEDRAL.  Lettbb  XXVI. 

which  he  loaded  me.     The  splendid  oak  and  heeches  of  Enole 
especially  attracted  my  attention. 

In  1851  the  polite  invitation  of  the  Archsological  Society  held 
in  Bristol,  and  of  which  Mr.  Harford  was  president,  gave  me  a 
second  opportunity  of  visiting  Blaise  Castle.  I  here  shared  the 
hospitality  of  the  proprietor,  in  company  with  his  distinguished 
guests,  Chevalier  Bunsen,  Professor  Whewell,  and  the  Bishop  of 
Oxford.  An  excursion  to  WeUs  Cathedral  was  an  event  of  great 
interest  to  me.  Professor  Willis,  whose  name  was  already  well 
known  to  me,  gave  a  most  admirable  discourse  on  the  architecture 
of  this  building,  in  which  he  brought  forward  facts  founded  partly 
on  his  own  researches ;  whence  it  appeared  that,  as  compared  with 
contemporary  ecclesiastical  edifices  in  other  parts  of  England,  the 
architectural  features  of  Wells  Cathedral  were  decidedly  in  advance 
of  the  times.  The  foundation  of  the  present  building  dated  from 
Jocelyn  Trotman,  created  Bishop  in  1214.  It  is  remarkable  that 
from  the  first,  as  is  proved  by  the  very  wide  spring  of  the  but- 
tresses, the  introduction  of  a  large  number  of  sculptures  was 
contemplated,  comprising  no  less  than  600  statues,  and  surpassing 
in  this  respect  every  other  cathedral  in  England.  In  the  imme- 
diate presence  of  these  statues,  therefore,  Mr.  Cockerell,  the  emi- 
nent architect,  gave  us  a  most  able  discourse,  the  result  of  many 
years'  study  and  experience,  and  which  he  has  incorporated  in  his 
admirable  worL*  He  particularly  called  our  attention  to  the 
grandeur  of  feeling  and  to  the  no  less  patriotic  than  religious 
fervour  which  forms  the  leading  idea  of  the  whole  series.  Thus, 
while  the  centre  of  the  facade  contains  the  chief  events  of  sacred 
history,  from  the  Creation  to  the  Last  Judgment,  most  ingeniously 
expressed,  the  portion  on  the  right  is  adorned  with  the  most  dis- 
tinguished individuals  in  the  English  history  belonging  to  the 
Church,  such  as  saints,  bishops,  &a,  and  that  on  the  left  with 
those  belonging  to  the  laity,  such  as  kings,  queens,  &c.  At  the 
same  time  this  admirable  connoisseur  of  Greek  sculpture  remarked 
upon  the  correctness  of  plastic  style,  and  the  speaking  motives 
and  gestures,  which  these  works  display.  Considering  also  the 
period,  the  developed  state  of  the  detail,  however  inferior  in  itself, 
deserves  particular  notice.  Certain  difierences  between  the  various 
sculptures  may,  however,  be  traced ;  thus  the  obviously  later  sta- 

*  Iconography  of  the  West  Front  of  WeUs  Cathedral,  &o.:  4to.  Oxford  and  London, 
J.  U.  Parker,  IS51. 


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Lbtteb  XXVI.  THIRLE8TAINE  HOUSE.  195 

tues  of  the  Apostles  on  the  fit^ade  are  far  ruder  than  the  rest 
both  as  regards  the  heads  and  general  execution. 

After  a  sumptuous  luncheon  pven  by  the  Dean  of  Wells  to  the 
numerous  company,  we  proceeded,  under  the  guidance  of  Professor 
Willis,  to  view  the  interior  of  the  building,  the  Lady  Chapel,  and 
other  adjacent  spaces ;  where  he  pointed  out  the  beauties  of  the 
Chapter-house,  which,  both  in  proportions  and  in  details,  ranks 
as  the  finest  in  England.  We  then  paid  a  visit  to  the  palace  of 
the  Bishop  of  the  diocese,  one  of  the  most  interesting  of  English 
buildings  in  the  country.  Nor  was  the  next  day  without  its 
scientific  enjoyments.  To  Chevalier  Bunsen  we  were  indebted  for 
a  lecture,  as  learned  as  it  was  generally  intelligible,  upon  Lake 
Moeris,  in  Egypt ;  while  Mr.  Godwin,  the  architect  employed  in 
restoring  the  cathedral  of  Bristol,  held  a  discourse,  from  the  choir 
of  the  building,  upon  its  style  and  peculiaritiea 


THIRLESTAINE  HOUSE. 
This  mansion,  belonging  to  Lord  Northwick,  is  close  to  the 
town  of  Cheltenham.  I  was  able  to  give  but  one  whole  day  to  the 
inspection  of  the  800  pictures  it  contains.  Unfortunately  this 
aged  nobleman,  whom  I  had  known  in  1835,  not  only  as  a  zealous 
patron  of  art,  but  as  one  of  most  catholic  taste,  and  who  had 
most  kindly  invited  me  to  visit  him,  was  absent  The  house- 
keeper, however,  permitted  me  the  free  enjoyment  of  the  pictures, 
which  are  placed  not  only  in  the  stately  gallery  erected  by  his 
lordship,  but  also  in  a  suite  of  apartments.  The  reputation  of  this 
collection,  and  the  impression  it  produces  on  the  mind,  are  injured 
by  two  circumstances — the  first  is,  that  the  majority  of  the  pictures, 
bearing  high-sounding,  but  too  often  erroneous,  names,  are  either 
badly  restored,  or  in  themselves  insignificant  works ;  and  the  second, 
that,  with  the  exception  of  a  few  rooms,  pictures  of  tiie  most 
various  times  and  schools  are  mingled  together  in  the  most  arbi- 
trary way.  The  number  of  those  friends  of  art  who  have  either 
time  or  patience  to  work  their  way  through  tiie  whole  collection, 
and  discover  what  is  really  valuable,  is  very  small,  and  a  superfi- 
cial view  can  only  lead  to  an  unfavourable  opinion.  But  whoever, 
like  myself,  spares  neither  trouble  nor  time  in  the  inspection  will 
find  himself  richly  rewarded.  I  noted  down  no  less  than  200 
pictures,   some   remarkable,    and   some   very   beautiful,   of   all 

o  2 

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196  THIRLESTAINE  HOUSE.  Letter  XXVI. 

schools  and  periods.  As  Lord  Northwick  still  continues  to  make 
additions  to  the  collection,  which  leads  to  fresh  changes  of  posi- 
tion, I  feel  myself  justified  in  classing  those  I  selected  according 
to  schools  and  periods,  the  more  so  as  this  arrangement  places  the 
collection  in  the  most  favourable  light  In  the  case  of  many  of  the 
pictures,  I  was  obliged  in  the  absence  of  all  catalogue  or  inscrip- 
tion to  name  the  master  according  to  the  best  of  my  judgment 

I  may  remark  in  general,  that  there  are  few  collections  in  Eng- 
land which  contain  so  many  estimable  pictures  of  the  Italian 
school  of  the  15th  century.     There  are  also  some  specimens  of 
the  Netherlandish  school  of  the  same  time. 
Tuscan  School. 

Bartolo  di  Fredi. — ^To  this  master,  who  flourished  at  Siena 
soon  after  the  middle  of  the  14th  century,  I  am  inclined  to  attri- 
bute two  saints  of  noble  character,  which  exhibit  in  feeling  great 
affinity  with  his  son  Taddeo  di  Bartolo. 

FiESOLR — A  miracle ;  four  figures.     Delicate. 

Masaccio. — ^A  male  portrait,  taken  quite  in  front  Worthy  of 
the  master  both  in  energy  of  conception  and  in  the  rendering  of 
the  forma 

Sandro  Botticelli. — ^The  Virgin  adoring  the  Child,  who  lies 
on  a  cloth  among  roses.   The  expression  of  the  Virgin  is  very  noble. 

A  beautiful  picture  of  a  youth,  with  the,  to  me,  unknown  in- 
scription "  Antolinez,"  appears  to  be  the  work  of  an  old  Floren- 
tine master.     It  approaches  nearest  to  Filippo  LippL 

Lorenzo  di  Credl — 1.  The  Virgin  with  the  Child  and  St 
John,  Very  mild  and  pure  in  feeling,  and  particularly  delicate 
in  the  silvery  tones  of  the  drapery. 

2.  The  Virgin  and  Chili     A  very  beautiful  picture. 

3.  St  Georga     Very  noble  and  refined. 

The  picture  of  the  Virgin  and  Child,  with  St  Joseph,  is  a 
school  copy  from  one  in  the  Berlin  Museum. 

Giovanni  Antonio  Sogliano. — ^The  Vir^n  and  Child.  De- 
cidedly a  copy  of  singular  delicacy  from  his  master,  Lorenzo  di 
Credi,  and  not  a  Leonardo  da  Vinci,  which  it  is  here  denominated. 

Leonardo  da  Vincl — ^The  Virgin  holding  the  Child,  who  is 
standing :  here,  without  the  slightest  foundation,  attributed  to 
Domenico  Ghirlandajo.  Pictures  like  this,  which  have  a  resem- 
blance to  Lorenzo  di  Credi,  Leonardo's  fellow-pupil  under  Veroc- 
chio,  but  show  a  purer  feeling  for  beauty,  a  greater  energy,  and 

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Lbttbb  XXVI.    LORD  NORTHWICK'S  COLLECTION.  197 

a  more  profound  knowledge,  may,  I  am  convinced,  be  considered 
to  be  pictures  by  Leonardo  da  Vinci  previous  to  his  migration  to 
Milan.  The  early  development  of  Leonardo's  genius  is  a  well- 
known  &ct,  and  before  his  31st  year,  at  which  time  he  went  to 
Milan,  he  must  have  painted  a  much  larger  number  of  pictures 
than  the  few  which  Vasari  mentions,  especially  as  in  his  well- 
known  letter  to  Lodovico  Sforza  he  pledges  himself  to  satisfy 
all  demands  in  painting.  Such  a  declaration  from  one  who  was 
no  empty  boaster  shows  that  he  was  completely  master  of  paint- 
ing, a  result  not  obtained  without  much  practice.  Such  pictures 
of  course  have  not  that  perfection  of  art  as  those  of  his  later  time, 
but  they  have  the  advantage  over  those  of  being  finished  and  com- 
pletely by  the  hand  of  the  master. 

Mariotto  Albertinelli. — I  am  inclined  to  consider  a  Virgin 
and  Child,  a  circular  picture,  here  called  a  Fra  Bartolommeo,  as  an 
earlier  and  inferior  work  of  this  master.  For  Fra  Bartolommeo 
the  drawing  is  too  feeble,  and  the  character  too  secular.  The 
forms,  however,  especially  the  profile  of  St  John,  are  pleasing ; 
the  colouring  very  clear  and  warm. 

Andrea  del  Sarto. — A  female  portrait  in  a  black  dress  ;  a 
beautiful  work,  and  decidedly  of  his  school  and  time,  but  too 
feebly  drawn  for  the  master  himself. 

Francesco  Ubertini. — ^To  this  rare  master,  who  partially 
imitated  Andrea  del  Sarto,  I  am  inclined  to  ascribe  the  death  of 
a  saint ;  a  picture  of  delicate  art 

Angeld  Bronzing. — Portrait  of  a  little  boy  with  a  dog.  One 
of  the  children,  I  believe,  of  Cosmo  I.  Duke  of  Tuscany ;  treated 
with  great  care  and  animation. 

Carlo  Dolce. — St  John  the  Evangelist    With  his  usual  feel- 
ing ;  particularly  warm  and  clear,  and  carried  out  con  amore. 
Umbrian-Roman  School. 

Lg  Spagna. — ^The  Virgin  and  Child,  here  called  Francia ;  but 
agreeing  so  much  with  the  altar-piece  by  Lo  Spagna  in  the  middle 
church  of  the  Duomo  at  Assisi,  that  I  can  only  attribute  it  to  him. 

I  may  next  mention  a  beautiful  and  very  remar^ble  Annuncia- 
tion, here,  without  the  slightest  foundation,  called  a  Perugino,  but  of 
which  I  cannot  assign  the  master,  nor  even  decidedly  pronounce  it  to 
be  of  the  Italian  school.  The  heads  are  noble  and  delicate,  the  pro- 
portions, especially  of  the  angel,  too  slender ;  the  well-arranged 
folds  show  the  influence  of  German  art.     In  the  ornate  building 

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198  THIRLESTAINE  HOUSE.  Lbtteb  XXVI. 

around,  which  is  in  a  refined  renaissance  style,  appears  the 
Almighty  in  the  act  of  benedictioa  Upon  a  seat  is  introduced 
with  much  significance  the  Fall,  and  its  consequences,  in  reliefe  in 
wood.  Through  an  arch  a  cheerful  landscape  is  seen.  The  exe- 
cution is  very  conscientioua 

A  male  portrait  in  a  black  cap,  with  a  landscape  background, 
is  an  admirably  conceived  and  warmly-toned  picture  of  the  period 
and  school  of  Raphael. 

GiULio  Romano. — The  Corybantes  raiang  a  noise  with  their 
weapons,  in  order  that  Saturn  should  not  hear  the  cries  of  the 
infant  Jupiter.     Spirited,  but  very  much  injured. 

FiLiPPO  Laubl— Acis  and  Galatea.  A  delicate  and  pretty 
picture. 

Carlo  Maratti. — ^Portrdt  of  a  cardinal  In  truth  and 
decision  of  forms,  and  careful  execution,  an  admirable  picture 
by  him. 

Claude  Lorraine. — 1.  A  landscape  with  a  bridge ;  with  a 
Riposa  In  warm  evening  light  An  excellent  work  of  his  earlier 
time,  but  unfortunately  injured. 

2.  A  sunset  on  the  sea  appears  to  be  a  good  picture  of  his 
earlier  time,  but  it  hangs  too  high  to  decide  upoa 

3.  A  landscape,  with  a  shepherd  and  three  cows  in  the  fore- 
ground. Of  his  middle  period,  and  a  marvellously  clear  and  airy 
representation  of  mid-day  light 

4.  A  landscape,  with  a  shepherd  blowing  the  flute.  This  in- 
scribed picture,  also  of  his  middle  period,  is  wonderfully  delicate, 
but  injured. 

5.  The  companion  picture,  a  seaport,  is  completely  heavy, 
lNX)wn,  and  sunk. 

6.  A  seaport,  with  Apollo  and  a  female  figure.  An  inscribed 
picture  of  his  later  time,  which  has  lost  much  of  its  keeping  by 
the  now  heavy  brown  tone  of  the  foreground. 

Gaspar  Poussin. — 1.  A  landscape,  with  two  shepherds.  Very 
nobly  conceived,  and  of  singular  power  and  freshness  of  verdure. 

2.  A  small  landscape,  with  a  shepherd  and  a  sheep  in  the  fore- 
groimd.  Of  an  idyllic  feeling,  and  of  very  careful  execution  for  him. 

3.  A  large  and  grandly  poetic  landscape,  with  a  view  on  to  the 
Campagna  of  Rome.     In  front  two  shepherds  conversing. 

4  A  large  landscape,  with  a  sleeping  figure  in  the  foreground. 
Admirably  composed,  and  of  singular  lightness  of  tone. 

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Lbttkb  XXVI.    LORD  NOBTHWICK'S  COLLECTION.  199 

Schools  of  Boi/>gna  and  Ferraba. 

Francbsco  Fbancia. — 1.  The  Annunciation.  Of  very  pecu- 
liar conception.  In  the  sky  is  the  Ahnighty,  with  the  descending 
figure  of  the  angel  Opposite  to  the  Virgin  is  St  Francis.  This 
picture  has  all  the  intensity  of  that  religious  feeling,  and,  in  the 
saint,  of  that  ecstatic  fervour,  so  much  prized  in  this  painter. 
Ponns,  glow  of  colouring,  and  mode  of  execution,  all  prove  that 
it  belongs  to  the  earlier  time  of  the  master.  In  these  respects 
it  strongly  recalls  an  inscribed  pictm^  dated  1495 — ^the  Virgin 
and  Child — ^which  I  saw  in  Lord  Dudley's  collection  in  1835,  but 
is  some  years  later  in  date. 

2.  Portrait  of  Bartholomew  Bianchini,  exhibited  as  a  Raphael 
at  the  British  Institution  in  1850,  but  which  I  immediately  recog- 
nised for  a  Francia ;  not  only  does  the  style  of  art  prove  this,  but  it 
is  well  known  also  that  this  Bianchini  was  one  of  Francia's  greatest 
friends  and  patrons,  and  celebrated  his  art  in  several  sonnets. 

GiAcoMo  Francia. — 1.  The  Virgin  with  the  Child  in  the  act 
of  benediction,  here  attributed  to  Francesco  Francia,  but  the 
emptiness  of  the  otherwise  beautiful  forms  proves  it  to  be  a  pleas- 
ing picture  by  Francia's  son  Giacomo,  in  imitation  of  the  father's 
later  manner. 

2.  The  Virgin  and  the  Child,  who  is  holding  a  bird  :  of  great 
transparency.    Also  a  work  by  Giacomo  Francia. 

Garofalo. — 1.  The  Martyrdom  of  St  Stephen.  Altarpiece. 
In  such  dramatic  scenes  the  master  is  not  happy ;  the  picture  is 
also  in  his  brick-red  tones. 

2.  The  Virgin  and  Joseph  adoring  the  Child  ;  the  background 
of  a  landscape  character.     Of  his  early,  hard  time. 

Mazzolino  da  Ferrara. — Christ  shown  to  the  people ;  a  rich 
composition,  with  the  Saviour  seen  above  in  the  background. 
Dramatically  conceived,  and  with  all  the  glow  of  colour  and 
melting  execution  of  the  master.     In  very  good  preservation. 

Dosso  Dossi. — ^The  Virgin  and  Child,  and  St  Joseph,  in  the 
clouds ;  a  small,  spiritedly  conceived  picture,  of  warm  and  careful 
execution. 

Innocenzo  da  Imola. — 1.  In  the  centre  is  the  Apostle  Paul ; 
at  the  sides  St  Nicholas  and  St  Blaize :  here  called  a  Fra  Bar- 
tolommeo,  but,  in  my  opinion,  a  moderately  good  altar-piece  by 
Innocenzo  da  Imola. 

2.  I  am  inclined  to  say  the  same  of  a  Virgin  and  Child,  and  the 

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200  THIRLESTAINE  HOUSE.  Letter  XXVI. 

little  St  John  with  four  saints.  It  bears  the  inscription  "  Bagna- 
cavallo." 

Agostino  Carracci. — A  really  beautiful  copy  of  Titian's  Bao- 
chus  and  Ariadne,  in  the  National  Gallery. 

Annibale  Carracci. — 1.  Polyphemus  trying  to  attract  Gala- 
tea by  the  sound  of  his  Pan's  pipe ;  a  skilful  composition,  but 
differing  from  that  in  the  Famese  Palace  at  Roma  Of  great 
energy  of  drawing  and  expression,  and  capitally  executed  in  a 
powerfid  brown  tona 

2.  St  John  in  the  Desert :  of  thoughtful  action  and  expression, 
of  singular  elevation  of  composition,  and  carefully  executed  in  a 
subdued  but  harmonious  tone. 

3.  A  Riposo  also  belongs  to  his  choicest  works. 

Guido  Reni. — 1.  St  Matthew  with  the  angel.  The  expression 
pleasing,  the  drawing  refined,  the  execution  careful  in  a  feeble 
tone. 

2.  The  Virgin  with  the  sleeping  Child ;  not  the  same  composi- 
tion which  so  often  occiurs,  but  attractively  composed,  true  in  the 
heads,  and  tender  in  treatment 

GuERcmo. — 1.  An  angel  giving  a  honeycomb  to  an  old  man 
and  womaa     Very  powerful  and  careful  in  his  reddish  flesh-tones. 

2.  Jacob  blessing  Ephraim  and  Manasses;  a  large  picture. 
Well  composed,  and  very  careful  in  his  brown-greenish  colouring, 
but  darkened  in  many  parts. 

3.  St  Jerome  in  passionate  action.  Showing  the  impression 
which  the  trump  of  the  Day  of  Judgment  makes  upon  hjpi. 

4.  St  John  the  Baptist  In  his  decided  brownish  manner ;  of 
pleasing  character.     From  Sir  Simon  Clarke's  collection. 

Lombard  School. 

ViNCENZio  CiVERCHio. — ^The  Virgin  and  four  saints  adoring 
the  Child.  I  am  too  little  acquainted  with  the  master  to  judge 
whether  the  name  be  correct  The  heads  have  much  character ; 
the  cast  of  the  draperies  is  of  a  noble  style,  the  colouring  warm, 
and  the  execution  carefiiL 

Gaudenzio  Ferrari. — ^The  Virgin  holding  the  Child,  with 
Joseph.  The  Child  is  of  singular  graca  The  whole  is  very  at- 
tractive, in  character,  in  the  light  and  very  transparent  tone,  and 
in  the  careful  execution.     Here  called  a  Pellegrino  da  Modena. 

Bernardino  Luini. — A  female  head.  Of  his  most  refined 
character. 


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Lbttbb  XXVI.    LORD  NORTHWICK'S  COLLECTION.  201 

Antonio  Boltraffio. — ^The  Virgin  and  Child.  A  most  beau- 
tiful picture  by  this  rare  master,  quite  imbued  with  the  spirit  of 
his  master  Leonardo  da  Vinci.  I  know  not  whose  name  it  bears 
in  this  collection. 

Venetian  School. 

Giovanni  Bellini. — 1.  A  Riposo.  A  picture  of  his  earlier 
time,  of  decided  realistic  but  very  artless  conception,  especially 
in  the  Child.  In  front  are  two  partridgea  The  landscape  of  the 
background  is  beautiful  and  cheerfuL 

2.  The  Virgin  holding  the  Child  upon  a  parapet ;  on  the  right 
St  Peter,  of  a  deep  glow  of  colour ;  on  the  left  St  Sebastian ;  in 
the  sky  three  cherubim.  Serious  and  noble  in  the  characters.  In 
the  admirable  completion,  as  in  the  colouring,  we'  see  here,  as  in 
the  picture  in  the  possession  of  Sir  Charles  Eastlake,  the  decided 
influence  of  Antonello  da  Messina.  Inscribed  with  the  name  of 
the  master. 

Bartolommeo  Montagna. — A  procession  to  Calvary.  An 
excellent  picture  by  this  rare  Vicenza  master.  Here  erroneously 
called  a  Mantegna. 

GiROLAMo  MocETTO. — To  this  master,  who  is  well  known  by 
his  engravings,  but  very  rarely  by  his  paintings,  I  am  inclined  to 
ascribe  a  Christ,  with  the  Incredulity  of  St  Thomas,  the  donor, 
and  his  patron  saint,  St  Francis ;  here,  without  the  slightest  founda- 
tion, called  a  Perugino.  It  is  in  feeling,  colouring,  and  execution, 
an  estimable  work. 

CiMA  DA  CoNEGLiANO. — 1.  St  Catherine ;  with  the  name  in- 
scribed full-length ;  noble  and  dignified  in  head  and  figure,  and 
painted  in  the  artist's  best  style  of  colouring  and  drapery. 

2.  The  Virgin  and  Child,  with  a  landscape  background.  Of 
great  tenderness. 

GiROLAMO  DA  Santa  Croce. — 1.  The  Virgin  and  Child,  and 
the  little  St.  John ;  with  two  male  and  two  female  saints  in  a  land- 
scape. Of  unusual  force  of  colour  for  him.  In  these  figures, 
which  are  two-thirds  the  size  of  life,  he  appears  less  to  his  advan- 
tage than  in  the  smaller  figures  of  the  next  picture. 

2.  The  Resurrection  of  Christ ;  very  pleasing,  with  the  land- 
scape carefiilly  treated. 

The  Triumph  of  Julius  Caesar,  chiefly  derived  from  Mantegna's 
celebrated  work  ;  careftdly  executed  in  a  glowing  colour  by  some 
Venetian  artist  with  whom  I  am  not  acquainted. 


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202  THIRLESTAINE  HOUSE.  Lkttkb  XXVI. 

ViNCENzo  Catena. — Venus  and  Cupid  in  a  landscape:  here 
called  Giorgione ;  but,  I  am  decidedly  of  opinion,  an  excellent 
work  of  this  master,  who  is  often  mistaken  for  Giorgione. 

Giorgione. — ^The  Woman  taken  in  Adultery,  surrounded  with 
four  mea  Although  covered  with  a  glass,  and  placed  so  high  as 
to  permit  of  no  certain  opinion,  yet  the  heads,  especially  that  of 
the  woman,  with  an  expression  of  penitence,  and  who  has  her  hands 
crossed,  are  so  noble,  the  drawing  so  good,  and  the  warm  colouring 
so  deep  and  full,  that  the  name  appears  to  me  rightly  given. 

Palma  Vbcchio.—1.  An  idyllic  subject  Under  a  tree  is  a 
youth  playing  the  guitar ;  opposite  to  him  two  women  with  a  music- 
book,  one  of  them  looking  at  him  with  sympathy.  The  figure  of 
the  other  is  much  deuced  by  restorations.  In  Üie  middle-ground 
is  a  piece  of  water ;  behind  this,  trees,  houses,  and  hills ;  and 
lastly  the  horizon,  with  the  master's  well-known  yellow  stripe  of 
light  This  picture,  which  is  conceived  quite  in  the  style  of 
Giorgione,  is  of  peculiar  charm  and  broad  masterly  treatment 

2.  The  Vir^n  and  Child,  with  St.  John  the  Baptist  and  the 
Magdalen ;  here  called  a  Titian,  but  decidedly  a  capital  work  by 
Palma  Veocluo,  carefully  executed  in  his  finest  and  fullest  golden 
tones. 

GiROLAMO  BoMANiNo. — The  Woman  taken  in  Adultery,  before 
Christ ;  a  rich  and  beautiful  composition,  admirably  executed  in 
his  warmest  tones.  This  distinguished  Brescian  painter,  whose 
genuine  works  may  be  seen  in  Brescia,  Padua,  and  in  Berlin,  is 
often,  as  here,  mistaken  for  Giorgione — often  for  Pordenone. 

GiROLAMO  DA  Treviso. — ^This  picture  is  a  striking  instance  of 
the  influence  of  Raphael  on  some  of  the  pidnters  of  the  Venetian 
school.  The  Virgin  Mary,  seated  on  a  throne,  holds  the  Child, 
who  is  standing,  surrounded  by  several  saints,  one  of  whom  intro- 
duces the  donor,  who  is  kneeling.  The  original  arrangement  of 
this  composition,  which  has  been  so  firequently  repeated,  the 
beauty  of  the  Virpn  and  Child,  the  dignity  in  the  characters  of 
the  saints,  the  animation  of  the  portrait,  the  clear,  warm,  brilliant 
colouring,  and  the  excellence  of  the  impasto,  ftilly  justify  the  praise 
which  Vasari  bestows  on  this  master.  The  great  rarity  of  his 
works  enhances  the  value  of  this  picture,  which  is  inscribed  with 
his  name.  On  panel,  7  ft.  high  and  5  ft.  wide.  It  has  besides  a 
peculiar  interest  for  England,  this  artist  having  been  one  of  the 
painters  whom  King  Henry  VIII.  employed  at  his  court.     For- 


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Lettbb  XXVI.    LORD  NORTHWICK'S  COLLECTION.  203 

merly  in  the  church  of  S.  Domenico  at  Bologna.    Vasari  mentions 
it  as  his  hest  work.     From  the  Solly  collection. 

Titian. — 1.  Portrait  of  Pope  Paul  III.,  so  often  met  with 
under  the  name  of  Titian.  This  appears  to  me  one  of  the  few 
genuine  examples. 

2.  Portnut  of  a  woman,  of  very  artless  conception,  of  about  the 
same  time  as  the  portraits  of  the  Duke  and  Duchess  of  Urbino  in 
the  Uffizii  at  Florence  ;  painted  in  a  very  delicate,  but,  for  Titian, 
cool  tone. 

BoNiFAZio. — ^The  Exposure  of  Romulus  and  Remus,  conceived 
in  the  idyllic  taste  of  Giorgione ;  broadly  and  lightly  sketched, 
and  in  a  warm,  light  colouring. 

ScHiAvoNE. — ^Venus  and  Cupid;  here  called  Pordenone,  but 
to  my  view  a  very  beautiful  picture  by  this  master. 

I  am  also  reminded  of  Schiavone,  in  many  respects,  by  a  repe- 
tition of  the  Venus  of  Titian  in  the  Tribune,  which  is  here  also 
attributed  to  Titian.  But  the  form  of  the  head  is  too  hard,  and  the 
background  too  heavy  and  dark  in  tone,  for  that  master.  On  the 
other  hand,  the  greater  depth  of  colour,  the  stronger  shadows,  the 
deep  golden  hair,  and  the  impasto  have  much  of  Schiavone. 

GiACOMo  Bassano. — The  penitent  St  Jerome,  carefully  treated 
in  his  warmest  and  clearest  tones. 

PiETRO  BELLA  Vecchia. — 1  and  2.  A  male  head  with  plumed 
bonnet ;  here  called  Salvator  Rosa,  but  decidedly  the  work  of  this 
late  imitator  of  Giorgione,  to  whom  another  male  head  also  belongs, 
bearing  the  name  of  Giorgione. 

LucATELLi. — A  large,  and  for  him  excellent  landscape,  in  the 
taste  of  Gaspar  Poussin. 

Bernardo  Bellotto. — ^A  very  rich  architectural  view,  and 
another  less  important  picture — both  called  Canaletto— are  good 
works  by  this  scholar  of  his. 

Neapolitan  School. 

Salvator  Rosa. — 1.  A  picture  bearing  the  name  of  **  I'umana 
fragilita"  is  a  thorough  specimen  of  his  dark  and  gloomy  mode  of 
thought  A  beautiful  girl  with  a  child,  holding  a  pen,  on  which 
are  the  following  words,  ^^  Conceptio  culpa,  nasd  pena,  labor  vitsB, 
necesse  mori,"  is  held  by  a  frightful  skeleton  with  wings,  whose 
features  express  a  malicious  joy.  Also,  as  symbol  of  the  nothing- 
ness of  all  earthly  things,  a  chUd  blowing  soap-bubbles,  and 
another  setting  fire  to  flax.     In  the  background  a  terminal  figure, 

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204  THIRLESTAINE  HOUSE.  Letter  XXVI. 

and  some  sky  with  a  part  of  the  zodiac.      Carefully  painted  for 
him,  but  in  a  spotty  yellow  tone. 

2.  A  sea-coast  with  rocks,  on  which  are  three  figures ;  powerful 
in  the  foreground,  and  clear  and  delicate  in  the  background. 

3.  Soldiers,  or  robbers,  upon  rocks ;  this  appears  to  be  a  good 
picture,  but  hangs  too  high. 

4.  Soldiers  at  dice ;  spirited. 

Spanish  School. 

Spagnoletto. — St.  Jerome,  and  an  angel  blowing  the  trumpet 
of  the  Last  Judgment ;  the  composition  is  etched  by  him,  but  the 
picture,  in  spite  of  the  masterly  and  careful  execution,  is,  like 
many  by  this  master,  of  a  disagreeable  eflFect. 

Velasquez. — 1.  A  landscape  with  a  hunt ;  very  masterly,  but 
somewhat  dark  in  the  shadows. 

2.  A  sleeping  man,  a  girl  pointing  to  the  distance,  and  a  youth 
with  his  back  turned.  This  picture,  which  is  of  realistic  but 
pleasing  conception,  admirable  drawing,  great  animation  of  heads, 
and  masterly  execution,  with  a  warmth  of  tone  and  fulness  of 
body  recalling  Michael  Angelo  da  Caravaggio,  also  bears  the 
name  of  Velasquez  here.  It  differs,  however,  much  from  the  spe- 
cimens of  the  master  which  I  know,  though,  not  having  been  at 
the  fountain-head  of  his  works,  I  withhold  any  decided  opinion. 

MuRiLLo. — Jacob  putting  the  rods  into  the  drinking-troughs  of 
his  cattle  ;  a  subject  often  treated  by  the  master,  and  here  quite  as 
a  landscape.  The  realistic  figures  of  Jacob  and  of  a  horse  have 
much  of  Miuillo's  manner,  but  the  fantastic  landscape  is  in  the 
taste  of  Judocus  Momper. 

ZuRBARAN. — ^The  head  of  St  John  the  Baptist ;  the  noble  con- 
ception, tone  of  colour,  and  style  of  painting,  indicate  this  painter 
instead  of  Velasquez,  whose  name  is  here  given. 

French  School. 

Franqois  Clouet,  called  Janet. — Portrait  of  a  young  girl ; 
here  called  a  Holbein,  but,  in  my  opinion,  one  of  Janet's  most 
refined  works. 

Nicoi-AS  PoussiN. — 1.  Apollo  and  Daphne ;  a  picture  of  his  ear- 
liest time,  which  is  known  by  the  engraving,  but  which,  excepting 
the  cool  reddish  flesh-tones  of  the  male  figure,  has  much  darkened. 

2.  Pan  kneeling  before  a  nymph ;  a  beautiful  composition,  and 
also  of  his  earlier,  cool  reddish  flesh-tones. 

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Letteb  XXVI.    LORD  NORTHWICK'S  COLLECTION.  205 

3.  Sleeping  satyrs  and  a  boy ;  very  spirited,  and  of  the  same 
period. 

4.  Venus  showing  ^neas  his  armour;  of  his  later  period. 
Here  the  sky  is  particularly  fine. 

5.  A  landscape  of  very  noble  composition,  but  very  pale  in 
colour.     In  front  a  goat-herd. 

Lenain. — A  family  ;  of  great  truth  and  animation. 

Watteau. — A  hunting  party  at  a  repast ;  spirited  and  delicate. 

J.  Vernet. — ^View  of  a  harbour ;  of  very  insipid  tone,  but  rich 
in  details  and  careful  in  execution. 

Netherlandish  School. 

Early  Netherlandish  School. — The  Crucifixion  ;  an  inter- 
esting picture,  of  great  artistic  value. 

School  of  Van  Eyck. — ^The  Vhrgin  holding  the  Child  on  a 
parapet ;  behind  a  wall  are  six  saints ;  on  the  right  the  donor 
kneeling  in  the  door  of  a  church.  Of  mediocre  invention  and 
drawing,  but  of  miniature-like  execution. 

Netherlandish  School,  1480-90. — ^The  Mass  of  St  Gre- 
gory. A  singularly  rich  compoätion  of  this  subject,  which  was  so 
popular  from  about  1450.  The  figures  include  also  the  Virgin 
and  Child,  twelve  saints,  the  donor,  his  wife,  and  several  children. 
By  some  excellent  painter,  though  rather  pale  in  the  flesh-tones, 
but  with  no  kind  of  affinity  to  Meister  Wilhelm,  whose  name 
the  picture  bears. 

Lower  Rhenish  School,  about  1500. — ^The  Virgin  and  Child, 
Joseph,  and  an  adoring  king,  who  has  the  featiffes  of  Frederic  III. 
The  two  other  kings  were  doubtless  upon  the  absent  wings  of  this . 
altar-piece.  The  heads  are  dignified  and  animated,  the  colours 
of  great  depth  and  fulness,  the  execution  carefrd  ;  the  Child,  how- 
ever, is  feeble.  In  every  part  the  decided  influence  of  the  Nether- 
lands is  visible. 

Van  der  Does. — ^This  is  the  name  inscribed  on  the  two  wings 
of  an  altar-piece  of  the  Dutch  school,  about  the  date  1460-80,  one 
of  which  represents  Joachim  rejected  by  the  priests,  and  again  with 
the  shepherds ;  the  other  Joachim  and  Anna  meeting  at  the  Golden 
gate.  This  master,  who  has  a  singular  transparency  of  colour, 
shows  much  affinity  with  the  Gerhardt  V3an  Haarlem  so  praised 
by  Van  Mander. 

Christ  blessing,  called  a  Jan  van  Eyck,  is  a  somewhat  later, 
but  interesting  picture  of  the  Netherlandish  school. 


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206  THIRLESTAINE  HOUSE.  Lbttkb  XXVL 

QüENTiN  Matsts. — A  male  portrait,  inscribed  "  1531,  aet.  19." 
Very  animatedly  concjeived,  but  somewhat  empty  in  the  forms. 

Bernhard  van  Orlet. — St.  Jerome  writing ;  a  genuine  and 
good  picture  by  him. 

Here  is  also  a  very  delicate  little  picture— the  Virgin  and 
Child  ;  the  latter  reaching  his  hand  into  a  basket  of  fruit — by  an 
often  recurring  contemporary  of  Bernhard  van  Orley,  but  whose 
name  I  have  not  been  able  to  discover. 

An  Adoration  of  the  Kings,  bearing  the  great  names  of  Hubert 
and  Jan  van  Eyck,  is  a  moderate  work  of  art,  painted  at  the  earliest 
in  1500,  and  therefore  fully  sixty  years  after  the  death  of  Jan  van 
Eyck. 

Jan  Mostaert. — ^The  Adoration  of  the  Kings,  exhibited  in 
1850  at  the  British  Institution,  and  there  also  called  a  Jan  van 
Eyck ;  but  I  believe  it  to  be  but  an  average  work  of  Jan  Mostaert, 
who  flourished  in  the  beginning  of  the  16th  century. 

Sir  Anthony  More. — Portrait  of  the  third  wife  of  Philip  II., 
a  Portuguese  prmcess.     It  appears  to  be  a  late  work  of  this  painter. 

Abraham  Bloemart. — An  altarpiece  with  wings ;  in  the  centre 
a  Pieta ;  the  Descent  into  Hell,  and  the  Disciples,  on  the  wings, 
in  the  hardest  and  crudest  style  of  the  master.  I  only  mention 
this  as  a  specimen  of  the  extraordinary  caprice  displayed  in  the 
liaming  of  some  of  the  pictures  in  this  collection.  This  one  bears 
the  great  name  of  Sebastian  del  Piombo. 

Jan  Breughel, — A  landscape,  with  the  preaching  of  St.  John ; 
a  rich  and  valuable  picture  of  miniature-like  execution. 

Gerard  Honthorst. — Christ  before  Pilate  ;  a  most  remark- 
able picture  for  the  effect  of  light  for  which  this  master  is  so  dis- 
tinguished. 

Rubens. — ^This  is  the  name  given  to  a  Sposalizio,  which  is 
hung  by  itself  in  the  finest  light.  1  must  own,  however,  that  the 
beads  appear  too  inanimate,  the  colouring  not  sufficiently  transpa- 
rent, and  the  execution  not  sufficiently  spirited  to  deserve  this 
great  name,  A  landscape,  also  attributed  to  Rubens,  with  the 
Baptism  of  Philip,  hangs  too  high  for  any  opinion. 

JoRDAENS. — 1.  The  Triumph  of  Bacchus,  with  Silenus ;  a  small 
picture,  less  vulgar  in  the  heads  and  forms  than  is  usual  with  this 
master  in  such  subjects ;  also  solidly  and  carefully  painted,  and 
very  transparent  in  colouring. 

2.  The  four  Fathers  of  the  Church ;  figures  the  size  of  life.    A 


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Lettkb  XXVL    lord  NORTHWTCK'S  COLLECTION.  207 

well-known  composition  often  recurring  in  Rubens'  pictures,  and 
also  here  attributed  to  him  ;  but  the  harder  forms  and  the  peculiar 
tone  of  colour  are  evidences  of  its  being  the  work  of  Jordaens. 

3.  Christ  with  the  Disdples  at  Emmaus ;  the  heads  and  forms 
are  singularly  elevated  for  him. 

Caspar  de  Ckayer. — Six  female  figures  dancing  round  a  tree ; 
animatedly  conceived  and  carefully  executed  in  a  particularly  warm 
tone  for  him. 

Rembrandt.— 1.  The  angel  telling  Tobit  not  to  be  afraid  of 
the  fish.  The  conception  and  the  heads  have  something  very  con- 
tradictory ;  the  treatment  is  too  broad. 

2.  A  male  portrait ;  in  a  subdued  golden  tone,  very  carefully 
executed. 

8.  Portraits  of  a  man  and  woman ;  of  great  warmth  of  tone. 

Van  den  Eckhout. — The  Adoration  of  the  Kings ;  a  rich  and 
spiritedly  sketched  composition. 

Nicolas  Maas. — Two  women  conversing ;  very  lively. 

Terburg. — 1.  A  soldier  with  a  pipe,  in  profile ;  true  and 
animated. 

2.  A  male  portrait ;  delicate,  but  somewhat  empty, 

David  van  Tol. — A  girl  with  a  pink.  I  believe  this  to  be  the 
work  of  this  imitator  of  Gerard  Dow,  whose  name,  however,  it  bears. 

Gonzales  Coques. — 1.  A  family — father,  mother,  and  one 
daughter  standing,  another  seated  with  a  guitar — and  a  dog ; 
genuine  but  injured. 

2.  A  man  and  a  woman,  a  girl,  and  a  young  man  with  a  guitar ; 
an  inferior  work  of  the  master. 

Jan  Stebn. — 1.  A  concert  in  the  open  air;  delicate,  clear, 
and  very  warm. 

2.  A  rich  composition  of  animated  motives ;  sketchily,  but  spi- 
ritedly treated.  Somewhat  heavy  in  general  tone,  and  much  re- 
touched in  the  sky. 

Adrian  van  Ostade. — A  concert  of  four  persons  ;  very  ani- 
mated in  conception,  clear,  and  warm  in  colour. 

Teniers. — 1.  An  alchemist.  The  largest  example  known  to 
me  of  this  often-treated  subject  by  the  master ;  with  three  labora- 
tories and  many  accessories ;  a  rich  picture  of  excellent  keeping, 
and  of  masterly  execution  in  a  very  delicate  silvery  tone. 

2.  Abraham  and  Melchisedec,  in  imitation  of  Rubens ;  a  curi- 
osity of  powerful  colour^  but  very  coarse  in  feeling. 


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208  THIRLESTAINE  HOUSE.  Letter  XXVL 

3.  The  Woman  taken  in  Adultery ;  a  picture  skilfully  treated 
in  the  manner  of  Tintoretto. 

Adrian  Van  de  Velde. — His  own  portrait,  half-length  figure, 
life-size ;  a  piece  of  chalk  in  his  right  hand,  palette  and  brush  in 
the  left.  Of  very  delicate  drawing,  especially  in  the  hands,  and 
executed  in  a  warm,  though  rather  heavy  tone. 

Dirk  van  Bergen. — A  cattle-piece  of  his  best  kind,  in  which 
he  approaches  very  near  his  master,  Adrian  Van  de  Velde. 

Nicolas  Berouem. — 1.  A  rich  landscape  of  warm  tone,  which 
has  lost  keeping  by  the  darkening  of  the  hills. 

2.  A  landscape  treated  in  a  green  tone,  unusual  with  him. 
The  pleasing  figures  in  the  foreground,  with  a  peasant  woman 
dancing,  are  very  warm  in  colour. 

Carel  Dujardin. — A  man  with  a  packhorse,  and  a  very  un- 
attractive woman.  The  treatment  of  the  figures  is  unusually  broad, 
but  the  landscape,  and  especially  the  sky,  beautiful. 

Jan  Baptista  Weenix. — A  sleeping  girl  and  a  dog;  very 
warm,  clear,  and  careful. 

Philip  Wouvermans. — A  religious  war  with  all  its  terrors ; 
very  spirited  in  the  animated  groups,  and  carefully  executed, 
though  somewhat  spotty ;  the  general  tone  is  also  heavy.   Inscribed. 

Albert  Cüyp. — 1.  A  male  portrait ;  whole-length  figure,  life- 
size,  in  black  dress ;  next  him  a  dog :  animatedly  conceived,  and 
elegant  in  position,  but  the  head  somewhat  too  empty ;  the  dog 
admirable.     In  the  landscape  background  a  town. 

2.  A  boy  holding  three  horses ;  very  powerful,  in  his  first  hard 
manner. 

3.  Three  horsemen— one  of  them  drinking — of  the  same  time. 

4.  A  gentleman  pointing  with  his  stick  to  a  fleet ;  his  wife  and 
man-servant  with  a  parasol.  The  heads  are  very  animated ;  the 
flesh-tones  in  the  gentleman  very  red. 

5.  David  and  Abigail ;  a  large  picture.  The  insipid,  portrait- 
like faces  show  that  such  subjects  were  beyond  the  scope  of  this 
great  master.  But  the  colouring  is  clear  and  the  execution 
careful. 

6.  A  landscape  with  three  horsemen;  a  good  picture  in  his 
second  manner. 

7.  A  moonlight  landscape ;  cows  in  the  foreground.  This 
appears  to  be  a  fine  picture,  though  an  unusual  subject  for  him, 
but  is  too  dirty  for  an  exact  opinion.  . 


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Letter  XXVI.    LORD  NORTHWICK'S  COLLECTION.  209 

Theodor  Camphuysen. — A  large  and  very  admirable  cattle- 
piece  ;  the  cattle  and  style  of  execution  reminding  us  of  Paul 
Potter,  the  sunny,  clear  lighting  of  Cuyp. 

Jan  Wynants. — A  landscape,  which  looks  promising,  but 
hangs  too  high  to  permit  of  an  opinion. 

Jacob  Ruysdael. — A  landscape,  with  a  waterfall ;  in  the  back- 
ground a  high  hill ;  of  a  singular  depth  of  blue  colour  for  him. 
It  is  marvellous  what  a  freshness  of  morning  is  expressed  in  this 
picture.     Inscribed  and  dated  1636. 

Artus  van  der  Neer. — 1.  A  moonlight  piece;  finely  felt, 
but  somewhat  dark.     Inscribed. 

2.  A  landscape  by  daylight ;  very  light,  clear,  and  attractive. 
Also  inscribed. 

Van  der  Heyden.— A  large  and  very  careful  architectural 
piece,  which  is,  however,  much  disfigured  by  the  cracks  over  the 
whole  sky. 

Berkheyden. — ^The  view  of  a  Dutch  town,  with  a  canal,  of 
very  careful  execution,  I  believe  to  be  the  work  of  this  master. 

Delorme. — ^Interior  of  a  church ;  of  a  transparency  and  efiect    . 
approaching  de  Witt.    The  figures  by  Lingelbach  are  very  skilfiil. 

LiNGELBACU. — ^Thc  courtyard  of  a  country-house,  with  men 
and  a  grey  horse.  A  work  which  in  delicacy  of  silvery  tone  and 
tenderness  of  touch  approaches  Asselyn. 

WiLUAM  Van  de  Velde. — 1.  A  perfectly  calm  sea,  with 
strand ;  in  the  foreground  some  boats ;  further  off  a  ship.  Executed 
in  his  bright,  silky  manner. 

2.  A  sea-fight,  with  a  burning  ship.     Of  great  truth. 

3.  A  quiet  sea,  with  several  vessels.     A  beautiful  picture. 

4.  A  qmet  sea,  with  vessels,  from  which  a  cannon  is  being  fired. 
Clear  and  delicate. 

LuDOLPH  Backhijysen. — 1.  An  agitated  sea,  with  various  ves- 
sels.    Of  cool  tone  and  tolerably  broad  treatment. 

2.  A  male  portrait,  which  may  be  his  own.  Carefully  executed 
in  the  taste  of  Van  der  Heist's  later  pictures. 

3.  A  sea-piece,  with  red  figures  in  the  foreground.  Of  his  late 
cold  time. 

Van  db  Cappella. — One  of  his  sea-pieces,  which  on  account 
of  their  dark  shadows  are  not  very  attractive. 

Jan  van  Hüysum. — A  rich  and  very  careful  landscape;  in  a  style 
of  art  which  this  celebrated  flower-pamter  occasionally  indulged  ia 

VOL.  IIL  P 

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210  THIRLESTAINE  HOUSE.  Letteb  XXVI. 

Jan  van  Os. — ^Two  capital  flower-pieces ;  in  the  bright  sunny 
style  of  Van  Huysum. 

German  School. 

Albert  Dürer. — Maximilian  I.,  in  red  furred  garment,  and 
black  hat,  on  which  is  a  golden  medallion  of  the  Virgin  and 
Child,  holding  a  pomegranate  in  his  right  hand.  On  the  ground 
the  imperial  arms,  and  an  inscription  in  a  yellowish-red  colour,  in 
which  the  year  of  the  king's  death  is  given.  Of  most  animated 
conception  and  solid  painting.  Albert  Durer  alone  could  have 
painted  grey  hair  with  such  exactitude.  Unfortunately  the  flesh- 
tones  have  been  over-cleaned,  and  are  also  retouched. 

Holbein. — John  Fisher,  Bishop  of  Rochester,  in  a  gay  furred 
dress ;  the  cardinal's  hat  in  his  hand,  which  Pope  Clement  VII. 
had  sent  him.  Very  great  individuality  is  here  given,  with  a 
truth  and  energy  such  as  are  seldom  met  with.  Judging  from  the 
warm  tone  and  the  extraordinary  modelling,  which  in  the  shadows 
approach  to  blackness,  this  picture  may  have  been  painted  about 
1529.     I  only  saw  it  at  the  British  Institution  in  1851. 

Lucas  Cranach. — ^The  subject  of  Cupid  bewailing  the  sting  of 
a  bee  to  Venus,  so  often  treated  by  this  master.  In  the  back- 
ground a  stag ;  in  front  a  very  rich  coat-of-arms.  More  animated 
in  motive,  and  more  speaking  in  expression,  than  the  pictures  of 
this  subject  which  I  know.  Inscribed  with  his  known  dragon 
and  1537. 

Gualdorp  Gorzius. — A  portrait,  said  to  be  of  the  Earl  of 
Essex,  favoimte  of  Queen  Elizabeth,  is  by  this  Cologne  master, 
who  flourished  in  the  16th  century. 

Johann  Rothenhammer. — The  Apostle  Paul  at  Lystra,  in- 
scribed 1564,  is  one  of  the  best  pictm*es  I  know  by  this  inferior 
master,  which  is  my  reason  for  noticing  it. 

English  School. 

Hogarth. — Dice-players ;  speaking  in  the  heads,  animated  in 
motives,  but  very  grey  in  colouring. 

Sir  Joshua  Reynolds. — 1.  Portrait  of  a  lady  resting  on  her 
arm ;  easy  in  motive,  refined  in  expression,  but  pale  in  colour. 

2.  The  infant  Hercules  strangling  the  serpent  Juno  had  sent 
to  destroy  him.  Mannered  in  motive,  empty  in  forms,  sulphur- 
yellow  in  colour,  and  black  in  the  shadows. 

Gainsborough. — The  Market-cart.    A  similar  subject  to  that 

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Letter  XXVI.     LORD  NORTHWICK'S  COLLECTION.  211 

of  the  picture  in  the  National  Gallery,  but  composed  difiFerently, 
and  not  inferior  in  glow  of  colour. 

Wilson. — 1.  A  large  and  very  rich  landscape,  in  the  taste  of 
Claude  ;  in  front  girls  bathing.  Poetically  conceived,  and  in  a 
powerful  and  clear  tone.     Very  carefully  executed. 

2.  An  example  of  the  landscape  with  Niobe  and  her  children. 
Of  particular  beauty,  and  with  various  changes  in  the  figures. 

BoNNiNGTON. — A  sca-shorc,  with  a  cart  upon  it.  A  real  marvel 
of  keeping  and  transparency  in  the  rendering  of  the  misty  atmos- 
phere. 

Sir  Charles  Eastlake. — View  of  the  group  of  buildings  of 
the  Erechtheum,  the  Padroseum,  &c.  The  sunny  lighting  is  ad- 
mirably rendered  in  a  deUcate  execution  of  solid  body. 

Sidney  Cooper. — Cows,  in  warm  evening  light,  in  the  taste  of 
Cuyp.    True  in  forms,  and  carefully  executed  in  a  clear  tone. 

Nasmyth. — 1  and  2.  A  view  of  Windsor  Castle.  Well  con- 
ceived, and  spiritedly  and  carefully  executed  in  the  taste  of  Ruys- 
dael.  Inscribed,  and  dated  1830.  Also  the  companion  picture, 
a  wood-scene,  is  of  similar,  though  not  quite  equal  merit. 

Müller. — Some  landscapes  of  considerable  artistic  value. 

Hook. — A  Venetian  scene,  with  musicians  in  a  gondola.  A 
young  lady  is  bending  down  to  present  a  rose  to  a  young  man. 
The  animated  motive,  the  light  keeping,  which  is  only  disturbed 
in  some  parts  by  too  gaudy  a  colouring,  render  this  carefrd  pic- 
ture very  attractive.     Inscribed,  and  dated  1850. 

Besides  these,  there  are  many  other  pictures  of  great  merit  of 
the  English  school,  which  I  have  no  space  to  enumerate. 

Lord  Northwick  possesses  admirable  objects  also  in  other  styles 
of  art ;  for  instance,  a  case  containing  miniatures,  of  which  he  has 
a  rich  collection :  some  of  them  are  of  great  beauty,  and,  above 
all,  a  man's  head  by  Holbein.  Also  a  fine  collection  of  enamels, 
in  which  many  well-known  pictures  are  faithfully  rendered. 

Other  cases  contain  engraved  gems,  stones,  with  some  beautiful 
antique  cameos  in  sardonyx ;  for  instance,  a  Triumph  of  Bacchus, 
and  a  Venus  Victrix. 

His  Lordship  has  also  a  collection  of  antique  Sicilian  coins ; 
the  specimens  are  of  rare  beauty. 

Finally,  the  mansion  and  garden  are  decorated  with  a  large 
number  of  statues,  statuettes,  and  busts,  in  marble  and  bronze, 
among  which  are  casts  of  various  celebrated  antique  statues ;  for 

p  2 

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212  WARWICK  CASTLE.  Letter  XXVL 

instance,  the  Diana  of  Gabii.  The  elegant  furniture  in  the  rooms 
corresponds  with  the  higher  decorations  of  art,  and  the  freshness 
and  cleanliness  with  which  everything  is  preserved  increase  the 
agreeable  eflFect. 

In  Northwick  Park,  near  Morton-in-the-Marsh,  another  seat 
belonging  to  this  nobleman,  many  hundred  pictures  are  also  to  be 
seen,  comprising  much  that  is  interesting ;  but  as  I  understood  that 
the  principal  specimens  had  been  gathered  together  in  Thirlestaine 
Hall,  and  an  expedition  to  Northwick  Park  would  have  occupied 
much  time,  I  was  obliged  to  give  it  up. 


WARWICK    CASTLE. 

I  must  not  attempt  to  give  any  description  of  the  beauties  and 
glories  of  this  feudal  pile,  to  which  it  would  assuredly  be  diflScult 
to  find  a  rival,  at  all  events  in  the  same  well-kept  state  of  preser- 
vation. The  masses  of  ivy  that  envelop  the  walls  and  towers  add 
greatly  to  the  picturesqueness  of  the  efiect,  while  at  the  same  time 
they  give  the  pleasing  assurance  that  the  necessity  for  warlike 
defence  has  long  passed  away,  and  has  been  succeeded  by  those 
happy  times  of  true  cultivation  and  comfort,  in  which  such  long- 
descended  monuments  of  the  past  are  preserved  and  kept  up  with 
a  reverence  due  to  their  history  and  antiquity.  Through  the  kind 
intervention  of  some  powerful  friends  in  1835,  I  was  fortunately 
enabled  to  see  the  castle  and  its  contents  with  perfect  ease.  I  first 
inspected  the  grand  and  beautifiil  hall,  which  had  been  recendy 
repaired  and  appropriately  adorned  with  weapons  and  armour  of 
various  descriptions.  In  two  suites  of  apartments  on  both  sides  of 
this  hall  are  arranged  a  collection  of  choice  pictures,  which  I  pro- 
ceed to  describe  in  the  order  in  which  I  saw  them. 

Vandyck. — 1.  Portrait  of  a  young  man,  of  a  very  marked  cha- 
racter, with  mustachios  and  curly  hair.  To  the  knees.  This  spi- 
rited and  animated  picture,  of  the  early  time  of  the  artist,  with 
somewhat  cool  reddish  tones  in  the  lights,  and  blackish  shadows, 
is  here  ascribed  to  Velasquez. 

De  Lorme. — ^The  interior  of  a  church  by  candlelight.  A  large 
picture  by  this  rare  painter  of  architecture,  in  which  the  perspec- 
tive and  light  and  shade  are  very  masterly.     Inscribed  1645. 

Salvator  Rosa. — 1.  Two  robbers  under  large  trees.  Very 
spirited. 


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Letter  XXVI.    EARL  OF  WARWICK'S  COLLECTION.  213 

2.  Democritus ;  the  same,  on  a  small  scale,  as  the  large  pidure 
in  the  Grosvenor  Gallery.     Well  executed,  and  very  clear. 

Raphael. — The  picture  of  Joanna  of  Aragon,  so  highly  ex- 
tolled by  the  author  of  the  'Letters  of  a  German  Prince'  in  his 
admirable  description  of  Warwick  Castle.  I  also  thought  the 
head  more  delicate,  animated,  and  warmer  in  tone,  than  in  any  of 
the  other  examples  known  to  me,  that  in  the  Louvre  not  excepted, 
and  the  execution  is  throughout  very  careful.  Still,  however,  the 
vacant  look  of  the  eyes,  the  rather  careless  treatment  of  the  acces- 
sories, and  the  very  dark  background,  lead  me  to  doubt  its  being 
the  original  by  Raphael  mentioned  by  Vasari. 

Rubens. — 1.  The  portrait  of  the  celebrated  collector  and"  ama- 
teur Thomas  Howard  Earl  of  Arundel,  to  the  knees ;  in  armour, 
with  a  baton  in  his  right  hand,  and  his  helmet  on  a  table  behind 
him.  This  picture  proves  what  Rubens  was  able  to  do  when  he 
exerted  all  his  powers.  The  very  nobly-conceived  and  finely-drawn 
head  is  in  the  most  glowing,  deep  tone,  the  impasto  masterly,  and 
the  brilliant  armour  painted  with  astonishing  force. 

2.  Portrait  of  the  Marquis  of  Spinola,  the  celebrated  general  of 
Philip  II.  in  the  Netherlands,  with  a  baton :  to  the  kneea  In 
many  respects  it  differs  from  Rubens,  yet  it  is  executed  with  a 
refined  feeling  for  nature,  in  a  bright,  delicate  golden  tone. 

Vandyck. — 2.  The  wife  of  Frans  Snyders,  in  a  white  cap  and 
a  broad  ruS,  The  handsome  face  is  painted  in  his  earlier  style, 
with  great  simplicity  of  feeling,  in  a  very  clear  tone,  resembling 
that  of  Rubens.     Formerly  in  the  Orleans  Gallery. 

3.  Lady  Brooke,  of  the  family  of  the  present  Earls  of  Warwick. 
She  is  sitting  in  an  arm-chair,  in  a  black  silk  dress,  richly  adorned 
with  jewels,  and  is  seen  nearly  in  profile.  At  her  side  is  her 
young  son,  in  a  red  silk  flowered  dress ;  at  her  feet  a  greyhound. 
Figures  the  size  of  life.  An  uncommonly  careful  picture,  extremely 
elegant,  about  the  middle  time  of  his  residence  in  England. 

4.  Henrietta  Maria,  Queen  of  Charles  I.,  whole-length,  the  size 
of  life.  In  an'  orange  silk  dress,  ornamented  with  jewellery,  stand- 
ing in  an  easy  attitude  with  her  hands  folded.  This  portrait,  most 
delicately  executed  in  a  silvery  tone,  is  one  of  the  most  beautiful 
that  Vandyek  painted  of  that  queen. 

5.  A  portrait,  said  to  be  that  of  the  Duke  of  Alba :  to  the 
knees,  in  a  silk  dress  with  a  black  pattern,  and  a  black  pelisse. 
Inscribed  1630.     This  picture  is  perhaps  of  the  master's  best 

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214  WARWICK  CASTLE.  Letter  XXVL 

period,  combining,  with  the  elevation  of  conception  and  amplicity 
of  form  which  he  acquired  in  Italy,  a  masterly  execution,  in  a 
bright,  clear,  golden  tone.  The  hands,  especially  the  left,  are 
of  extreme  delicacy.  It  cannot,  however,  be  the  Duke  of  Alba, 
who  died  in  1582.  I  trace  much  resemblance  in  the  features 
with  Vandyck's  portrait  of  the  Earl  of  Arundel,  in  Stafford 
House. 

6.  King  Charles  I. ;  to  the  knees.  In  his  left  hand  a  glove, 
leaning  with  the  right  upon  a  table.  The  lights  very  bright,  the 
shadows  of  a  reddish  tone,  the  painting  very  mellow.  Yet  I  doubt 
the  originality. 

7.  David  Ryckaert,  the  painter,  sitting  in  an  arm-chair,  with  a 
fur  cap  on  his  head,  in  a  dress  trimmed  with  fur.  The  face,  with 
very  marked  features  and  large  mustachios,  is  most  carefully  painted, 
with  extraordinary  truth  of  nature,  and  in  a  very  warm,  clear  tone, 
resembling  that  of  the  light  pictures  by  Rembrandt. 

Titian. — 1.  Portrait  of  Macchiavelli.  I  could  not  recognise  in 
this  picture  either  the  conception  and  execution  of  Titian,  or  the 
features  of  Macchiavelli ;  but  the  young  man  whom  it  represents 
has  a  very  sensible  countenance,  and  the  painting  indicates  a  great 
master,  whose  style  much  resembles  that  of  Giovanni  Battista 
Moroni,  of  Bergamo.  On  a  label  are  the  words  "  Deo,  Patriae, 
Tibi." 

DoBsoN. — ^A  portrait  in  armour;  half-length.  A  carefully 
executed  picture  by  this  eminent  English  painter. 

Vandyck. — 8.  Bust-picture  of  Antonio  de  Zuniga  and  Davila, 
Marquis  of  Mirabella.  This  carefully  executed  picture  was  pro- 
bably painted  by  Vandyck  in  Venice ;  for  it  is  in  a  golden  tone, 
nearly  akin  to  Titian,  only  rather  more  subdued. 

9.  Portrait  of  Robert  Rich,  Earl  of  Warwick ;  whole-length, 
the  size  of  life.  He  is  dressed  in  magnificent  armom*,  leaning 
with  his  right  arm  on  a  pedestal,  with  a  baton  in  his  hand. 
Inscribed  1632.  A  capital  picture,  carefully  painted  in  the  warm 
yellowish  flesh-tones  which  were  peculiar  to  Vandyck  at  the  com- 
mencement of  his  residence  in  England. 

MuRiLiX). — A  boy,  laughing,  pointing  at  the  spectator.  Painted 
with  great  spirit  and  humour,  in  a  full  light,  in  his  clear  reddish 
tone.  The  hand  is  admirably  foreshortened,  the  background  light 

Rubens. — 3.  Ignatius  Loyola ;  whole-length,  larger  than  life, 
dressed  in  a  splendid  scarlet  chasuble,  embroidered  with  gold.    He 

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Letter  XXVI.    EARL  OF  WARWICK'S  COLLECTION.  215 

stands,  looking  up  to  heaven,  as  if  praying  for  the  prosperity  of 
his  order,  the  rules  of  which  are  in  a  book  which  he  holds  in  his 
hand.  More  severe  in  the  forms  than  usual.  Very  carefully  exe- 
cuted in  an  admirable  broad  treatment,  and  in  full  light,  in  a 
dear  fall  golden  tone.  This  picture  has  a  most  striking  effect. 
Formerly  in  the  Jesuits'  College  at  Antwerp. 

Titian. — 2.  Margaret  of  Parma ;  whole-length,  the  size  of  life, 
in  a  white  dress.  The  conception  and  colouring  rather  indicate  a 
fine  work  by  Paul  Veronese. 

Feder  iGo  Zucchero. — Queen  Elizabeth's  Earl  of  Essex  in 
profile.  A  delicate  picture,  in  a  very  light  tone.  Excessive  con- 
fidence and  self-complacency  are  expressed  in  these  features. 

The  following  pictures  are  in  the  charming  apartment  of  the 
Countess  of  Warwick,  at  the  right  end  of  the  castle,  from  which 
there  is  a  fine  bird's-eye  view  of  the  Avon,  which  flows  at  the  back 
of  the  castle.  The  ruins  of  a  stone  bridge,  with  a  luxuriant  vege- 
tation, comprising  the  finest  cedars,  have  a  most  pleasing  effect. 

Holbein. — ^King  Henry  VIII.  To  the  knees,  the  size  of  life ; 
fall  front.  The  square  face  is  so  fat  that  the  several  parts  are 
quite  indistinct  There  is  in  these  features  a  brutal  egotism,  an 
obstinacy,  and  a  harshness  of  feeling,  such  as  I  have  never  yet 
seen  in  any  human  countenance.  In  the  eyes,  too,  there  is  the 
suspicious  watchfalness  of  a  wild  beast,  so  that  I  became  quite 
uncomfortable  from  looking  at  it  a  long  time ;  for  the  picture,  a 
masterpiece  of  Holbein,  is  as  true  in  the  smallest  details  as  if  the 
king  himself  stood  before  you.  In  the  very  splendid  dress  much 
gold  is  employed.  The  under-sleeves  are  of  gold,  with  brown 
shadows ;  the  hands  most  strikingly  true  to  nature  ;  in  the  left  he 
has  a  cane,  and  in  the  right  a  pair  of  gloves ;  on  his  head  a  small 
cap.  The  background  is  bright  green.  The  want  of  simplicity 
of  the  forms,  the  little  rounding  of  the  whole,  notwithstanding  the 
wonderful  modelling  of  all  the  details,  the  brownish  red  local  tone 
of  the  flesh,  the  grey  of  the  shadows,  and  the  very  light  general 
effect,  show  this  picture  to  be  a  transition  from  the  second  to  the 
third  manner  of  Holbein,  and  that  it  may  have  been  painted  about 
1530. 

Several  other  pictures,  here  ascribed  to  Holbein,  are,  in  my 
opinion,  either  copies,  or  have  nothing  in  common  with  him. 

Teniers. — ^A  guard-room.  In  the  foreground  two  smokers 
and  various  arms ;  farther  back  six  men  at  cards.     In  spirit  and 

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216  WARWICK  CASTLE.  Letter  XXVI. 

execution,   impasto,  and  charmingly  cool  harmony,  one  of  the 
finest  pictures  of  the  master  of  this  kind. 

Annibale  Carracci.— a  Pieta  with  angels  by  torchlight.  A 
small  cabinet  picture,  the  composition  of  which  is  very  noble  and 
dramatic,  and  the  execution  very  careful. 

Peter  Neefs. — 1  and  2.  Two  architectural  pictures — St.  Peter 
in  prison,  and  his  deliverance  from  it — distinguished  by  clearness 
and  sharp  and  delicate  treatment. 

Salvator  Rosa. — An  old  man  under  a  tree,  and  a  hermit  by 
a  piece  of  water,  are  delicate  pictures  of  a  light  tone. 

In  other  apartments,  not  usually  shown  to  the  public,  I  particu- 
larly noticed  the  following : — 

Giovanni  Battista  Moroni. — Portrait  of  a  man ;  very  finely 
painted. 

Walker. — ^Portrait  of  Oliver  Cromwell.  Promises  much,  but 
hangs  in  too  bad  a  light 

Canaletto. — The  Doge's  Palace,  with  numerous  figures 
assembled  to  witness  the  ceremony  of  the  marriage  of  the  Doge 
with  the  Adriatic.  In  size,  power,  and  depth  of  colouring,  rich- 
ness, and  careful  execution,  one  of  the  finest  works  of  the  master. 

Sir  Joshua  Reynolds. — A  schoolboy  ;  half-length  figure.  Ex- 
quisite in  the  truth  of  the  expression,  and  in  warmth  and  clear- 
ness of  tone  approaching  Rembrandt. 

The  portrait  of  Shakspeare,  though  without  a  genealogy,  was 
exceedingly  interesting  to  me  ;  it  seems  more  worthy  of  this  great 
poet  than  any  that  I  have  hitherto  seen,  and  therefore  deserving 
the  attention  of  all  those  who  have  at  their  command  the  critical 
literature  relative  to  the  portraits  of  the  poet,  and  the  comparative 
examination  of  those  extant.  He  is  here  represented  younger 
than  usual,  and  with  more  delicate  features,  but  with  the  mus- 
tachios  and  pointed  beard.  The  whole  conception  is  very  peculiar. 
Seated  behind  a  table  covered  with  a  white  cloth,  in  a  red  chair 
with  a  high  back,  he  is  on  the  point  of  writing ;  looking  up  as  if 
reflecting ;  for,  although  his  eye  is  directed  towards  the  spectator, 
his  mind  is  evidently  fixed  on  his  subject.  The  expression  of  the 
head  is  remarkably  refined  and  spirited :  he  is  dressed  in  black, 
with  white  lace  ruff  and  ruflSea  The  local  tone  of  the  flesh  is 
reddish,  the  execution  careful  The  whole  work  bespeaks  a  clever 
painter,  and  it  seems  to  me  to  be  decidedly  an  original  portrait 
The  ground  is  black. 

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Lkttkb  XXVI.    EARL  OF  WARWICK'S  COLLECTION.  217 

Here  are  several  antique  busts  which  I  cannot  pass  over  in 
silence. 

Sdpio  Africanus,  above  the  size  of  life;  very  characteristic, 
especially  the  mouth :  of  fine  workmanship.  The  nose  and  ears 
are  new. 

Augustus,  rather  colossal,  at  the  age  of  about  fifty  years,  beau- 
tifully executed  in  Parian  marble.  The  neck  and  hair  particu- 
larly good.     The  whole  in  capital  preservatioa 

Trajan ;  a  fine  work,  of  Carrara  marbla    Nose  and  ears  restored. 

Hercules,  colossal ;  of  very  noble  character  and  excellent  sculp- 
ture.    The  nose,  beard,  and  back  of  the  head  new. 

In  a  sarcophagus,  with  the  constantly  recurring  fable  of  Diana 
and  Endymion,  I  was  pleased  with  the  graceful  motives  which, 
even  in  the  decline  of  the  arts,  were  retained  on  many  monuments 
of  antiquity ;  for  the  lions'  heads,  the  oval  form  of  the  sarcophagus, 
and  the  style  of  the  workmanship,  indicate  a  very  late  period. 
The  surface  is  much  injured. 

A  relief  in  wood,  from  the  celebrated  Battle  of  the  Amazons 
by  Rubens,  in  the  Munich  Gallery,  is  very  remarkable.  It  is  the 
size  of  the  original,  and,  without  doubt,  executed  at  an  early 
period  in  the  Netherlands,  where  this  art  was  practised  in  the 
seventeenth  century  with  extraordinary  skill. 

A  cabinet  contains  a  moderately  large,  though  excellent  collec- 
tion of  Limousin  enamels.  Four  plates  represent  the  history  of 
Psyche,  from  the  well-known  engravings  of  the  Master  with  the 
Die,  from  Raphael's  compositiona  The  workmanship  is  exceed- 
ingly beauti^L  The  same  may  be  said  of  a  dish,  with  the  Feast 
of  the  Gods,  from  a  part  of  the  celebrated  fresco  by  Raphael  in 
the  Famesina.  The  Gathering  of  the  Manna,  on  another  dish, 
also  after  Raphael,  exceeds  in  beauty,  freedom,  and  skill,  all  that  I 
have  ever  seen  of  this  kind. 

One  dish  of  uncommon  size  has  a  very  rich  poetical  composition 
of  the  Rape  of  Europa,  though  the  workmanship  is  less  delicate. 

Several  vessels,  tankards,  &c.,  have  in  the  highest  degree  that  ele- 
gance of  form,  and  that  delicate  taste  in  the  ornaments,  which  are  so 
justly  admired  in  the  so-called  epoch  of  the  renaissance  in  France. 

The  collection  of  arms  contains  much  that  is  interesting,  espe- 
cially a  complete  series  of  ancient  bows,  a  weapon  in  the  use  of 
which  the  English  had  attained  such  skill  in  the  fourteenth  cen- 
tury as  to  give  them  great  advantage  in  their  wars  with  France. 

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218  WARWICK  CASTLE.  Letteb  XXVI. 

Beautiful  vessels,  and  fine  specimens  of  Derbyshire  spar,  indicate 
the  vicinity  of  that  county.  A  rock  crystal  of  extraordinary  size 
combines  with  the  rarest  whiteness  the  greatest  clearness  and  purity. 

In  conclusion  I  must  mention  a  slab,  with  Rorentine  mosaic, 
which  is  perhaps  unequalled  in  the  richness  and  beauty  of  work- 
manship. It  was  lately  purchased  of  the  Grimani  family  in  Ve- 
nice, and  is  adorned  with  their  arms. 

After  seeing  everything  in  the  Castle,  I  ascended  two  of  the 
towers,  from  which  there  are  fine  views  of  the  Castle,  of  the 
city  of  Warwick,  of  the  garden,  and  of  the  magnificently-wooded 
park.  I  was  now  desirous  of  seeing  the  celebrated  Warwick  vase, 
of  which  there  are  so  many  large  and  small  copies  in  Berlia  It 
is  very  near  the  Castle,  and  stands  in  the  centre  of  a  conservatory, 
on  a  tolerably  high  pedestal  The  efiect  of  this  vase,  which  is 
executed  in  the  finest  white  marble,  and  is  6  ft.  11  in.  in  diameter, 
is  very  astonishing.  In  magnitude,  form,  and  beauty  of  work- 
manship, it  is  the  moot  remarkable  vessel  of  antiquity  which  we 
possess,  in  which  the  ancients  used  to  mix  their  wina  It  is  ac- 
cordingly very  appropriately  adorned  with  spirited  Bacchanalian 
masks,  and  the  handles  have  the  appearance  of  large  branches  of 
vine  growing  out  of  the  vase,  and  surrounding  it  with  their  foliage. 
The  delicacy  of  this  foliage,  and  the  whole  style  of  the  workman- 
ship, indicate  that  this  vase  may  have  been  only  an  antique  copy 
from  a  similar  vessel  in  bronze,  which  was  probably  highly  cele- 
brated. It  was  found  in  Adrian's  villa  at  Tivoli,  and  came  into 
the  possession  of  Sir  William  Hamilton,  who  presented  it  to  the 
Earl  of  Warwick.  Except  some  of  the  masks,  which  have  needed 
considerable  repair,  it  is  in  good  preservation.  The  present  Earl 
appears  duly  to  appreciate  the  happiness  of  possessing  this  noble 
work ;  for,  as  the  steward  told  me,  the  family  often  drink  tea  in 
this  conservatory. 

A  long  walk  through  the  noble  park  was  grateftil  and  refresh- 
ing after  the  enjoyment  of  so  many  works  of  art ;  the  eye  being 
enlivened  by  the  bright  green  of  the  trees,  while  the  inequalities 
of  the  ground  afibrded  the  most  varied  views  of  the  gigantic  castle, 
which  towered  above  the  wood,  and  was  often  happily  grouped 
with  the  elegant  steeple  of  St.  Mary's  church.  Cattle  and  game 
animated  the  middle  distance ;  many  pheasants  and  partridges, 
which  flew  about  quite  close  by  me,  plainly  indicated  that  they  had 
been  long  undisturbed  by  the  sportsman. 

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Letter  XXVI.  COMBE  ABBEY.  219 

I  next  proceeded  to  the  church  of  St.  Mary's,  where,  in  the 
elegant  and  rich  Gothic  chapel  of  Richard  Beauchamp,  Earl  of 
Warwick,  who  died  in  the  year  1439,  I  examined  the  monument 
of  that  personage.  His  figure,  larger  tlian  Ufe,  chased  in  bronze, 
lies  on  a  stone  sarcophagus,  which  is  adorned  with  many  small 
statues  of  saints,  of  the  same  metal.  Its  value,  as  a  work  of  art,  is 
but  small 

In  the  same  chapel  is  a  monument  of  the  celebrated  Earl  of 
Leicester ;  coloured  eflSgies  of  both  himself  and  his  lady  lie  at  fiill 
length  beneath  a  considerable  canopy  in  the  Italian  taste.  In  the 
same  style,  though  rather  more  simple,  is  the  monument  of  the 
celebrated  Fulke  Greville,  Lord  Bropke,  the  friend  of  Sir  Philip 
Sydney,  the  first  of  the  family  of  the  present  Earl  of  Warwick. 


COMBE     ABBEY. 

Willingly  would  I  have  paid  a  visit  to  Combe  Abbey,  the  seat 
of  Lord  Craven ;  but  after  my  experience  at  Wentworth  House 
and  Belvoir  Castle,  I  felt  that  his  Lordship's  assurance  that  he 
would  write  to  the  housekeeper  was  not  enough  to  warrant  my 
imdertaking  the  visit.  I  am  therefore  glad  to  be  able  to  give  a 
report  of  the  best  pictures,  for  which  I  am  indebted  to  the  kind- 
ness of  Lady  Theresa  Lewis  and  Mr.  Peter  Cunningham. 

Van  Somek. — Whole-length  portraits  of  James  I.,  Anne  of 
Denmark,  and  Prince  Henry,  bequeathed  to  the  first  Earl  of 
Craven  by  the  Queen  of  Bohemia.  ^ 

MiREVELT. — A  collection  of  portraits. 

HoNTHORST. — ^Very  many  examples,  indudmg  Queen  of  Bohe- 
mia, King  of  Bohemia,  Charles  I.,  engraved  in  Lodge,  Prince 
Rupert,  all  full-lengths ;  and  a  head  of  the  painter  himself. 

Vandyck. — Portraits  of  Prince  Maurice  and  Prince  Rupert ; 
Princess  of  Orange ;  First  Earl  of  Craven ;  Duke  of  Richmond, 
With  dog ;  he  is  in  black  with  white  stockings ;  one  of  the  finest  of 
the  many  repetitions  of  this  picture. 

DoBSON. — ^Portrait  of  Charles  II. 

Two  Canalettos. 

Lucas  Cranacu. — The  Elector  George  of  Saxony  surrounded 
by  the  Reformers  Luther,  Melanchthon,  Zuinglius,  (Ecolampa- 
dius,  &C. 


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220  HADZOR.  Letter  XXVI. 

The  pictures  in  the  possession  of  Mrs.  Fairholme,  of  Learning* 
ton,  are  doubtless  worthy  attention.  Unfortunately  my  engage- 
ments in  London,  in  1851,  prevented  my  availing  myself  of  an 
invitation  from  this  lady. 


HADZOR. 


Having  been  most  kindly  invited  by  Mr.  Howard  Galton,  an 
earnest  lover  of  art,  to  visit  him  at  his  country  seat,  Hadzor,  near 
Droitwich,  I  was  glad  to  avail  myself  of  an  opportunity  in  the 
year  1850.  I  received  the  most  friendly  reception  from  Mr.  Gal- 
ton, his  lady,  and  their  son,  an  officer  on  leave  of  absence,  and 
found  myself  among  such  congenial  minds  that  I  immediately 
felt  myself  at  ease  and  happy.  After  a  hasty  view  of  the  pictures, 
which  are  scattered  in  almost  every  apartment  of  the  comfortable 
house,  I  accompanied  Mrs.  Galton  in  a  walk  which  led  from  a 
pretty  conservatory  under  fine  trees,  and  through  agreeably  broken 
ground,  till  a  sight  met  my  eye  which  was  as  novel  as  it  was 
pleasing  to  me.  Mr.  Galton,  another  gentleman,  and  the  two 
Misses  Bearcroft,  were  engaged  with  bow  and  arrow,  shooting 
at  a  target  sixty  yards  distant.  The  eagerness  of  the  aim,  the 
animated  and  rapid  actions,  especially  in  the  ladies,  was  a  graceful 
and  most  interesting  sight,  such  as  the  stiflf  manners  of  our  German 
social  forms  scarcely  ofier.  As  I  was  assured  that  archery  was 
very  usually  practised  at  this  season  in  many  parts  of  England,  I 
could  not  help  reflecting  how  deeply  the  taste  for  such  exercises, 
which  had  proved  so  fatal  to  the  French  in  many  a  battle  in  the 
14th  and  15th  centuries,  must  be  planted  in  the  nation,  that  it 
could  survive  all  purposes  of  war  for  more  than  three  centuries. 

I  now  proceed  to  consider  the  pictures  in  the  order  in  which 
they  occur  in  the  rooms. 

DiNINO-ROOM. 

Sir  Joshua  Reynolds.— 1.  The  Duke  and  Duchess  of  Hamil- 
ton on  horseback ;  her  face  is  overshadowed  by  her  hat.  Of  ani- 
mated conception,  and  carefully  executed  in  a  warm  tone. 

Solomon  Ruysdael. — A  landscape  with  cows  in  the  foreground, 
a  group  of  trees  in  the  middle-ground,  and  a  village  behind ;  un- 
usually beautiful  for  him,  and  in  power  of  colour  and  excellence  of 
execution  approaching  his  brother. 

Albert  Cuyp. — 1.   Two  horsemen  on  a  grey  and  a  brown 

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Lkttbr  XXVI.         MR.  GALTON'S  COLLECTION.  221 

horse ;  a  third  swimming  two  horses ;  careful  and  clear,  of  his 
best  time. 

2.  A  man  with  a  horse  and  a  dog  is  of  a  similar  quality. 

RoüTBOüT. — A  landscape,  with  water,  an  oak,  and  a  windmill. 
This  is  a  careful  picture,  of  clear  colouring,  by  this  clever  painter, 
who  is  alternately  taken  for  Ruysdael  and  for  Hobbema. 

Jan  David  de  Heem. — Two  small  fruit-pieces,  of  great  beauty. 

Velasquez.— The  Infant  Don  Ferdinand,  brother  of  Philip 
n.,  on  horseback.  I  do  not  venture  to  pronounce  on  this  picture, 
but  for  the  master  assigned  it  appears  in  many  parts  too  heavy 
in  tone. 

Gonzales  Coques. — Portraits  of  a  man  and  his  wife ;  very 
animated,  but  in  an  unusually  cool  tone  for  him. 

LiNQELBACH. — 1.  A  hay-waggou  in  a  landscape,  quite  in  the 
taste  of  Wouvermans,  and  approaching  very  near  him  in  delicacy 
of  touch,  but  heavier  in  tone,  and  somewhat  cruder. 

Collins. — A  sea-coast  scene  with  a  grey  horse ;  vessels  on  the 
water.     Poetically  conceived,  and  of  powerful  tone  in  a  warm  light 

Van  DEN  EcKHOUT. — ^A  male  portrait. 

Dirk  van  Delen. — A  party  at  a  meal  in  a  large  saloon. 
Inscribed.     Delicately  and  clearly  carried  out,  in  a  silvery  tone. 

Sir  Joshua  Reynolds. — 2.  His  own  portrait,  in  youthful  years. 
Very  animated. 

Library. 

Jan  le  Düc. — ^A  room  with  three  grown-up  people,  three  chil- 
dren, and  a  dog ;  very  true  and  careful. 

DoBSON. — Portrait  of  Milton ;  animated  and  careftil. 

Frederick  Moucueron. — 1.  A  large  and  careful  landscape, 
with  pretty  figures  by  Linqelbach. 

Saloon. 

Nicolas  Maas. — A  mother,  with  her  child  on  her  lap,  and 
another  woman ;  half-length  figures,  life-size ;  singularly  fresh  and 
artless  in  conception,  and  of  great  power  of  colour. 

Erasmus  Quellinus. — The  Flight  into  Egypt;  varied  from 
the  same  subject  by  his  master  Rubens,  at  Blenheim. 

MiREVELDT. — ^A  male  portrait ;  dear  and  careful. 

In  this  apartment  there  are  also  two  statues  in  marble,  which 
Mr.  Galten  brought  from  Italy ;  namely — 

FiNELLi. — ^Psyche  seeking  to  pacify  the  ofiended  Cupid ;  a  group 
of  pleasing  motive,  and  well  carried  out. 


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222  HADZOR.  Letter  XXVT. 

Wyatt. — ^The  infant  Bacchus,  with  a  bunch  of  grapes,  which 
he  is  holding  joyfully  up.  Naturally  and  animatedly  conceived, 
and  of  soft,  delicate  execution. 

Bartolini. — A  very  carefiil  copy  from  the  Venus  de'  Medici. 
Drawing-room. 

PiETRO  Francesco  Mola. — The  Flight  into  Egypt,  in  a  very 
poetical  landscape,  reminding  us,  in  some  parts,  of  Gaspar  Pous- 
sin,  and  in  others  of  Salvator  Rosa. 

DucHATEL. — A  numerous  party  of  peasants,  in  which  he  ap- 
proaches very  near  his  master  Teniers. 

A  COSTING  Tassi. — A  landscape,  in  which  the  master  of  Claude 
may  be  easily  recognised ;  though  of  course  the  tone  is  far  heavier. 
The  pleasing  figures  are  by  Jan  Miel. 

Teniers. — A  landscape,  with  rustics  dancing;  lightly  and 
spiritedly  treated. 

Mytens. — ^A  female  portrait,  with  a  guitar  ;  clear  and  careful. 

Henrik  Mommers. — ^Two  landscapes,  with  figures.  Good 
specimens. 

Frederic  Moucheron. — 2.  A  very  happily  composed  and 
delicately  executed  landscape,  with  figures  by  Adrian  Van  de 
Velde  ;  somewhat  injured.     Inscribed. 

De  Heusch. — A  pretty  and  transparent  landscape,  with  figures 
by  LiNGELBACH.     Inscribed. 

Jan  Baptista  Weenix. — 1.  A  seated  party,  of  animated  heads 
and  motives ;  broadly  and  thoroughly  executed.     Inscribed. 

Beerestraaten. — A  town  in  winter,  with  ice ;  a  rich,  true, 
clear,  and  careful  picture. 

Peter  de  Hgoge. — A  man  and  woman  looking  at  a  dog ; 
also  a  maid  with  a  child  ;  a  clear  sunlight  falls  on  the  figures,  and 
in  the  inner  space.  Of  imusual  transparency  ;  the  picture,  which 
is  of  tolerable  size,  is  inscribed  with  his  monogram. 

Lahire. — ^A  landscape  with  a  Riposo ;  very  clear  and  careful. 

Bonaventura  Peters. — An  agitated  sea ;  a  good  picture. 

Jan  van  Goyen. — ^A  quiet  sea ;  also  a  good  picture. 

Vandyck. — Fragment  of  a  large  picture  of  the  family  de  Wael. 
The  flesh-tints  are  delicate  and  warm;  the  collar  and  dress  by 
another  hand. 

Van  der  Does. — Sheep  and  goats ;  unusually  refined  and  clear ; 
with  his  monogram. 

This  room  is  also  occupied  by  various  sculptures,  as,  for  instance, 

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Letter  XXVI.         MR.  GALTON'S  COLLECTION.  223 

Thorwaldsen's  reliefs  of  Anacreon  and  Cupid,  Bacchus  and  Cupid, 
a  Bacchante  with  a  small  satyr,  Pan  and  Olympus,  Venus  and 
Cupid  kissing ;  also  a  Venus,  and  a  Muse  crowned  with  vine- 
leaves.  By  the  well-known  sculptor  Gott,  in  Rome,  are  a  grey- 
hound and  two  smaller  dogs,  «n  a  small  scale;  very  true,  and 
carefully  executed  in  marble. 

Mrs.  Galton's  Sitting-room. 

Waterloo. — A  richly-wooded  landscape,  with  water  and  a 
blue  distance,  with  pleasing  figures  by  Linoelbach,  and  much  of 
Ruysdael's  colouring  in  the  verdure  and  in  the  sky.  The  execu- 
tion is  so  careful  as  to  be  almost  disagreeable,  especially  in  the 
trees.  Inscribed  "  A.  W."  The  pictures  by  this  artist,  who  is 
known  for  his  masterly  etchings,  are  very  rare. 

Berghem. — ^A  landscape  with  numerous  animals ;  a  careful 
picture,  but  dark  in  the  foreground,  and  of  the  later  and  less 
esteemed  time  of  the  master. 

Greuze. — A  guitar-player  tuning  his  instrument ;  animatedly 
conceived  and  carefiilly  treated. 

De  Vries. — A  landscape  with  a  village. 

Decker. — A  landscape  with  a  bridge.  These  are  both  pretty 
pictures  by  these  clever  pupils  of  Jacob  Ruysdael. 

Jan  Baptista  Weenix. — 2.  A  girl  with  a  dog;  very  warm 
and  careful. 

Brecklenkampf. — A  man  and  woman  at  a  meal ;  a  good 
picture  by  him. 

Pynacker. — ^A  landscape,  with  a  herd  of  cattle  taking  fright 
at  a  storm  ;  very  dramatic,  but  cold  in  colour. 

Sir  Joshua  Reynolds. — 3.  A  landscape — the  first  I  have  seen 
by  him — ^in  which  he  has  successfully  aimed  at  the  poetic  concep- 
tion of  Poussin.  The  trees  show,  however,  that  he  was  little 
versed  in  such  execution. 

Sir  David  Wilkie. — Spirited  sketch  for  his  "  Village  Poli- 
ticians." 

LiNGELBACH. — 2.  A  horscmau  and  another  figure  on  a  road. 
Clear  and  delicate. 

Reqemorter. — The  sign  of  Jan  Steen's  tavern  is  being  taken 
down,  at  which  the  wife  is  crying.  True  in  motives  and  carefully 
treated.   Inscribed  and  dated  1828. 

Theodor  van  Tulden. — A  battle  of  the  Amazons,  in  which 
he  has  introduced  many  of  the  motives  from  his  master  Rubens' 

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224  HAM  COURT.  Letter  XXVI. 

picture  in  the  gallery  at  Munich,  which  he  had  engraved.  Of 
greater  animation  and  warmth  of  colour,  and  more  feeling  in  the 
heads,  than  in  his  later  and  more  French  manner. 

Dirk  van  Delen. — :Interior  of  a  Jesuit  church  ;  a  large,  very 
powerful,  clear,  and  careful  picture. 

Peter  Nason. — Portrait  qf  an  old  lady,  to  the  knees;  the 
truth  and  admirable  execution  show  how  capital  were  the  Dutch 
painters,  even  of  the  second  class,  in  the  17th  century. 

Jan  Mienzb  Molbnaek. — ^A  man  and  woman  in  conversation ; 
half-length  figures,  life-size.  Full  of  humour,  and  particularly 
powerful  in  colour,  in  this  unusual  scale  for  him. 

Remiqius  Zeeman. — A  sea-coast ;  a  picture  of  merit,  but  not 
worthy  of  the  name  of  Dubbels,  which  it  here  bears. 

Jan  Steen. — ^The  Wooing.  Of  very  animated  motives,  and 
painted  in  an  harmonious  but  subdued  tone. 

Joachim  Wyte wael. — A  Feast  of  the  Gods ;  an  inscribed  and 
very  rich  picture  by  this  mannered  painter,  who  is  famed  for  the 
most  delicate  and  miniature-like  execution. 

Caspar  Netscher. — Portrait  of  a  stout  lady ;  a  very  carefully 
executed  picture  of  his  later  time. 


HAM  COURT. 


As  I  had  expressed  the  wish  to  see  the  collection  of  Mr.  Mar- 
tin, at  his  seat.  Ham  Court,  also  in  the  county  of  Worcestershire, 
I  found  my  kind  host,  Mr.  Galton,  immediately  ready  to  drive  me 
there,  though  the  distance  was  above  twenty  miles.  With  his  ad- 
mirable equipage  the  distance  was  soon  traversed,  in  spite  of  rainy 
weather.  The  chief  beauty  of  Uam  Court  consists  in  the  glorious 
trees  in  the  park.  The  pictures  are  in  diflFerent  rooms  of  the 
otherwise  simple  house.  The  following  three  pictures,  which  I 
had  seen  in  the  British  Institution  of  this  year,  had  made  me  very 
eager  to  visit  the  collection ;  they  are,  however,  by  far  the  best 
pictures  belonging  to  it. 

Albert  Cuyp. — A  large  landscape  with  hills,  with  a  man  water- 
ing his  horse.  In  composition,  style  of  lighting,  spirited  execution, 
and  admirable  body,  this  is  one  of  Cuyp's  best  works  of  his  best  time. 

Jan  Both. — A  landscape  of  tolerable  size  ;  finely  and  poetically 
composed,  rich  in  details,  of  singular  power,  transparency,  and 
freshness  of  colouring,  and  of  admirable  touch. 

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Letter  XXVI.  MR.  MARTIN'S  COLLECTION.  225 

Saf.vator  RoaA. — A  landscape,  with  the  angel  and  Tobit, 
belongs,  in  its  glowing  sultriness  of  tone  and  in  the  energy  of  the 
solid  treatment,  to  his  best  works. 

Rubens. — ^The  very  spirited  sketch  for  the  splendid  altar-piece 
formerly  in  a  church  near  Brussels,  now  in  the  Belvedere  at 
Vienna,  with  the  Virgin  surrounded  with  four  female  saints,  giving 
the  casula  to  St.  Ildefonso,  and  with  the  Infanta  Isabella,  and  her 
husband  the  Archduke  Albert  of  Austria,  on  the  wings. 

Holbein. — ^Portrait  of  a  man  in  the  attitude  of  prayer,  half  life- 
size  ;  of  rare  truth  and  conception,  and^  judging  from  the  pure  golden 
tone,  probably  executed  in  the  first  part  of  his  stay  in  England 

Vandyck. — ^The  portrait  of  Rubens,  admirably  executed  in 
chiaroscuro,  known  by  the  engraving. 

Jan  Wynants. — An  inscribed  landscape,  in  the  grey  tone  of 
his  later  period. 

David  Vinckeboom. — A  pleasing  landscape,  here  errone- 
ously ascribed  to  Jan  Breughel. 

Van  den  Eckhout. — A  genuine  and  good  work,  though  the 
subject  is  not  dear  to  roe. 

WiLDENS. — A  pleasing  landscape,  in  which  he  has  introduced 
the  fine  composition  of  the  Boar  Hunt,  by  his  master  Rubens,  in 
the  Dresden  Gallery,  a  repetition  of  which  was  also  in  the  col- 
lection of  the  late  King  of  Holland. 

Gasp  AR  Poüssin. — A  finely-composed  landscape,  with  a  shep- 
herd and  two  dogs  in  the  foreground.     The  colours  much  sunk. 

Simon  db  Vlieger. — 1.  An  agitated  sea,  of  very  warm  tone. 

Gaspar  Poussin.— View  of  Tivoli,  with  the  Temple  of  the 
Sibyl ;  in  a  cart  drawn  by  oxen  are  two  women ;  a  small,  very 
poetical,  and  careful  picture. 

Il  Cavaliere  d'Arpinc— The  sketch  for  his  large  battle- 
piece  in  the  Capitol. 

PiETRO  DBLLA  Vecchia. — St.  Roch  Supporting  the  plague- 
stricken  ;  a  good  picture  for  the  master. 

Jacob  Ruysdael.— A  pleasing  landscape,  with  a  waterfall. 

Teniers. — ^The hermits,  St.Paul  and  St  Anthony,  in  a  landscape. 
Though  broadly  and  sketchily  treated,  it  is  yet  very  attractive  for 
those  cool  tones  which  distinguished  his  works  from  1640  to  1650. 

Valentin. — The  cloth  stained  with  Joseph's  blood  being 
shown  to  Jacob ;  a  careful  and  warmly-coloured  picture,  in  hia 
bold,  well-known  realistic  style. 

VOL.  III.  Q 

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226  WORCESTER  CATHEDRAL.  Letter  XXVI. 

Van  der  Meülen. — 1  and  2.  Two  of  his  usual  pictures. 

Simon  de  Vlieqer. — 2.  A  storm  at  sea ;  looks  promising,  but 
hangs  too  high  for  an  opinion. 

Eqidiüs  van  Tilborq. — Soldiers  playing  cards ;  animated  in 
the  heads,  and  carefully  executed,  though  unusually  dark  for  him. 

PiETRO  Francbsco  Mola. — 1.  The  preaching  of  St  John. 
The  red  tone  of  the  flesh  interrupts  the  harmony. 

2.  A  pleasing  landscape  with  a  monk  in  white. 


WORCESTER. 
On  our  return  from  Ham  Court  we  stopped  at  Worcester, 
where  Mr.  Galton  took  part  in  an  archery  meeting  from  a  neigh- 
bouring coimty.  I  employed  the  time  in  visiting  the  stately  and 
remarkable  cathedral.  This  is  a  transition  building  from  the 
Norman  to  the  early  English  style.  Unfortunately  the  perspective 
eflFect  of  the  interior,  which,  as  the  edifice  is  long,  would  be  very 
fine,  is  interrupted  by  an  organ  placed  in  the  centre  at  the 
entrance  to  the  choir.  A  gallery  running  round  the  nave  is  of 
very  rich  tracery.  The  transepts  are  of  unusual  breadth.  Not- 
withstanding the  pointed  style  of  the  arches  and  windows,  the 
separate  details  have  quite  the  forms  of  Norman  architecture ; 
nay,  in  one  of  the  doors,  and  in  the  adjoining  cloister,  the  arches 
are  even  still  circular.  In  the  large  square  tower  only  is  the 
structure  of  the  windows  of  the  pure  Gothic  forms  of  the  early 
English  style.  A  small  chapel  in  the  choir,  of  the  time  of  Henry 
VIII.,  containing  the  sarcophagus  with  the  remains  of  his  brother 
Prince  Arthur,  is  a  very  elegant  specimen  of  the  latest  perpen- 
dicular style.  The  sculptures  in  it  are  of  very  moderate  merit, 
and  much  defaced.  Other  monuments  are  also  in  this  cathedral, 
with  those  recumbent  figures  which  prevailed  from  the  12th  to  the 
14th  century  :  among  them  is  that  of  King  John,  which,  however, 
could  not  have  been  executed  till  the  latter  half  of  the  14th  cen- 
tury. They  are  aU,  however,  of  mediocre  workmanship.  One 
form  of  monument  struck  me  as  new,  namely,  the  figure  of  the 
deceased  kneeling  in  a  recess  of  the  wall.  Here  are,  for  instance, 
six  statues,  kneeling  in  couples,  one  behind  the  other ;  the  conse- 
quence of  which  is  that  the  second  row  is  only  partially  seen.  In 
the  monmnent  to  Bishop  Hough,  by  Roubillac,  most  picturesquely 
conceived,  like  all  his  works,  I  was  particularly  struck  with  the  in- 
tellectual head.    The  monument  to  a  lady^  by  Chantrey,  on  the 

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Letter  XXVI.  COLLECTIONS  IN  WORCESTERSHIRE.  227 

other  hand,  is,  with  the  exception  of  her  upraised  head,  feeble,  and 
the  drapery  without  style ;  the  closely  imitated  mattrass  perfectly 
genre  in  style.  

Another  drive,  on  the  following  day,  made  me  acquainted  with 
Westwood  Park,  the  seat  of  Sir  John  Pakington,  and  formerly 
that  of  Addison's  Sir  Roger  do  Coverley,  a  building  which  I 
surveyed  with  the  most  lively  interest.  It  stands  freely  on  an 
eminence,  and  is  built  of  brick,  and  is  one  of  the  best  preserved 
and  most  peculiar  specimens  of  Queen  Elizabeth's  time.  It  is 
surroimded  with  a  castellated  wall,  with  four  graceful  towers, 
through  which  a  very  beautiful  gateway  leads  to  the  mansion. 
The  interior  is  remarkable  for  the  peculiar  and  ornamental  stair- 
case ;  the  hall  is  of  great  magnificence. 

Most  willingly  would  I  have  extended  my  visits  to  Middlehall, 
the  seat  of  Sir  Thomas  Philippe,  who  possesses  a  valuable  collec- 
tion of  MSS.,  with  some  interesting  miniatures.  But  this  gentle- 
man was  absent  at  the  time,  which  was  the  more  to  be  regretted 
on  my  part,  as  other  engagements  had  before  prevented  my 
accepting  two  most  kind  invitations  from  Sir  Thomas. 

I  was  indebted  to  Mr.  Galton  for  the  mention  of  the  following 
seats  in  this  county  containing  pictures : — 

Hagley,  the  seat  of  Lord  Lytteltoa  Here,  I  am  told,  are  some 
fair  contemporary  copies  after  Vandyck  ;  including  one  fine 
original  of  Queen  Henrietta  Maria  ;  a  fine  Sir  Peteb  Lelt  of 
Viscount  Brouncker;  a  good  portrait  of  Sir  Thomas  Lyttelton, 
by  Van  Somer  ;  a  clever  old  copy  of  the  Misers,  by  Quentin 
Matsys,  at  Windsor ;  a  very  interesting  portrait  of  Pope  with 
his  dog  Bounce,  by  Richardson  ;  and  heads  of  Thomson,  and 
other  authors,  the  former  by  Airman. 

Hindlip,  seat  of  Viscount  Southwell. 

Hewell,  seat  of  the  Honourable  Robert  Clive,  containing  a  picture 
with  the  figures  by  Rubens,  and  the  game  and  fruit  by  Snydbrs. 

Perdiswell,  seat  of  Sir  Offley  Wakeman,  Bart 

Marbury  Hall,  near  Droitwich,  seat  of  Smith  Barry,  Esq.,  con- 
taining antique  sculpture  and  paintings-  Among  the  former,  to 
which  I  have  already  alluded  in  the  first  volume,  is  a  statue  of 
Antinous,  and  a  marble  vase  with  Adonis  presented  to  Proserpine, 
in  relief,  which  are  said  to  be  very  remarkable.  I  greatly  regret- 
ted not  being  able  to  visit  this  seat 

Q  2 

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228  BIRMINOHAM.  Lettbb  XXVII. 


LETTER    XXVII. 

Binningham  :  Copy  of  Warwick  Vase.  —  Wolverhampton.  —  Liverpool :  St. 
George's  Hall  —  Cemetery  —  Town  Hall  —  Royal  Institution  —  Collec- 
tion of  pictures  —  Collection  of  casts  —  Pictures  belonging  to  Mr. 
Naylor.  —  Ince,  seat  of  Mr.  Blundell  Weld :  Collection  of  antique 
sculpture ;  pictures,  miscellaneous  schools.  —  Lowther  Castle,  seat  of 
Earl  of  Lonsdale :  Collection  of  pictures,  miscellaneous  schools. 

On  my  first  visit  to  England,  in  1835,  I  extolled  the  rapidity 
and  excellence  of  the  public  vehicles  which  conveyed  me  from 
one  part  of  the  country  to  another.  Mail-coach  travelling  in 
England,  with  its  magnificent  horses,  fine  roads,  and  the  perpetual 
variety  of  beautiful  objects  seen  from  the  outside,  was  a  positive 
luxury,  to  which  no  diligence  or  Eilwagen  oflFered  the  slightest 
analogy.  Rapidity,  however,  is  now  the  order  of  the  day ;  and 
let  us  hope  that  the  numbers  who  profess  to  save  time  by  a 
railway  pace  in  everything  will  be  able  to  give  a  good  account  of 
the  surplus  thus  acquired.  I,  at  all  events,  was  very  gratefrd 
for  the  speed  at  which  I  found  myself  transported  from  Worcester 
to  Birmingham.  I  here  devoted  the  surplus  time  I  may  be  said 
to  have  gained,  in  visiting  the  show-rooms  of  some  of  the  principal 
manufsu^urers.  The  prodigious  variety  of  useful  and  admirably 
executed  articles  in  steel,  silver,  and  other  metals,  would  well 
merit  description ;  my  limits,  however,  allow  me  to  mention  only 
the  copy  of  the  Warwick  Vase,  at  the  rooms  of  Mr.  Thomassin, 
here  executed  in  bronze,  the  size  of  the  original,  and  placed  in  an 
apartment  by  itself.  The  general  eflbct  is  extraordinary ;  and 
the  appearance  of  the  handles  confirmed  me  in  my  conjecture  that 
the  antique  original  must  also  have  been  of  bronze.     A  closer 

\  examination  of  the  details  convinced  me,  however,  that  the  highest 

\  perfection  of  mechanical  skill  is  not  sufficient  to  reproduce  a  work 
of  free  art,  but  that  the  cultivation  of  a  feeling  for  art,  by  due 

1  study,  is  indispensable.  All  the  ornaments,  the  handles,  the 
masks,  &a,  want  that  spirit  and  animation  which  constitute  the 

I  charm  of  the  original.  This  copy  cost  5000/.  and  six  years' 
labour. 

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Letter  XXVII.    WOLVERHAMPTON— MANCHESTER.  229 

Passing  onwards  by  rail  to  Wolverhampton,  I  felt  that  I  was 
truly  in  the  busy  heart  of  the  manufacturing  districts  of  England. 
I  could  have  fancied  myself  transported  to  the  forges  of  Vulcan 
and  the  Cyclops  in  Lemnos  ;  for  the  sight  was  so  marvellous,  and 
the  scale  of  undertaking  so  colossal,  that  to  an  uniniated  eye  it 
appeared  something  superhuman.  As  far  as  the  eye  reaches,  you 
see  manufactories  with  chimneys  rising  like  lofty  towers,  pouring 
forth  red  flames,  that  shine  the  more  brightly  from  the  sky  being 
darkened  by  the  immense  columns  of  smoke.  The  earth  is  here 
blackened  by  the  eternal  exhalations  of  the  coals.  Sometimes 
you  hear  the  hollow  noise  of  machines  ;  here  and  there  iron  rail- 
ways cross  the  road,  on  which  little  carts  convey  the  goods  easily 
and  rapidly  from  one  machine  to  another.  The  black  and  sooty 
men  who  attend  them  furnish  the  landscape  with  suitable  figures. 
Having  seen  the  day  before  one  of  the  grandest  monuments  of  the 
power  of  a  fierce  nobility  which  ruled  in  the  middle  ages,  and  was 
animated  by  insatiable  lust  of  power,  love  of  war,  and  taste  for 
splendour,  I  had  now  a  no  less  grand  view  of  the  power  which, 
above  all  others,  moves  and  ndes  the  present  age — namely,  that 
of  machinery,  which  is  directed  to  the  boundless  production  of 
the  useful,  in  the  ordinary  sense  of  the  word,  and  threatens  to 
swallow  up  all  other  interests. 

I  next  proceeded  to  Manchester,  where,  through  the  interven- 
tion of  a  friend  to  whom  Mr.  Galton  had  kindly  recommended  me, 
I  had  hoped  to  see  the  many  collections  in  and  around  this  city ; 
but  not  finding  this  gentleman  in  Manchester,  being  impeded  by 
very  bad  weather,  and  not  daring  to  trust  to  the  chance  of  finding 
various  collectors  at  their  country  seats,  some  miles  ofl^  the  city,  I 
took  the  express  train  that  same  afternoon,  and  hurried  to  Liver- 
pool. I  employed  the  rest  of  the  day  in  looking  about  the  town. 
If  the  active  traffic,  the  number  of  vessels  in  the  docks,  and  the 
concurrence  of  so  many  steamboats,  had,  in  1835,  given  me  the 
liveliest  pleasure,  I  was  now  astonished  at  the  immense  increase 
in  activity  which  had  taken  place  since  thea  The  next  morning 
I  was  favoured  with  a  visit  from  Mr.  Haywood,  to  whom  also  Mr. 
Galton  had  given  me  a  letter.  The  frankness,  vivacity,  and  kind- 
ness of  this  gentleman  immediately  attracted  me  towards  him,  and 
a  longer  acquaintance  only  strengthened  my  first  impression.  As 
he  was  called  away  by  business,  he  appointed  a  civil,  intelligent 
young  man  from  his  counting-house  to  attend  me  through  the  day, 

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230  LIVERPOOL.  Lbttkb  XXVH. 

and  show  me  all  that  interested  ma  Above  all,  I  was  struck  both 
with  the  size  and  beauty  of  a  building  devoted  to  the  business  of 
the  assize-courts,  and  also  used  for  meetings,  concerts,  &a,  bear- 
ing the  name  of  St.  George's  Hall,  and  not  yet  entirely  completed 
withia  It  has  a  portico  of  Corinthian  columns  of  the  richest 
taste,  with  a  pediment  filled  with  figures,  distributed  with  a  fine 
feeling  for  style,  and  of  beautiiul  motives,  fix)m  a  design  by  Mr. 
Cockerell,  the  execution  of  which  was  superintended  by  Sr  Charles 
Eastlaka  The  large  saloon  is  of  very  fine  proportions,  and  makes 
an  imposing  efiect  The  space  for  the  assize  courts,  of  semicircular 
form,  is  also  of  very  happy  proportions,  and,  with  its  polished  columns 
of  red  Aberdeen  granite,  gives  the  impression  of  a  solid  splendour. 
The  architect,  Mr.  Ebnes,  was  decidedly  one  of  the  first  that 
England  has  lately  possessed.     He  is  no  longer  aliva 

This  time  I  also  saw,  with  greater  leisure,  and  with  deep  interest, 
the  cemetery,  which  occupies  a  cheerful  verdant  valley.  I  especially 
visited  the  monument  erected  to  the  celebrated  Mr.  Huskisson,  in 
whose  lot  I  sympathized  the  more  deeply,  from  the  kindness  and 
hospitality  I  had  received  under  the  roof  of  his  widowed  lady. 

In  a  visit  to  the  town-hall,  a  very  stately  building,  I  was  accom- 
panied by  Mr.  Hey  wood  himself,  who  introduced  me  to  the  mayor. 
In  front  of  this  edifice  I  saw  a  repetition  in  bronze  of  Gibson's 
celebrated  marble  statue  of  Huskisson.  The  staircase  is  adorned 
by  a  statue  of  Canning,  by  Chantrey,  the  original  of  the  statue  in 
Westminster  Abbey,  in  my  opinion  one  of  his  best  works  in  this 
department 

The  clerks'  room,  to  which  I  was  conducted  by  my  young  cicerone, 
is  also  a  grand  building,  with  a  life  and  stir  in  it  which  impressed 
me  with  Üie  extensive  commerce  carried  on  in  Liverpool. 


LIVERPOOL  ROYAL  INSTITUTION. 

I  then  visited  the  Royal  Institution,  founded  by  the  late  Wil- 
liam Roscoe,  Esq.,  which,  besides  a  collection  of  natural  history, 
contains  also  one  of  plaster  casts  and  paintings,  to  which  a  school 
of  arts  is  attached. 

The  pictures  were  once  the  property  of  Mr.  Roscoe  himself  and 
prove  him  to  have  been  one  of.  the  few  men  in  England  from 
whom  the  deep  intellectual  value  of  the  works  of  art  of  the  14th 


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Letter  XXVII.    LIVERPOOL  ROYAL  INSTITUTION,  231 

and  15th  centuries  was  not  concealed,  for  they  partly  consist  of 
very  valuable  works  of  the  Italian  and  Flemish  schools  of  that 
period.  Some  patriotic  inhabitants  of  Liverpool  purchased  and 
presented  them  to  the  Institution, 

In  this,  my  second  visit,*  I  found  these  collections  placed  in  a 
much  larger  and  more  imposing  building,  and  the  pictures  greatly 
increased  by  means  of  gifts.  In  the  large  saloon,  lighted  from 
above,  which  contained  the  pictures,  schools  and  periods  were 
rather  confusedly  arranged.  In  1851,  however,  a  more  systematic 
plan  was  instituted,  while  the  careful  catalogue,  with  references  to 
different  writers  on  art — the  work  of  Mr.  Theodore  W.  Rathbone 
— is  a  great  improvement  on  the  two  former  with  which  I  was 
acquainted.  Nevertheless  there  is  room  for  fiirther  improvement 
in  the  naming  of  the  masters.  As  this  is  a  public  collection,  and 
intended  for  the  enjoyment  and  instruction  of  all  who  enter,  I 
conceive  it  to  be  my  duty  to  add  my  remarks  even  on  sucth  pic- 
tures as  I  should  pass  over  in  silence  in  a  private  gallery.*  I 
adhere  to  the  order  and  also  to  the  headings  given  in  the 
catalogue. 

Thirteenth  and  Foubteenth  Centuries.     Greek  and  Byzantine 

Schools. 

1  and  2.  Heads  of  two  saints  ;  these  belong  unquestionably  to 
the  old  Sienese  school,  about  1300. 

3.  The  Virgin  holding  a  crucifix.  This  is  Byzantine,  it  is  true, 
but  a  late  and  rude  performance. 

4.  The  Coronation  of  the  Virgin,  half-length  figurea  1  ft.  5  ia 
high,  1  ft.  9  ia  wide ;  a  good  work  of  the  Sienese  school  of  the 
14th  century,  but  much  injured.  Ascribed  in  the  catalogue  to 
Margheritone  d'Arezzo. 

5.  The  Crucifixion,  &c  School  of  Siena,  of  the  period  and  style 
of  Taddeo  di  Bartolo ;  therefore  1400.  Much  injiured.  Ascribed 
in  the  catalogue  to  Cimabue. 

6.  The  Descent  of  the  Holy  Ghost ;  a  rude  picture  of  the  school 
of  Giotta     According  to  catalogue,  school  of  Cimabue. 

7.  Giotto. — 1.  Three  women,  with  John  the  Baptist  as  a  chilA 

*  Mr.  Yates  of  Liverpool,  whose  acquaintance  I  made  in  London  in  1851,  told  me 
that  he  would  send  me  the  Catalogue,  so  that  I  might  correct  certain  inaccuracies  in 
the  naming  of  the  masters.  As,  however,  the  copy  that  I  received  was  already  pub- 
lished, it  was  too  late  to  suggest  alterations.  Unfortunately  I  had  no  time  in  that 
year  to  repeat  my  visit  to  Liverpool. 


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232  LIVERPOOL  ROYAL  INSTITUTION.    Letter  XXVn. 

1  ft.  5  ia  high,  11t  9  in.  wida  Fragment  of  a  fresco-painting  of 
the  Birth  of  John  the  Baptist,  from  the  church  of  the  Carmelites 
at  Florence.  Very  genuine  and  interesting,  and  well  known  by 
the  engraving  by  PatscL 

8.  Giotto. — 2.  The  daughter  of  Herodias  receiving  the  head 
of  John  the  Baptist ;  a  very  noble  figure.  From  the  same  church, 
and  also  engraved  by  Patsch.     1  ft.  3  in.  high,  1  ft  1  in.  wide. 

9.  Simone  di  Martino,  called  Memml — ^The  Virgin  and  Jo- 
seph finding  the  youthful  Christ  in  the  Templa  1  ft;.  7  in.  high, 
1  ft.  2  in.  wide.  Inscribed,  ^^  Stmon  de  Senis  me  Pikxit,  svb 
A*D.  McccxL.  II."  The  two  last  c's  are  obliterated.  Very  earnest 
and  touching  in  the  expression  ;  the  head  of  Joseph  certainly  one 
of  the  finest  that  art  ever  produced ;  the  execution  of  the  greatest 
delicacy ;  the  flesh  of  a  tender,  reddish  tone ;  the  draperies  of 
glowing  colours ;  the  ground  goldea  This  exquisitely  beautiful 
little  picture,  executed  only  two  years  before  his  death,  well  merits 
the  praise  which  his  contemporary  Petrarch,  and  at  a  later  period 
Vasari,  bestow  upon  it. 

10.  Don  Silvestro  Cam  aldolese. — The  Birth  of  John  the 
Baptist,  a  miniature  on  parchment,  cut  out  of  the  celebrated  large 
missal  mentioned  by  Vasari.  1  ft.  high,  11  in.  wide.  In  arrange- 
ment, feeling,  and  execution,  a  first-rate  specimen  of  this  class, 
and  agreeing  completely  with  the  miniatures  by  the  same  master 
already  mentioned  in  the  collection  of  Mr.  Ottley,  who  brought 
this  one  also  to  England. 

Fifteenth  Centubt.    Italian,  German,  and  Flemish  Schools. — 
Tuscan  School. 

11.  The  Virgin  and  Child ;  a  good  picture  of  the  school,  though 
I  know  not  the  master.  According  to  catalogue,  by  Masolino  da 
Panicale. 

12.  S.  Lorenzo.  Too  poor  for  Masacdo,  to  whom  the  catalogue 
assigns  it 

13.  The  Adoration  of  the  Kinga  A  rude  performance. 
Ascribed  to  the  same  great  master. 

14  and  15.  The  Martyrdom  of  St  Sebastian,  and  the  Temptar 
tion  of  St  Anthony,  which  I  formerly  took  for  Masaccio,  I  am  now 
inclined,  after  a  thorough  study  of  the  master  which  I  have  since 
made  at  Florence,  to  consider  early  works  by  Fra  Filippo  Lippi, 
under  the  influence  of  Masaccio.   Ascribed  to  Andrea  del  Castagno. 

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Lbttkb  XXVn.    LIVERPOOL  EOYAL  INSTITUTION.  233 

16.  A  female  portrait  Too  feeble  for  Fra  Filippo  Lippi,  to 
wbom  it  is  here  ascribed,  but  of  his  school 

17.  Francesco  di  Pesello,  called  Pesellino. — ^The  Exhibi- 
tion of  a  Relic  in  the  Cathedral  of  Florence.  Among  the  many 
spectators  are  portraits  of  Cosmo  de'  Medici,  the  father  of  his 
country,  his  son  Piero,  and  his  grandsons  Lorenzo  and  Giuliana 
1  ft  high,  2  ft  6  ia  wida  One  of  the  richest  and  most  interest- 
ing predella  pictures  I  know.  In  the  marked  characters  and  the 
massiyeness  of  the  figures  the  influence  of  Masaccio  is  evident 

18.  The  history  of  Ulysses  and  Circe,  &c,  I  did  not  sufficiently 
examine.     Ascribed  to  Sandro  Botticelli 

19.  The  Virgin  and  Child,  with  an  angel  Of  Sandro  Botti- 
celli's school,  and  much  ruined 

20.  FiLipPiNo  Lippi. — ^The  Birth  of  the  Virgia  6  in.  high, 
14  in.  wide.  One  of  the  most  refined  and  intense  pictures  by  this 
great  master,  of  his  earlier  and  best  period.  Here  erroneously 
called  Fiesole. 

21.  Matted  da  Siena. — ^The  Virgin  with  the  Child,  St  John, 
and  an  angel  Grolden  ground  2  fL  high,  1  fL  7  in.  wide.  So  far 
as  the  dark  and  high  position  will  admit  of  a  judgment,  it  may  be  by 
this  dry  master ;  certainly  not  by  Fra  Filippo  Lippi,  as  here  stated. 

22.^  The  Virgin  nursing  the  Infant  Without  knowing  before- 
hand the  opinion  of  Mr.  CavalcaseUa,  I  had  in  1850  marked  this 
picture  in  the  catalogue  of  1843  as  a  fine  work  by  Lorenzo  di 
Credi.  I  know  not  by  what  mistake — a  very  disagreeable  one  to 
me — it  was  stated  in  the  catalogue  of  1851  that  I  had  pronounced 
this  picture  to  be  a  pleasing  work  by  Civetta,  a  declaration  which 
never  entered  my  head.  The  picture  which  I  so  named  bore  the 
Na  15  in  the  catalogue  of  1819 — the  one  I  found  in  1835 ;  but 
in  that  of  1851,  the  No.  59,  and  bore  the  name  of  Lambert  Lom- 
bard, and  was  1  ft  2  ia  high  and  1  ft.  wide  ;  while  the  other  was 
2ft.  8 in.  hign  by  2ft.  Tin.  wide.  Here  ascribed  to  Domenico 
Ghirlandajo. 

23.  Age  and  Youth.  Unquestionably  a  German  picture,  and 
of  the  style  and  period  of  Hans  Baldung  Grün ;  therefore  about 
1510-1534.     Here  ascribed  to  Antonello  da  Messina 

24  The  Virgin  and  Child ;  a  moderate  picture  of  the  school 
of  Perugina     Ascribed  to  Verocchio. 

25.  Votive  picture.  Too  much  injured  to  permit  of  any  opinion. 
Here  called  of  the  school  of  Perupno. 

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234  LIVERPOOL  ROYAL  INSTITUTION.    Litteb  XXVn. 

Schools  op  Venice  and  Uppeb  Italy, 

26.  Andrea  Mantegna. — A  Pieta,  the  dead  Christ  on  the 
lap  of  the  Virgin,  who  is  seated  on  the  tomb.  In  the  distance,  the 
Crucifixion.  1  fL  2  ia  high,  1  ft.  wide.  The  aim  at  development 
of  form  shows  the  sculptor  who  seldom  painted. 

27.  The  Virgin  surrounded  with  saints.  By  an  inferior  scholar 
of  Gioyanni  Bellini     Here  called  a  Jacopo  Bellini 

28.  The  Virgin  and  Child.  An  early  work  of  Giovanni 
Bellini,  of  which  there  is  another  example  on  a  large  scale  in 
the  Berlin  Museum.     Ascribed  to  Grentile  Bellini 

29.  The  Virgin  and  Child  adored  by  St  John  the  Evangelist 
and  St  Domenia  Of  the  school  of  Giovanni  Bellini,  and  in  the 
tendency  of  Girolamo  da  Santa  Croce.  It  never  entered  my  head 
to  attribute  this  work  to  Giovanni  Bellini,  as  stated  in  the  cata- 
logue of  1851.  The  editor,  as  appears  from  subject  and  measure- 
ment, has  confounded  this  picture  with  No.  28. 

30.  A  portrait,  called  that  of  Giovanni  Bellini,  by  himself.  This 
I  overlooked. 

31.  The  pomshment  of  a  saint.  A  feeble  work  of  Girolamo 
DA  Santa  Croce.     Ascribed  to  Vittore  Carpaccia 

34  Early  French  School. — The  Entombment  Very  re- 
markable, but  quite  covered  with  cracks,  and  too  dirty  for  any 
exact  opinioa 

Early  German  School. — 35  and  36.  Two  pictures  of  the 
Virgin  and  Child.     Both  of  the  school  of  Michael  Wohlgemuth. 

37.  Dutch  School  of  the  Fifteenth  Century,  with  an 
affinity  to  Gerhart  van  Haarlem. — The  Entombment  1  ft  9  in. 
high,  1  ft  9  in.  wide.  The  countenances  monotonous  and  plain, 
but  very  expressive ;  the  colours  deep  and  full,  the  painting  of  the 
most  delicate  blending,  the  landscape  simpla  From  the  collection 
of  Count  Truchsessw     Erroneously  called  a  Jan  van  Eyck. 

38  and  39.  St  Catherine  and  St  Margaret  Decidedly  by  a 
good  painter  of  the  Netherlandish  school  between  1500  and  1550 
Ascribed  to  Hugo  van  der  Goes. 

41.  The  Virgin  and  Child.  A  pleasing  picture,  but  which,  from 
the  style  of  art,  and  also  from  the  faded  Haarlem  blue  in  the  sky 
and  hills — a  colour  which  only  came  into  use  in  1550 — cannot 
possibly  have  been  painted  before  that  time.  In  every  respect  also 
it  is  inferior  to  Memling,  to  whom  it  is  here  ascribed. 

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Letteb  XXVII.    LIVERPOOL  ROYAL  INSTITUTION.  235 

42.  Roger  Van  der  Wbyden  the  younger. — An  altar  with 
wings.  Centre  picture,  the  Descent  from  the  Cross ;  right  wing,  the 
impenitent  thief,  and  the  donor  kneeling ;  left  wing,  the  penitent 
thief,  the  centurion,  and  a  soldier ;  on  the  outer  sides  John  the  Bap- 
tist and  St  Julian.  2  ft.  high,  2  ft.  wide.  Each  wing  2  fib.  high, 
9  in.  wide.  This  very  interesting  picture  is  evidently  of  the  earlier 
time  of  the  master.  The  features  of  the  countenances  are  similar 
to  those  in  the  large  Descent  from  the  Cross,  by  the  same  artist,  in 
the  Berlin  Museum ;  the  motives  also  are  similar.  The  noble  and 
elevated  expression  in  the  profile  of  a  woman  is  worthy  of  Leo- 
nardo da  Vinci:  the  contours  are  however  more  outlined,  and 
harder.  The  tone  of  the  flesh  in  the  lights  is  yellowish ;  in  the 
middle  tints  and  in  the  shadows  dark.  The  whole  is  exceedingly 
pathetic.    The  saints  on  the  outer  side  are  by  an  inferior  scholar. 

44  SwoTT,  or  SwoLL. — A  Pieta,  with  St  John.  Too  feeble 
for  the  master.  In  the  fine  motives  and  general  character  there 
are  traces  of  Roger  Van  der  Weyden's  influence. 

45.  Christ  on  the  Mount  of  Olives.  A  delicate  little  picture 
by  Herri  db  Bles,  called  Civetta  ;  therefore  at  least  forty 
years  after  the  death  of  Martin  Schön,  to  whom  it  b  here  ascribed. 

46.  The  Presentation  in  the  Temple.  A  picture  of  the  school 
of  Michael  Wohlgemuth,  to  whom  it  is  here  assigned. 

Sixteenth  Centubt.     German  and  Flemish  Schools. 

47.  The  Birth  of  the  Virgia  A  skilful  copy  from  Albert 
Dinger's  woodcut,  only  very  red  in  the  flesh-tones.  Ascribed  to 
Albert  Durer  himself. 

49  and  50.  Pilate  washing  his  hands ;  and  the  Descent  from  the 
Cross.  Two  good  pictures  by  Michael  Wohlgemuth,  an  in- 
comparably rarer  master,  by  the  way,  than  Lucas  Cranach,  to 
whom  they  are  here  ^vea 

51.  A  female  portrait  by  some  German  master  of  the  same 
period  as  Lucas  Cranach,  to  whom  it  is  here  attributed,  and  of 
very  animated  conception  and  clear  colouring. 

52.  Lucas  Cranach. — An  undraped  female  figure ;  erroneously 
styled  the  wife  of  the  painter.  A  genuine  picture,  inscribed  wiüi 
the  dragon,  and  dated  1534,  a  smaller  version  of  which  is  in  the 
Royal  Palace  at  Berlia 

53.  The  Martyrdom  of  St  Lawrenca  Decidedly  not  by  Cornelius 
Engelbrechtsen,  though  of  the  old  Dutch  school. 


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236  LIVERPOOL  BOYAL  INSTITUTION.    Lettkb  XXVU. 

54  Lucas  van  Leyden. — Portrait  of  a  701mg  knight  (and 
not  bis  own,  as  stated  in  the  catalogue)  wearing  a  black  cap,  in 
an  ample  chestnut-coloured  robe  bordered  with  black.  In  the 
landscape  which  forms  the  bad^ground  is  St  Hubert,  to  whom  the 
stag  is  appearing  with  a  crucifix  between  its  hom&  Beautifully  exe- 
cuted, like  the  finest  miniature.  3  ft.  1  in.  high,  2  fi  6  in.  wide. 
In  my  opinion  part  of  the  wing  of  a  large  altar-piece,  and  one  of 
the  most  finished  of  the  very  rare  genuine  pictures  by  this  master. 
Formerly  in  the  celebrated  collection  of  Greffier  FageL 

55.  L  Kruq. — ^The  Nativity.  The  Virgin  kneeling  and  wor- 
shipping the  Infant,  which  is  lying  on  the  ground ;  Joseph  stand- 
ing by  with  a  lantern.  11  in.  high,  9  in.  wide.  This  masterly 
picture,  executed  in  the  style  of  the  German  school,  exactly  agrees 
in  the  essentials  with  the  well-known  engraving  by  this  master. 
(Bartsch,  vol  viiL  p.  536.) 

56.  Holbein. — The  Prodigal  Son ;  who  is  seen  in  the  fore- 
ground with  dissipated  companions;  in  the  background  driven 
firom  the  house  by  two  women ;  feeding  the  swine ;  and  returning 
to  his  father.  1  ft;.  2  in.  high,  1  ft.  8  ia  wide.  Of  his  earlier 
period,  in  a  yellowbh  tone,  very  highly  finished,  fidl  of  life  and 
spirit 

57.  The  name  of  Holbein  was  given  by  my  authority,  in  the 
catalogue  of  1851,  to  an  admirable  portrait  of  Margaret  of  Valois, 
sister  of  Francis  I.,  and  formerly  quite  erroneously  ascribed  to 
Leonardo  da  Vinci.  But  subsequent  studies  have,  to  my  regret, 
proved  that  the  name  of  Holbein  is  also  incorrect ;  for,  after  having 
seen  the  portr^t  of  Leonora,  sister  of  Charles  V.  and  wife  of 
Francis  I.,  at  Hampton  Court,  by  Jean  Clouet,  father  of  the 
well-known  Fran9ois  Clouet,  called  Janet,  I  can  no  longer  doubt 
that  this  picture  is  also  by  him.  His  works  are  also  easily  con- 
founded with  Holbein's  later  productions.  Those  of  Holbein  may 
be  distinguished  by  a  more  delicate  understanding  of  forms,  those 
of  Jean  Clouet  by  a  more  generally  delicate,  tender,  and  silvery 
tone,  and  by  a  smoother  touch.  The  hands  especially  of  this  picture, 
though  it  is  somewhat  injured,  are  of  singular  beauty. 

58.  Bernhard  van  Orlby.— Th^  Virgin  and  Child  under 
a  canopy ;  Joseph  plucking  dates  from  a  palm-tree.  Background, 
a  rich  landscape.  2  ft.  8  ia  high,  1  ft;.  11  in.  wida  Finely  exe- 
cuted by  this  artist,  in  his  rather  cool  flesh-tones,  from  a  compo^- 

.  tion  by  Leonardo  da  VincL     The  expression  of  tenderness  in  the 


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Lbtteb  XXVII.    LIVERPOOL  ROYAL  INSTITUTION.  237 

mother  is  very  deeply  felt     The   best  Flemish  work  from  an 
Italian  original  that  I  have  ever  seen. 

59.  Jan  Mostaert. — ^The  Vir^n  and  Child ;  in  the  back- 
ground the  Murder  of  the  Innocenta  I  formerly  belieyed  this  to 
be  a  Civetta ;  but  my  subsequent  studies  in  churches  and  collec- 
tions in  Belgium  have  convinced  me  that  it  is  a  Jan  Mostaert. 
Here  given  to  Lambert  Lombard. 

61.  From  Michael  Angeld  Buonabotti's  well-known  compo- 
sition of  Christ  with  the  Woman  of  Samaria,  painted  in  chiaroscuro. 
2  ft.  6  in.  high,  1  ft.  11  in.  wide.  Imbued  in  an  unusual  manner 
with  the  spirit  of  Michael  Angelo,  and  therefore  certainly  by  one 
of  his  best  scholars.  Formerly  in  the  collection  of  the  King  of 
Naples  at  Capo  di  Monte ;  brought  to  England  by  Mr.  OtÜey. 
Erroneously  ascribed  to  Michael  Angelo  himself 

Florentine  School. 

62.  The  well-known  Holy  Family  with  the  sleeping  Child ;  only 
that  two  angels,  holding  the  curtains,  are  introduced  here.  Not 
good  enough  for  Marcello  Venusti,  to  whom  it  is  ascribed. 

63.  A  dead  Christ,  with  St  John.  Much  too  feeble  for  Sebas- 
tian del  Piombo. 

65.  Giorgio  Vasari. — Three  apostles.  Genuine,  and,  for  him, 
careful. 

66.  The  Virgin  and  Child,  with  the  Baptist  An  inferior  picture 
of  Andrea  del  Sarto's  school.   Here  attributed  to  Fra  Bartolommeo. 

67.  Andrea  del  Sarto. — The  Virgin  and  Child,  with  the 
Baptist     A  feeble  performance  of  his  school. 

Roman  School. 
71.  GiULio  Romano. — A  procession  of  men    and   animals. 
Very  spiritedly  composed,  and  admirably  executed  in  chiaroscuro. 

74.  The  Annunciation.  Very  graceful ;  but  the  work  of  a  mas- 
ter of  the  first  half  of  the  sixteenth  century.  Ascribed  to  Scipione 
Gaetano. 

Venetian  School. 

75.  PiETRO  DEQLi  Ingannati,  RH  imitator  of  Giovanni  Bel- 
lini.— The  Marriage  of  $t.  Catherine,  in  the  presence  of  St. 
Michael  and  St  Veronica.  2  ft.  3  in.  high,  3  ft.  wide.  A  care- 
fully executed  picture,  of  genuine  religious  feeling.  I  formed  my 
opinion  from  a  picture  in  the  Berlin  Museum,  inscribed  "  Petrus 
de  Ingannatus." 


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238  LIVERPOOL  ROTAL  INSTITUTION.    Letter  XXVII. 

76.  GiROLAMO  DA  Santa  Croce,  a  fine  Bergamese  painter. — 
The  Resurrection  of  Christ.  On  the  right  hand  St  Catherine 
gazing  at  him  with  intense  interest,  and  the  donor,  a  little  woman 
dressed  in  white;  on  the  left  hand  St.  Benedict;  in  the  fore- 
ground two  rabbits  playing.  Particularly  noble  in  the  characters, 
warm  in  the  colours,  and  in  admirable  preservation. 

I  must  also  mention  an  alto-rilievo  of  very  good  workmanship, 
from  the  engraving,  by  Marc  Antonio,  of  Raphael's  composition 
of  Alexander  the  Great  causing  the  works  of  Homer  to  be  pre- 
served in  a  magnificent  box. 

77.  ViNCENZO  Catena. — ^The  Virgin  and  Child  blessing  the 
donor,  surrounded  by  angels.  2  ft.  8  in.  high,  3  ft;  7  ia  wide. 
Inscribed  "  Vincentivs  Chatena.  F."  Still  quite  in  the  style 
of  his  master,  Giovanni  Bellini.  The  characters  are  plea»ng, 
though  unimportant ;  the  tone  of  the  flesh  yellowish  in  the  wo- 
man, a  full  brown  in  the  men.  Portrait  of  the  donor  very  ani- 
mated. 

78.  The  Virgin  and  Child.  This  picture  has  no  connexion 
whatever  with  Cima  da  Conegliano,  the  master  assigned;  but 
recalls  in  some  respects  the  earlier  works  of  Luca  Signorelli,  and 
is  very  valuabla 

79.  Portrait  of  Guidobaldo  di  Montefeltro,  Duke  of  Urbino. 
Whetlier  intended  for  this  individual  or  not  I  cannot  say.  Also, 
when  I  formerly  stated  that  this  picture  for  beauty  of  conception 
and  warmth  of  tone  was  worthy  of  Giorgione,  I  by  no  means 
meant  to  declare  that  I  thought  it  a  work  of  his  own  hand,  as 
here  stated.  It  may  possibly  be  by  one  of  his  less-known  scholars ; 
such  as  Morto  da  Feltre,  or  Lorenzo  Luzzo. 

81.  A  Riposo.  One  of  the  old  school  copies  from  the  fine 
ori^al  by  Titian  in  the  collection  of  Mr.  Holford,  Londoa 

82.  "  The  Court  of  Heaven,  with  the  Coronation  of  the  Virgin." 
A  spirited  but  slight  sketch  by  Tintoretto  ;  here  ascribed  to 
Titian. 

83.  Tintoretto. — 2.  The  Entombment  Well  conceived,  and 
carefully  executed. 

84. — 3.  The  Last  Judgment    A  v^ry  carefrd  sketch. 

85.  The  Finding  of  Moses.  Too  hard  in  the  outlines,  and  too 
crude  in  the  colours,  for  Paul  Veronese,  as  here  stated,  but  a  pic- 
ture of  his  schooL 

86.  The  Betrayal  of  Christ     Too  hard  and  too  coarse  Cwr 

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Lkttbb  XXVII.    LIVERPOOL  ROYAL  INSTITUTION.  239 

Jacopo  Bassano,  to  whom  it  is  here  assigned,  but  of  his  broad 
school. 

87.  Francesco  Bassano. — ^The  elemeDt  fire.    Genuine. 

The  School  op  Bologna  and  those  op  Uppek  Italy. 

90.  The  Virgin  and  Child.  Too  feeble  for  Bartolommeo  Schi- 
done,  to  whom  it  is  here  attributed. 

91.  The  Adoration  of  the  Shepherds.  Too  feeble  for  Lodo- 
vico  Carracci 

92.  The  Magdalea  Delicate  in  the  forms,  and  carefully 
executed  in  a  warm  and  tender  tone. 

93.  The  Crucifixion.  A  copy  of  the  sketch  by  Annibale  Car- 
racci in  the  Giustiniani  collection  now  in  the  Berlin  Museum. 

94.  DoMENiCHiNO. — Cupid.  One  of  his  works  which  are  pow- 
erful in  colour,  but  coarse  in  form  and  treatment. 

95.  GuERCiNO. — ^The  Magdalen.     An  old  copy. 

97.  Gennabi. — St  Jerome  translating  the  Bible,  supported  by 
a  learned  Jew.     A  genuine  and  good  specimea 

101.  Dosso  Dossr. — The  Circumcision.  A  beautiful  and  deli- 
cate little  picture,  in  which  the  influence  of  his  fellow-countryman, 
Garofalo,  is  clearly  seen,  so  that  it  should  not  be  placed  in  this 
category,  but  among  the  masters  of  1500-1550. 

I  have  in  tain  sought  in  the  catalogue  of  1851  for  a  Marriage 
of  St  Catherine  by  GiuLio  Cesare  Procaccini,  which,  though  a 
somewhat  slight  work,  deserves  mention  at  all  events  more  than 
some  which  I  have  passed  over  in  silence,  and  also  than  many  that 
I  have  noticed. 

Seventeenth  Century. — Italy  and  Spain. 

In  thus  dividing  his  subject  the  compiler  of  the  catalogue  has 
overlooked  the  fact  that  most  of  the  masters  mentioned  in  the 
former  category  flourished  to  the  seventeenth  century. 

102.  The  Entombment  The  cold  red  flesh-tones,  and  the 
black  and  heavy  shadows,  show  that  this  is  not  by  Spagnoletto,  as 
here  stated,  but  one  of  the  many  skilAil  imitations  of  that  master 
by  the  hand  of  Lüca  Giordano. 

103.  Il  Cavaliere  Calabrese. — 1.  The  Adoration  of  the 
Shepherda 

104.— 2.  The  Adoration  of  the  Kings. 

105. — 3.  The  Marriage  of  Cana. 

106. — 4.  The  Magdalen  washing  the  feet  of  Christ.    AU  these 


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240  LIVERPOOL  ROYAL  INSTITUTION.    Letter  XXVIL 

pictures,  which  are  executed  in  the  master's  oflFhand  style,  show, 
more  than  usual,  the  influence  of  Paul  Veronese. 

107.  LucA  Giordano. — Dionysius,  the  tyrant  of  Syracuse,  as 
a  schoolmaster.     Boldly  executed  in  his  brick-red  tones. 

108.  SoLiMENE. — ^The  Virgin  and  Child  surrounded  by  angels. 
An  excellent  picture  for  him. 

109.  A  landscape,  with  a  Riposo,  by  Luigi  Garzl  The  fore- 
ground unusually  green,  and  the  background  unusually  blue  for 
him.     Here  given  to  Salvator  Rosa 

110.  The  entrance  to  the  Arsenal  at  Venice,  with  the  lions. 
A  good  picture  by  Bernardo  Bellotto,  and  not  by  Canaletto, 
as  here  stated. 

111.  Castiglione. — A  grey  horse,  and  a  shepherd  with  his 
flock.     One  of  his  feeble  works. 

112.  Romanblli. — ^The  Flight  of  Clelia  and  her  companion. 
The  motives  animated ;  the  heads  and  forms  plea^ng. 

113.  An  unknown  subject  by  some  feeble  painter  of  the  six- 
teenth century.     Ascribed  to  Pietro  della  Vecchia, 

114.  GiovACHiNo  AssERATO. — Christ  disputing  in  the  Temple. 
In  this  Genoese  master  I  recognise  a  rude  imitator  of  Bernardo 
Strozzl 

115.  Jüan  Simon  Gcttierrez. — St  Francis  in  ecstasy.  This 
scholar  of  Murillo,  hitherto  unknown  to  me,  recalls  his  master  in 
realistic  conception  and  warmth  of  colour.  The  picture  is  care- 
fully executed. 

•^     116.  School  of  Velasquez. — A  Spanish  general,  in  full  uniform. 
True  in  conception,  powerful  in  colour,  and  careful  in  treatment 

117.  Nicolas  Poussin. — A  poetic  landscape,  with  Arcadian 
shepherds.     A  genuine  and  attractive  work  of  his  later  time. 

118.  Sebastian  Bourdon. — ^A  bacchanalian  scene.  An  ex- 
cellent picture,  treated  quite  in  the  taste  of  his  master,  Nicolas 
Poussin. 

Flanders  and  Holland. 

119.  Rubens. — ^The  Crucifixion.     A  copy. 

121.  Arnold  de  Gelder. — ^Head  of  a  rabbu  This  appears 
to  me  rather  a  good  picture  by  Solomon  de  Koninqk. 

122.  Ferdinand  Bol.— The  Angel  appearing  to  Hagar  in  the 
Desert.     A  very  warm  and  careful  picture  by  him. 

123.  Frederic  Moucheron. — A  landscape.  Careful ;  but  of 
those  works  of  the  painter  which  are  insipid  in  tone. 

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Letteb  XXVn.      MR.  NAYLOB'S  COLLECTION.  241 

124.  A  winter  landscape,  with  figures.  A  good  picture  by  an 
inferior  artist  of  the  name  of  Mans.  Inscribed  with  his  name 
and  date  1669.     Here  given  to  Nicolas  Molenaer. 

126.  Travellers  and  cattle  under  an  archway.  Belongs  to  the 
school  of  Berghem. 

127.  A  boar-hunt.  Too  coarse  and  crude  for  Snyders,  to 
whom  it  is  here  assigned.     Probably  by  Abraham  Hondius. 

128.  Rosa  da  Tivoli. — ^A  stag-hunt  Unusually  clear  and 
careful  for  her. 

130.  Pbter  van  Shuppen. — ^A  lady,  and  a  gentleman  play- 
ing the  guitar,  to  which  a  child  is  dancing.  A  warm  and  careful 
picture.  

Some  pictures  of  the  modem  school  I  was  not  able  to  see  in 
1850,  and  therefore  can  give  no  account  of  them. 

The  collection  of  casts,  comprising  the  greater  part  of  the  Elgin 
marbles,  the  ^gina  and  the  Phigalian  marbles,  with  some  of  the 
most  famed  statues  from  Italian  collections,  give  ample  opportuni- 
ties for  the  study  of  antique  sculpture. 

I  quitted  these  apartments  with  the  most  earnest  wishes  for  the 
worthy  increase  of  all  collections  of  art  in  a  commercial  city  like 
Liverpool,  where  they  may  be  said  to  represent  the  intellectual 
feehngs  as  opposed  to  those  material  interests  so  predominant  in 
all  cities  of  this  clasa 

A  collection  of  pictures  of  the  modem  English  school,  belong- 
ing to  Mr.  Clowes,  I  was  prevented  seeing  by  the  absence  of  the 
proprietor.  But  I  was  so  fortunate  as  to  be  allowed  to  see  one  of 
similar  nature  the  same  afternoon,  in  the  possession  of  Mr.  John 
Naylor,  who  lives  on  the  other  side  of  the  river.  This  gentleman 
was  also  absent,  and  alterations  were  going  on  in  the  house,  which 
prevented  my  seeing  some  of  the  pictures.  Amongst  those  I  did 
examine,  the  following  appeared  the  most  worthy  of  notice. 

Sra  Charles  Eastlake. — A  beautifiil  and  careful  repetition 
of  his  Christ  weeping  over  Jerusalem. 

Sir  William  Allen. — A  Circassian  slave-market ;  of  delicate 
and  attractive  motives,  but  rather  too  monotonous  in  colour. 

Leslie.  -  A  party  of  ladies  and  gentlemen,  in  a  landscape.  Of 
happy  conception  and  careful  treatment 

Turner.-— 1.  A  view  of  Venice.  Of  great  effect,  and  in  his 
lightest  and  clearest  tone. 

VOL.  III.  B 

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242  INGE.  Lbttee  XXVII. 

2.  A  harbour,  in  a  cool  morning  mist ;  a  somewhat  decoratiye 
effect 

Sir  Edwin  Landsber. — A  dog,  and  dead  wild-fowl.  Very 
true,  powerftil,  and  carefiiL 

Stankield. — A  storm  on  the  coast  of  Calais.  One  of  his  best 
works  in  largeness  of  conception  and  mastery  of  execution.  For- 
merly in  the  Stowe  collection. 

Cooper. — Cattle  in  the  HigUanda  Admirable  in  keeping,  of 
great  power  of  colouring,  and  of  unusual  truth  and  delicacy  in 
execution  of  the  details ;  dated  1835. 

CoLUNS. — ^PoQr  children  on  a  sea-shore.  Of  great  force  and 
truth. 

Creswick. — A  landscape  in  his  realistic  style,  true,  transparent, 
and  careful     Dated  1847. 

Ansdell. — Two  stags  fighting,  and  a  stag  oTerpowered  by  two 
dogs ;  life-size ;  displaying  great  animation  of  motives,  knowledge 
of  nature,  and  excellent  execution. 

Martin.— 1.  The  Feast  of  Belshazzar ;  dated  1830. 

2.  Joshua  with  his  host.  Two  remarkable  pictures  in  his  well- 
known  manner. 

•     3.  A  wild  rocky  scene,  mih  a  Flight  into  Egypt ;  of  very  care- 
ful execution.  

I  spent  the  evening  in  the  hospitable  house  of  Mr.  HeywooA 
He  is  probably  a  unique  instance  of  a  man  of  business  devoting 
his  leisure  hours  to  a  thorough  study  of  German  philosophy,  as 
the  fruits  of  which  he  has  published  a  translation  of  Kant's  *  Critic 
of  Pure  Reason ' — which  has  already  gone  through  two  editions — 
and  a  Commentary.  Under  these  circumstances,  and  with  Mr. 
Heywood's  knowledge  of  the  German  language  and  literature,  I 
found  many  points  of  sympathy  between  us.  His  lady  and  his 
amiable  and  highly-accomplished  daughters  also  contributed  much 
to  the  pleasure  I  experienced  in  this  family  circla  I  retain  Mr. 
Heywood's  two  works,  which  he  did  me  the  favour  to  present  to 
me,  as  a  very  precious  souvenir  of  the  time. 


INCE. 
The  following  morning  I  left  Liverpool  for  Ince,  the  seat  of 
Mr.  Blundell  Weld,  to  whom  Mr.  Hejrwood  had  obtained  me  a 
letter  of  introduction.     Mr.  Blundell  Weld,  who  was  acquiunted 


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Letteb  XXVII.     MR.  BLUNDELL  WELD'S  COLLECTION.         243 

with  my  former  work  on  England,  receiyed  me  not  only  with 
kindness,  but  invited  me  to  remain  his  guest  at  Ince  as  long  as  a 
leisurely  inspection  of  his  works  of  art  might  require.  I  accepted 
his  kindness  with  the  greater  readiness,  as  a  cursory  view  of  his 
collection  had  convinced  me  of  the  claims  it  had  upon  my  atten- 
tion. For,  besides  the  specimens  of  antique  sculpture,  well  known 
to  me  by  reputation,  the  catalogue  of  which  contains  553  num- 
bers, and  which  are  placed  not  only  in  different  apartments  of  the 
house,  but  in  galleries  erected  for  the  purpose,  I  found  to  my 
surprise  a  collection  of  no  less  than  197  pictures  and  drawinga 

As  Mr.  Blundell  Weld,  after  having  shown  me  a  little  about 
the  house,  was  obliged  to  drive  to  Liverpool  on  buäness,  with  his 
beautiful  and  amiable  wife,  I  was  left  to  continue  my  inspection  of 
these  treasures  as  undisturbedly  as  if  I  had  been  the  possessor  of 
them. 

This  rich  collection  of  sculpture  was  founded  by  Mr.  Henry 
Blundell  (bom  1722),  about  the  same  time  as  the  Townley  mar- 
bles. In  a  work  upon  them,*  published  at  the  time,  with  illus- 
trations which  were  good  for  the  period,  there  are  notes  in  the 
preface  indicating  the  sources  of  the  coUectioa  A  considerable 
portion  of  the  specimens  were  formerly  in  the  Roman  villas  of 
Mattei,  Altieri,  Borioni,  and  also  in  the  Villa  d'Este  at  Tivoli 
Other  pieces  were  derived  from  the  Palazzo  Lanti,  the  Palazzo 
Copponi,  and  the  Villa  Negroni ;  or  purchased  by  Mr.  Blundell 
of  Messrs.  Cavaceppi,  Gavin  Hamilton,  Jenkins,  Volpato,  and  La 
Picola,  keeper  of  the  collection  of  antiques  in  the  Capitol.  At 
the  sales  of  the  Cawdor,  Besborough,  and  Mendip  collections  also, 
purchases  were  made.  Those  acquainted  with  the  standard  of 
taste  which  regulated  collections  of  antique  sculpture  at  that  time 
will  need  no  assurance  that  the  greater  part  of  these  works  belong 
to  the  late  Roman  period,  and  are  at  the  same  time  greatly  and 
but  passably  restored.  But  there  are  many  which  are  interesting 
both  for  their  subjects  and  for  their  good  workmanship ;  some  also 
unmistakably  indicate  a  Greek  chisel,  while  others  belong  to 
the  best  time  of  Roman  art.  As  no  account,  to  my  knowledge, 
exists  of  these  sculptures,  according  to  the  present  standard  of 
knowledge,  I  feel  it  my  duty  to  enter  somewhat  fully  upon  them. 

As  regards  the  formation  of  the  collection  of  pictures  I  have 

*  EngraTlngs  and  Etchings  of  Sepalchral  Monuments  in  the  Collection  of  Henry 
Blondelly  Esq.,  at  Ince,  1809,  2  vols,  in  fol. 

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244  INGE.  Letter  XXVII. 

less  means  of  information.  The  collecting  of  a  number  of  pictures 
of  the  early  Netherlandish  and  German  schools,  as  well  as  some  of 
the  early  Italian  school,  of  which  by  far  the  most  important  part 
of  the  collection  consists,  must  have  occurred  pretty  early  as 
regards  the  taste  for  art,  considering  that  the  tendency  of  the  last 
century  was  not  in  their  favour.  On  the  other  hand,  it  appears 
that  the  specimens  of  the  later  Italian  and  Netherlandish  schools 
must  have  been  'obtained  at  about  the  same  time  that  the  sculpture 
was  collected.  Unfortunately  the  pictures  have  been  long  neg- 
lected, some  having  really  suffered  materially,  while  others  are  in 
a  state  which  much  disfigures  them. 

As  it  would  be  no  easy  task  to  class  the  sculptures  according  to 
order,  I  take  them  according  to  the  apartments  they  occupy.  lu 
all  cases  where  I  do  not  mention  the  material,  it  may  be  under- 
stood to  be  marble. 

Entrance  Hall  and  Staircase. 

The  very  colossal  bust  of  a  sea-god,  from  the  Villa  d'Este,  is 
among  the  best  antique  representations  of  this  class  of  divinity. 
The  character,  which  has  some  affinity  with  the  heads  of  Jupiter, 
is  very  noble,  the  forms  grand,  and  the  mouth  especially  very 
beautiful.  The  rather  decorative  workmanship  is  broad  and  con- 
formable to  style.  Only  the  nose  and  a  piece  of  one  cheek  are 
restored. 

Below  this,  as  a  pedestal,  is  the  fragment  of  a  colossal  knee  and 
leg,  of  tolerably  good  workmanship. 

A  statue  of  the  finest  red  Egyptian  granite.  Judging  from  the 
very  individual  head,  from  the  rendering  of  the  forms,  and  the 
style  of  the  very  carefiil  workmanship,  this  is  probably  of  the  time 
of  Hadrian. 

A  female  torso,  only  the  centre  portion ;  in  Parian  marble,  of 
great  beauty  and  careful  execution. 

The  Birth  of  Hercides,  an  alto-rilievo  of  very  good  style,  in 
which  the  motive  of  Alcmena  is  very  well  expressed  The  work- 
manship is  commonplace. 

Next  come  two  antique  mosaics — Jupiter  enthroned,  looking 
at  a  female  figure  who  is  speaking  to  him,  while  he  points  with 
his  thunderbolt  to  a  Victory,  who  is  represented  writing  on  a  shield. 
Of  tolerably  good  workmanship. 

A  female  head  in  profile,  of  colossal  scale;  composed  of  very  coarse 
pieces,  but  still  imposing  in  effect  from  the  grandeur  of  the  forms« 


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Letteb  XXVir.    MR.  BLUNDELL  WELD'S  COLLECTION.         245 

A  model  of  Trajan^s  pillar,  with  the  reliefs  slightly  but  most 
skilfully  painted  in  a  brown  monochrom,  with  a  restoration  of  the 
statue  of  Trajan  above,  in  gilt  bronze. 

A  small  relief  of  youths  and  maidens  playing  at  ball ;  very  na- 
tural and  charming  in  motives,  and  of  tolerably  good  workmanship. 

The  bust  of  the  singing  Silenus ;  noble  in  conception  of  form, 
and  very  animated  and  peculiar  in  character. 

Hall. 

Minerva;  a  statue  of  about  4fL  high,  in  imitation  of  the 
archaic  style  which  prevailed  in  the  time  of  Hadrian.  The  wide 
extension  of  the  ^gis  is  very  remarkable,  with  the  antique  ugly 
head  of  the  Medusa  stretching  out  its  tongue,  and  two  lion's  paws 
at  the  sid&  The  pleasing  head  of  the  statue  is  antique,  but  has 
more  the  character  of  a  Roma,  and  is  foreign  to  Minerva ;  it  is 
also  of  difierent  marble.  The  arms,  and  the  legs  downward  from 
the  knees,  are  new. 

Diana ;  a  statue  which,  although  the  head  and  the  lower  part 
of  the  arms  are  new,  deserves  particular  notice.  Over  the  drapery, 
which  has  very  peculiar  motives,  is  the  skin  of  a  stag,  ihe  upper 
part  of  which  is  old.  The  buskin  of  the  right  foot  is  very  care- 
fully and  elegantly  executed  ;  above,  it  terminates  in  a  lion's  jaw 
and  two  lion's  paws.  Found  in  the  Gordian  Villa,  and  purchased 
of  the  sculptor  Albacini. 

Apollo  Sauroctonos  ;  a  statue  of  about  the  size  of  that  from  the 
Villa  Borghese,  now  in  the  Louvre :  of  very  beautiful  slender 
proportions,  and  of  very  good  workmanship.  A  part  of  the  nose, 
a  part  of  the  chin,  the  arms,  the  left  leg  from  the  half  of  the  thigh, 
and  the  right  foot  are  new. 

I  am  inclined  also  to  consider  as  an  Apollo  a  very  youthfnl 
statue,  of  good  workmanship.  The  rendering  of  the  long  hair 
is  very  peculiar.  The  right  hand  and  half  of  the  right  foot  are 
restorations. 

The  statuette  of  a  philosopher,  seated ;  the  expression  and  atti- 
tude of  thoughtfiilness  very  excellent  This  is  on  a  plinth  of  very 
beautiful  black  and  white  granite. 

The  statuette  of  a  Cybele — the  companion  to  the  foregoing — 
is  rude. 

Next  the  fireplace  is  a  very  remarkable  flat  relief  of  the  rest- 
ing figure  of  a  toan,  on  a  seat  of  very  elegant  form,  raising  his 
left  band.     The  whole  style  of  art,  the  head  with  the  pointed 

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246  INGE.  Lbttbb  XXVII. 

beard,  the  long,  pendent,  delicately  curling  hair,  and  the  workman- 
ship, agree  so  entirely  with  the  well-known  relief  of  the  Leuco- 
thea  in  Borne,  and  with  the  relief  on  the  Harpy  monument  in  the 
British  Museum,  that  I  am  inclined  to  consider  this  a  relic  of  the 
old  Ionic  school  of  scidpture.  Unfortunately  the  surface  is  much 
injured. 

A  pedestal,  formed  of  the  right  leg  and  torso  of  a  male  figure. 
This  is  the  first  marble  which  Mr.  Henry  Blundell  purchased 
firom  Mr.  Jenkins,  in  1777. 

A  small  antique  sun-dial. 

The  torso  of  a  statue  of  Isis,  of  the  time  of  Hadriaa  An 
antique  head  of  individual  character  is  placed  on  it ;  the  legs, 
firom  the  knees  downward,  are  new. 

Bust  of  Hadrian;  the  head  only,  which  is  of  very  moderate 
workmanship,  is  antique. 

Bust  of  Lucius  Verus.  The  same  may  be  said  of  this  as  of  the 
foregoing. 

Bust  of  Trajan ;  of  animated  conception,  but  moderate  work* 
manship.  The  point  of  the  nose,  upper  lip,  bones  round  the  eyes, 
and  a  part  of  the  ears,  are  new. 

A  colossal  bust,  in  Parian  marble,  of  an  individual  unknown  to 
me ;  of  lively  conception  and  careful  workmanship,  but  restored 
in  many  parts. 

Bust  of  Mark  Antony  ;  of  moderate  workmanship ;  nose  and 
upper  lip  new. 

Bust  of  a  child ;  only  the  head  antique,  and  that  restored  in 
nose  and  ears.     The  forms  very  lovely  and  the  execution  delicate. 

Among  difierent  fragments  on  a  table,  a  small  torso,  in  the 
attitude  of  the  Laocoon,  is  very  remarkable ;  also  the  foot  of  a 
young  female  is  of  rare  beauty. 

Here  are  also  various  careful  copies  from  well-known  antique 
busts,  such  as  the  fine  Bacchus,  formerly  called  an  Ariadne,  the 
Jupiter  in  the  Vatican,  the  fine  colossal  bust  of  Lucius  Verus  in 
the  Louvre,  and  the  head  of  the  Pallas  of  Velletri. 

On  a  table  in  the  centre,  with  a  slab  of  fine  black  and  white 
granite,  and  a  rich  and  beautiful  bronze  foot  of  the  dnquecento 
time,  stands  a  very  feeble  copy  of  the  Toro  Famese  in  bronze. 

Finally  there  is  a  specimen  of  modem  art  here — Canova's 
Psyche ;  a  pleasing  and  careful  work  of  his  earlier  time,  before 
even  he  w«nt  to  Rome. 

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Of  the  paintings  in  this  room  I  may  mention — 
Salvator  Rosa. — An  enchantress ;  of  very  graceful  motive. 
The  Virgin  and  Child ;  a  careful,  and  as  regards  the  flesh-tones 
a  warm  repetition,  by  a  nearly  contemporary  Netherlandish  painter, 
from  Andrea  di  Solario's  fine  picture  in  the  collection  of  Count 
Schönbom,  at  Pomersfeld,  near  Bamberg,  in  Franconia — ^there 
called  a  Leonardo  da  Vinci — a  picture  of  which  there  are  nume- 
rous copiea 

DiNING-BOOM. 

On  the  mantel-piece,  the  bust  of  a  young  man,  two-thirds  the 
size  of  life,  of  which,  however,  only  the  firont  part  of  the  head, 
excepting  the  point  of  the  nose,  is  antique.  Judging  from  the 
character  of  the  mouth  especially,  I  should  take  it  for  an  Apollo ; 
the  hair,  held  together  by  a  fillet,  and  hanging  down  on  each  side, 
is  very  conventional  in  the  regular  snail-like  shape  of  the  curls. 
The  workmanship  is  good. 

Bust  of  Hercules,  two-thirds  life-eiza  The  noble  character 
of  the  head  most  decidedly  bespeaks  the  descent  from  Jupiter. 
There  is  also  a  peculiar  dignity  and  something  inspired  in  the 
featurea  The  head  is  richly  adorned  with  grape-leavea  The 
ears,  formed  like  those  of  an  athlete,  stand  off^  from  the  head. 
Only  a  part  of  the  nose  is  new,  and  some  of  the  curls  are  knocked 
off  The  bust  part,  on  the  other  hand,  is  almost  entirely  modem. 
The  execution  of  the  flesh  parts  is  careful,  while  the  hair  and  beard 
are  little  more  than  expressed. 

The  bust  of  iElius  Cassar ;  from  the  Villa  Mattei 

The  bust  of  Mercury ;  half  life-size,  with  the  petasus.  The 
character  is  delicately  and  nobly  conceived;  the  profile  is  very 
beautifriL  Every  part,  especially  the  curls,  is  careftdly  rendered. 
A  portion  of  the  throat  and  bust  is  new. 

The  fragment  of  a  female  statue  in  armour,  about  2  ft.  high— 
the  breasts  not  indicated — called  Pallas;  which,  however,  from 
the  absence  of  the  iEgis,  I  am  inclined  to  doubt  The  nose,  the 
right  eye,  a  part  of  the  cheek  and  forehead,  are  new  ;  the  head 
is  of  delicate  and  peculiar  character;  the  curls  on  each  side 
shaped  like  a  corkscrew ;  the  hair  is  pointed  below,  and,  above,  the 
back  part  of  the  head  is  covered  with  a  veil  The  proportion  of 
the  figure  is  slender  and  noble  ;  the  drapery  as  admirable  as  it  is 
peculiar  in  motive.     Both  arms  and  the  feet  are  new. 

A  statuette  of  a  so-called  Spes  is  of  inferior  workmanship. 

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248  INCE.  Letter  XXVII. 

Torso  of  a  statuette  of  a  Diana,  about  1  ft  4  in.  high.  The 
drapery  of  admirable  motives,  and  most  carefully  executed  in 
detail  Only  the  arm,  besides  the  torso,  is  antique ;  but  the 
restorations  of  the  failing  portions  are  very  careful 

A  captive  with  a  Phrygian  cap.     The  style  of  the  carefully- 
treated  drapery  shows  this  to  be  a  work  of  the  Cinquecento  time. 
,    Pictures  in  this  apartment : — 

Marco  Ricci. — ^The  Marriage  of  Bacchus  and  Ariadne ;  a  rich 
composition.  This  large  picture  is  the  best  work  of  the  master 
that  I  know ;  animated  in  motives,  powerful  and  transparent  in 
colouring,  and  careful  in  executioa 

Marcantonio  Franceschini. — ^The  repentant  Magdalen ;  a 
very  pleasing  picture,  in  which  he  has  imitated  Guido  in  the  har- 
mony of  the  broken  colours. 

Angelo  Bronzino. — ^Portrait  of  a  pretty  woman ;  a  vase  in 
her  left  hand.     The  flesh-tones  have  something  very  beautifiiL 

Andrea  del  Sarto. — A  Holy  Family ;  generally  attributed 
to  this  master,  in  which  the  little  St  John  in  the  foreground  is 
lifting  up  his  hand.  Purchased  in  1777  fi*om  the  Carthusians  in 
Paris,  as  the  picture  painted  by  the  master  for  them.  Neverthe- 
less I  cannot  help  looking  upon  it  as  a  good  school  copy  only. 

Paul  Veronese. — ^The  well-known  Marriage  of  Cana,  in  the 
Louvre,  purchased  at  Florence  in  1777,  fi*om  Mr.  Hugford ;  in 
my  opinion  a  very  pleasing  copy,  by  one  of  his  pupils,  from  his 
great  picture. 

Giuseppe  Nogarl — 1  and  2.  The  portrait  of  the  same  woman 
as  in  his  picture  in  the  Dresden  Gallery.  Here  also  the  portrait 
of  a  man  forms  the  companion  picture,  but  he  is  not  the  same 
as  that  at  Dresden.  Two  very  good  pictures  of  this  late  Venetian 
master. 

Artus  Van  der  Neer. — A  large  and  very  carefiiUy-executed 
moonlight  landscape,  with  two  men  in  the  foreground  ;  much  sunk 
by  neglect. 

Francois  Milet. — ^A  beautiful  landscape,  quite  in  the  taste  of 
Gaspar  Poussin.     In  the  foreground  a  youth  and  a  ^r). 

Orizzonte. — ^Two  pretty  landscapes. 

Bernardo  Bbllotto. — 1  and  2.  The  Piazza  of  St  Mark, 
and  the  Church  of  the  Salute ;  two  of  his  commoner  works. 

RoMANELLi. — 1  and  2.  The  Rape  of  Proserpine,  and  the  Death 
of  Adonis,  are  pleasing  pictures  by  hinu 

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Lbttbb  XXVJI.    MR.  BLÜNDELL  WELD'S  COLLECTION.  249 

Drawing-room. 

Wilson. — 1  and  2.  Two  of  the  largest  and  most  admirable  of 
his  landscapes. 

I  imderstand  from  a  friend  that  a  small  picture  of  the  Virgin 
and  Child  now  hangs  in  this  apartment^  which  was  formerly  in 
the  Chaplain's  room,  and  was  there  recognised  by  me  as  a  Jan 
VAN  Eyck.  The  Virgin  is  seated  under  a  canopy  of  a  full  green, 
holding  the  Child  on  her  lap,  and  turning  over  the  leaves  of  a  booL 
Her  small  head  is  of  unusually  noble  character  for  Jan  van  Eyck 
She  has  a  blue  dress  with  a  splendid  red  mantle  with  numerous 
sharp  breaks.  Upon  a  table  at  the  window  is  a  vessel,  on  the  other 
side  a  candlestick,  on  the  ground  a  dish.  9  ia  high,  by  6  in  wide. 
Throughout  of  a  most  masterly  miniatiu*e-like  execution,  and  deep 
glow  of  colouring ;  and,  excepting  the  many  cracks  in  the  colour, 
well  preserved.  Next  the  canopy  I  found  the  inscription  "  Com- 
pletum  anno  domini  mccccxxxii  per  Johannem  de  Eyck  Brugis," 
and  his  motto,  "  Als  ich  chaa"  This  was  consequently  executed 
in  the  same  year  that  he  and  his  brother  Hubert  finished  the  great 
altar-piece  for  the  cathedral  of  Ghent 

Another  Room  on  the  Lower  Story. 

Sculptures. — ^A  small  bust  of  Telesphorus,  the  god  of  the  con- 
valescent ;  very  peculiar,  and  of  good  workmanship. 

A  small  but  very  animatedly  conceived  and  careful  bust  of 
Vitellius. 

Mabüsr — This  is  the  name  borne  by  a  very  remarkable 
but  unfavourably  seen  picture,  placed  between  two  windows  of 
about  4  ft  square.  In  the  centre  the  Virgin  enthroned,  with  a 
flower  in  her  left  hand ;  the  Child  on  her  lap,  who  is  seizing 
a  goldfinch  rather  roughly.  Two  angels  besides,  one  of  whom 
is  playing  on  the  Jew's  harp,  quite  a  new  representation  to 
me;  the  other,  who  is  of  great  beauty,  is  holding  a  music« 
booL  In  the  foregroimd, .  at  the  side  of  the  first  angel,  is  the 
kneeling  figure  of  a  very  stately  man,  with  a  very  rich  oma- 
ment  of  the  order  of  St  Michael,  and  a  blue  mantie  with  golden 
lilies.  In  my  opinion  a  King  of  France,  and,  judging  firom  the 
period,  Louis  XIL  ;  but  according  to  the  description  of  the  picture 
a  Count  de  la  Marck.  A  coat-of-arms,  which  appears  to  me  of 
French  Burgundian  character,  would  decide  the  questioa  Oppo- 
site to  this  figure,  and  also  kneeling,  St  Margaret,  nobly  conceived. 


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250  INGE,  Letter  XXVU. 

though  according  to  the  same  description  the  wife  of  the  above- 
said  Count  On  her  shoulder  a  dove ;  under  her  feet  Satan,  in 
the  form  of  a  frightful  human  head  with  great  teeth.  The  very 
rich  architectural  entourage  is  in  the  style  of  the  Renaissance. 
The  capitals  of  the  pilasters  are  adorned  with  sculptures.  I  am 
inclined  to  consider  this  solidly  and  carefully  executed  oil  picture 
as  the  admirable  work  of  some  old  French  painter,  under  the  in- 
fluence of  Mabuse's  earlier  period.  For  Mabuse  himself  the  head 
of  the  Child  and  the  hands  of  the  Virgin  are  too  feebly  drawn ; 
the  serious  expression  of  the  Madonna,  who  has  a  very  thin  nose, 
is  too  studied ;  the  outlines  too  hard  and  cutting ;  and  the  shadows 
too  heavy  and  opaque. 

By  that  admirable  Cologne  master  who  painted  the  Death  of 
the  Virgin  in  the  Gallery  at  Munich,  erroneously  called  a  Schoreel, 
here  is  a  most  attractive  work.  The  Virgin,  enthroned  beneath  a 
canopy,  is  gazing  with  a  most  graceful  action  upon  the  Child 
sleeping  on  a  cushion  in  her  lap,  holding  an  apple.  She  is  taking 
some  cherries  with  her  right  hand  out  of  a  basket  which  an  angel 
is  extending  to  her.  On  the  other  side  are  three  sin^g  angels, 
the  one  with  the  music-book  very  graceful.  At  the  sides  of  the 
canopy  are  views  on  to  a  rich  landscapa  This  picture  is  executed 
with  the  most  singular  transparency  and  delicacy,  and  is  in  excel- 
lent preservation. 

ScHiDONE. — His  frequently  recurring  Magdalen,  the  best  ex- 
ample of  which,  the  size  of  life,  was  in  the  collection  of  the  King 
of  Holland.  This  picture,  which  is  much  smaller,  was  purchased 
in  Rome  in  1777.     It  has  much  darkened,  but  appears  genuine. 

Hendrick  van  Steenwyck. — 1.  Interior  of  a  church,  in  his 
precise  but  hard  and  dry  style. 

2.  A  larger  picture  of  the  same  subject,  and  of  the  same  style. 

Solomon  Ruysdael. — View  of  a  Dutch  canal,  with  cattle 
being  ferried  over.  Behind  some  underwood  a  church.  In  addi- 
tion to  his  usual  truth,  the  colouring  is  powerful  and  the  execution 
careful. 

Jan  van  Goybn. — ^In  the  foreground  a  canal  with  vessels ;  in 
the  background  a  village.     Of  the  purest  feeling  for  nature. 

Gabparo  Vanvitelli. — Some  pleasing  views  of  Roman  build- 
ings. 

I  now  take  the  reader  on  to  the  first  story. 


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Lbttbb  XXVU.    MR.  BLUNDELL  WELD'S  COLLECTION.  251 

LiBBARY. 

Sculptures. — ^Fragment  of  a  marble  disk,  with  a  very  spirited 
figure  with  floating  hair  bearing  a  discus. 

Pictures. — Roger  Van  der  Weyden  the  elder. — ^The  Virgin 
with  the  Child  on  her  lap,  who  is  holding  a  pink  in  his  right  hand, 
the  left  taking  hold  of  one  of  his  toes.  Very  warm  in  tone,  and 
solid  in  execution.  The  rendering  of  the  forms  as  well  as  the 
gold  ground  indicates  the  earlier  time  of  the  master.  Unfortunately 
very  dirty. 

School  of  Van  Eyck,  about  1480.  The  Adoration  of  the 
Kings.  The  conception  very  realistic,  the  forms  hard,  but  of  pure 
feeling  and  capital  execution. 

Sw ASIAN  School,  about  1480. — St  Anna  and  the  Virgin,  who 
is  holding  a  pink,  with  the  infant  Christ  on  her  lap.  By  a  good 
master,  and  admirably  preserved. 

Andrea  del  Sarto. — ^The  same  Holy  Family  that  is  in  Mr. 
Holford's  collection.     A  good  school  copy. 

Grimanl — 1  and  2.  Two  landscapes  in  the  taste  of  Annibale 
Carraoci,  one  of  which,  with  two  fisherman  in  the  foreground,  and 
inscribed,  is  very  fine  and  poetical. 

Jan  Mostabrt. — ^The  Magdalen  taking  the  lid  from  the  box 
of  ointment ;  half-length  figure,  life-size,  the  ground  dark.  This 
picture,  which  entirely  corresponds  with  the  authentic  so-called 
portrait  of  Jacoba  of  Bavaria  in  the  Museum  at  Antwerp,  belongs, 
in  point  of  elevation  of  conception,  pleasing  forms,  warm  colour- 
ing, and  very  careful  treatment,  to  the  best  pictures  I  know  of  the 
master.     It  is  also  in  excellent  preservation. 

Lambert  Lombard. — ^The  Virgin  and  Child,  St  Anna,  Jo- 
seph, and  Joachim ;  small  full-length  figures  The  background,  a 
landscape  with  buildings.  Not  happily  composed,  but  carefully 
carried  out  in  a  clear  yellowish  tone  in  the  fledi. 

Teniers. — An  alchemist  Although  an  inscribed  picture,  I  am 
inclined  to  think  it  too  heavy  in  tone,  and  too  empty  in  the  forms, 
for  the  master. 

HiERONYMus  Bosch. — ^The  Temptation  of  St  Anthony.  A  good 
old  copy. 

Netherlandish  School,  about  1460-70. — A  naive  concep- 
tion of  subject  very  characteristic  of  German  art,  and  of  that  time. 
In  the  background  are  seen  the  three  kings  upon  the  summits 
of  three  hills,  looking  at  the  stara     In  the  foreground  they  are 

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252  INGE.  Letter  XXVH. 

seen,  each  with  their  retinue  preceded  by  a  trumpeter,  coming 
down  between  the  hills,  and  meeting  each  other.  Quite  in  the 
foreground,  in  the  corners,  are  David  and  Isaiah,  half-length 
figures,  with  long  scrolls  with  their  prophecies  from  the  Vulgate, 
concerning  the  coming  of  Christ,  written  upon  them.  Here  are  the 
long  pointed  shoes  of  the  fifteenth  century.  The  ground  is  goldea 
The  heads  are  good  and  of  decided  character,  but  the  forms 
somewhat  empty,  and  the  hands  thia  In  the  warm  brown  fiesh- 
tones  but  little  glazing  colour  is  used.     The  execution  is  solid 

A  tolerably  good  repetition  of  the  Byzantine  picture  of  the 
death  of  Ephraim  Cyrus  in  the  Museo  Cristiano  at  Rome,  which 
d'Agincourt  has  made  known. 

A  large  landscape  is  a  very  characteristic  specimen  of  Cornelib 
Matsys  and  Cornelis  Molenaer,  followers  of  Patenier  and  Herri 
de  Bles,  who  flourished  in  the  Netherlands  before  and  after  1550. 
The  landscape  is  enlivened  by  a  hunting  party,  riders  and  pedes- 
trians. The  sky,  which  is  turned  white,  proves  that  the  painter 
was  already  acquainted  with  the  Haarlem  blue. 

Solomon  Rutsdael. — A  landscape  with  a  ferry  upon  a  canal. 
It  appears  a  good  picture,  but  hangs  too  high. 

Holbein. — Sir  Thomas  More.  An  old  and  careftil  copy 
painted  on  wood. 

Michael  Ostendorfer. — ^To  this  active  painter,  who  flourished 
in  Ralisbon  in  1550,  I  am  inclined  to  attribute  a  picture  in  which 
the  great  doctrine  of  the  Lutheran  faith — ^pardon  through  faith  in 
the  Saviour — is  symbolically  embodied.  Many  inscriptions  in 
golden  capitals  also  refer  to  the  same  subject  The  speaking  mo- 
tives are  mannered  in  some  few  respects,  the  drawing  good,  the 
execution  careftil,  but  the  colouring  somewhat  gaudy. 

Gerard  HoNTHORSx.-^Circe  accompanied  with  two  of  her 
nymphs  transforming  the  characters  of  the  Odyssey  into  swine.  A 
very  careftil  picture. 

Johann  Glauber,  called  Poly  dor.— A  large  and  beautiftil 
landscape  in  the  taste  of  Gaspar  Poussin.  In  the  middle  distance 
three  girls  with  drinking-vessels. 

An  antique  mosaic,  which  now  forms  the  slab  of  a  table.  Of 
rude  workmanship,  but  interesting  as  showing  a  subject  fi'om  rural 
life.  A  naked  slave  is  strewing  fodder  before  two  oxen ;  behind 
is  an  angel  looking  upward» 


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Lbttbb  XXVII,    MR.  BLUNDELL  WELD'S  COLLECTION.  253 

Mrs.  Blundell  Weld's  Bedroom. 

Jan  Mostaert. — A  Riposo.  The  Virgin  nursing  the  Child. 
Joseph  in  the  rich  landscape  behind.  A  delicate  picture,  of  warm 
tone. 

Jan  Beeldemaker. — Some  pointers,  of  great  power  and  truth. 
An  inscribed  cabinet-picture  by  this  capital  and  rare  master. 

Scholar  of  Jan  van  Eyck,  perhaps  Hugo  van  der  Goea — 
The  Virgin  and  Child,  to  whom  an  angel  is  reaching  some  fruit ; 
another  angel  opposite  playing  the  harp.  On  the  architecture 
sculptures  in  chiaroscuro ;  through  two  apertures  a  view  into  a 
careful  landscape.     The  angels  have  suflFered  in  the  flesh-tones. 

Patenier,  or  his  School. — ^A  Riposo,  with  the  Child  in  the 
act  of  benediction.     A  careful  and  delicate  picture. 

LüDOLPH  Backhüybbn. — I  am  inclined  to  attribute  a  now 
very  dry  and  sunken  picture  of  a  storm,  with  gleams  of  light,  and 
of  great  poetry,  to  this  master. 

Netherlandish  School. — Portrait  of  ä  beautiful  woman  with 
close-fitting  cap,  and  a  young  and  pretty  nun  taken  as  the  Virgin. 
Of  peculiar  charm,  and  delicately  executed  in  pale  and  somewhat 
woolly  flesh-tones. 

Raphael. — A  very  delicately  executed  example  on  copper  of 
the  Madonna  with  the  pink ;  the  same  size  as  the  small  picture  in 
the  Camuccini  collection  at  Rome,  which  I  do  not  consider  to  be 
the  original  The  tone  of  the  flesh  has  something  insipid  and 
heavy.     The  treatment  makes  me  suspect  a  Netherlandish  hand. 

Tintoretto. — ^A  town  stormed  from  the  sea-side.  Spirited, 
animated,  and  slightly  thrown  on  the  canvas. 

Fra  Filippio  LiPPi. — ^The  Virgin  adoring  the  Child,  who  lies 
on  the  ground  holding  a  goldfinch.  In  the  landscape  the  Annun- 
ciation of  the  Shepherds.  Of  the  earlier  time  of  the  master,  and 
of  great  intensity  and  purity  of  feeling. 

School  of  Giotto. — ^The  Vir^n  enthroned,  gazing  lovingly 
at  the  Child  on  her  lap.  The  very  mediocre  execution  is  far 
below  the  fine  motive. 

A  beautiful  landscape  of  warm  tone,  with  Daphne  pursued  by 
Apollo,  hangs  too  high  for  any  particular  opinion. 
Spare  Bedroom. 

Two  small  busts  on  the  marble  chimney-piece.  The  one  Her- 
cules, admirably  representing  the  character  of  this  deity  ;  of  good 
workmanship,  and  only  the  point  of  the  nose  new.     The  other 

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254  INGE.  Letteb  XXVII. 

Homer ;  the  action  of  singing  excellently  expressed  in  the  mouth  ; 
the  nose  new. 

Chaplain's  Bedroom. 
School  of  Van  Eyck. — John  the  Baptist  getting  water  to 
drink.     A  fragment  of  a  very  good  picture. 
Patbnibr. — ^The  Marriage  of  the  Virgin. 
Patbr  Seghbrs. — ^Three  good  pictures  by  this  excellent  flower- 
painter. 

Chapel. 

Four  large  pictures  by  Luca  Giordano,  of  which  Christ  at 
the  Pool  of  Bethesda,  and  driving  the  money-changers  out  of  the 
Temple,  appeared  to  be  the  best. 

I  now  proceed  to  describe  the  sculptures  placed  in  the  building 
erected  expressly  for  them.    Quite  dose  to  the  dwelling-house  is  a 

Large  Circular  Building  with  a  Cupola. 

Before  the  entrance  is  a  portico  with  four  Ionic  pillars  of  red 
sandstone,  in  the  pediment  of  which  is  a  relief  of  good  work- 
manship, representing  a  combat  of  horsemen  and  foot  in  the  liye- 
liest  action.     The  expression  of  a  dying  man  is  excellent 

On  the  centre  of  the  frieze  are  three  male  and  one  female  head, 
of  that  bold  truth,  and  of  that  kind  of  workmanship,  which  occur 
on  Roman  monuments. 

On  the  walls  are  on  one  side,  above,  Castor  and  Pollux,  each 
with  a  horse.  The  heads  are  noble,  the  workmanship  good; 
below  much  is  restoration.  In  the  centre  is  a  lion-hunt,  as  repre- 
sented on  triumphal  arches,  but  of  late  and  dry  workmanship. 
Above  the  door,  on  very  rich  and  elegant  consols,  are  two  satyrs 
as  children ;  the  one  to  the  right  of  the  spectator  is  very  true 
to  the  semi-ferinie  character,  and  of  careful  workmanship. 

In  the  interior  of  this  stately  edifice  a  considerable  number  of 
antique  marbles  are  placed.  In  four  niches,  two  together  oppo- 
site each  other,  and  supported  on  columns,  are  four  statues  the 
size  of  life.  Two  rows  of  smaller  niches  contain  busta  A  number 
of  reliefs  are  let  into  the  wall,  only  too  high  for  inspection.  In 
the  centre  of  the  space  are  also  various  specimens  of  antique 
sculpturea     I  begin  my  observations  with  these  last 

The  torso  of  a  female  statue,  broken  off^  above  somewhat  higher 
than  the  nose,  and  below,  in  the  centre  of  the  thigh ;  this  indi- 
cates, in  beauty  of  form  and  in  finish  of  execution,  a  Greek  oripn. 
It  agrees  so  entirely  in  size,  workmanship,  and  the  peculiarity  of 


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Letter  XXVH.    MR.  BLUNDELL  WELD'S  COLLEOTION.  255 

the  Parian  marble,  with  two  wonderfidly  fine  torsos  purchased  by 
William  von  Humboldt  in  Rome,  and  now  at  Tegel,  the  seat  of 
the  Humboldt  family,  near  Berlin,  that  I  am  convinced  they 
belonged  originally  to  each  other,  and  constituted  a  group  of  the 
three  Graces. 

The  symphlegma  of  a  satyr  and  a  Hermaphrodite  is  spirited 
in  action,  and  carefully  executed  in  Parian  marble.  Many  portions 
are  restored. 

A  small  sarcophagus,  which,  judging  from  the  subjects  of  the 
reliefs,  must  have  contained  the  bones  of  a  dramatic  poet  or  player. 
On  the  upper  border  of  the  two  long  sides  are  a  row  of  comic  and 
tragic  masks ;  below,  on  the  front  side,  two  actors  reciting,  and 
two  figures  accompanying  them  on  the  flute.  The  workmanship 
is  conmionplace. 

A  panther  at  rest ;  a  kind  of  granite  with  large  feld^)ar  crystals 
being  selected  to  express  the  spots ;  one  paw  on  a  table.  The 
workmanship  is  mediocre. 

A  vase  with  a  Bacchanal  in  flat  relief;  of  very  spirited  motives, 
and  good  workmanship. 

A  so-called  mystic  chest  {cigta  mysticd),  of  circular  form  as 
usual,  with  a  serpent  rising  from  it ;  of  rude  workmanship. 

A  circular  altar,  with  deities — Jupiter,  Juno ;  of  good  style  and 
motives,  but  of  commonplace  workmanship. 

A  square  altar;  doubtless  of  the  time  when  the  worship  of 
Serapis  and  Isis  had  spread  into  the  Roman  empire,  for  both  of 
these  divinities  are  represented  on  it  in  the  forms  of  Roman  art 
The  head  of  Serapis  is  wanting.  Besides  this,  each  side  contains, 
in  strict  architectural  arrangement,  two  torches,  a  nilometer,  and 
a  patera.  Opposite  is  the  colossal  mask  of  Jupiter  Ammon,  of 
conunon  workmanship. 

1  proceed  to  examine  the  reliefs : — 

Five  Nereids  beseeching  Vulcan  to  release  the  captive  Pro- 
metheus, over  whom  the  vulture  is  hovering.  The  motives  are 
very  speaking,  and  the  Vulcan  a  successfril  figure ;  the  Nereids 
too  plump.  The  head  of  the  Prometheus,  his  right  leg,  and  other 
portions,  as  far  as  the  high  position  permits  of  an  opinion,  appear 
to  be  new. 

An  Egyptian  bringing  a  sacrifice  to  an  owl  seated  in  a  basket 
The  head  and  left  leg  new ;  apparently  a  work  of  the  time  of 
Hadrian. 


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256  INCE.  Letteb  XXYII. 

A  kind  of  sepulchral  chamber,  of  the  kind  of  which  Santi 
Bartoli  has  given  a  specimen  in  his  ^  Admiranda,'  which  is  con- 
secrated with  festive  decorations  by  a  beautifid  female  figure  with 
a  rich  and  well-arranged  drapery.  Her  head,  though  very  pretty, 
appears  to  be  new. 

A  very  rich  sarcophagus  relief,  with  a  peculiar  representation 
unknown  to  me,  but  referring  perhaps  to  Phaetoa  The  sun  is 
seen ;  four  stately  females,  and  four  men,  who  are  occupied  with 
three  horses ;  also  a  richly  decorated  car.  The  motives  are 
animated,  the  workmanship  commonplace ;  the  preservation  ap- 
pears good. 

Two  pediment-shaped  relie&,  from  the  narrow  end  of  a  sar- 
cophagus, which  perhaps  belonged  tx)  a  hunter.  In  the  centre  of 
the  one  a  shepherd  reposing ;  on  the  right  a  sleeping  stag ;  on  the 
left  a  panther:  in  the  centre  of  the  other  a  hunter  piercing  a 
wild  boar ;  on  the  right  a  dead  wild  goat  Below  these  two,  and 
probably  from  the  long  side  of  the  same  sarcophagus,  but  of  very 
narrow  form,  a  cart  drawn  by  two  oxen,  in  which  are  all  kinds  of 
wild  game,  a  large  net  carried  by  two  huntsmen,  and  a  dog,  a 
huntsman  with  two  spears  leading  a  horse,  two  huntsmen  carrying 
a  dead  wild  goat,  two  others  carrying  a  dead  boar  suspended  by 
the  two  feet  to  a  pole,  and  a  dog.  The  motives  of  all  these 
subjects  are  very  true,  animated,  and  peculiar ;  the  workmanship, 
though  decorative,  good  and  conformable  to  style. 

A  sea-god,  as  an  architectural  ornament ;  taken  quite  in  front ; 
the  nose  is  restored ;  below,  a  festoon  of  fruit  The  conception  is 
very  energetic  and  animated ;  the  admirable  decorative  workman- 
ship may  belong  to  the  time  of  Trajan. 

The  four  large  statues,  which  are  so  conspicuously  displayed, 
are  not  of  great  importance.  The  Minerva,  and  another  female 
figure  of  which  I  know  not  the  meaning,  are,  at  all  events,  distin- 
guished by  good  drapery.  On  the  other  hand,  a  male  statue,  erro- 
neously called  Theseus,  is  in  every  respect  a  feeble  production  of 
late  Roman  art,  while  the  fourth  statue  is  quite  insignificant 

The  seventeen  busts,  some  of  them  of  emperors,  are  of  very 
common  workmanship.  Two  of  them  have  heads  of  porphyry,  the 
busts  of  coloiffed  marble ;  of  the  latter  much  appears  to  be  new. 

Two  other  small  buildings,  of  a  quadrangular  form,  are  erected 
in  a  small  garden.  The  largest  is  also  adorned  with  a  portico  of 
four  pillars,  but  without  a  pediment     Among  the  sculpture  in  the 

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Lbttbr  XXVII.    MR.  BLÜNDELL  WELD'S  COLLECTION.  257 

portico  is  a  lion  about  to  devour  a  dead  heifer ;  very  animated 
and  true.  A  colossal  tragic  mask  is  also  remarkable.  The  rest 
are  very  commonplace. 

In  the  building  itself  I  remarked  the  following  works : — 

The  torso  of  a  nymph,  in  motive  and  proportions  resembling 
the  Anchirroe  at  Tegel,  the  before-mentioned  seat  of  the  Humboldt 
fiamily,  but,  though  the  drapery  is  of  good  style,  and  otherwise 
well  executed,  far  inferior  to  that  The  head,  the  arm,  and  the 
right  foot  are  new. 

The  conquered  province  of  Bithynia :  a  female  figure  support- 
ing her  left  hand  on  a  ball ;  in  the  right,  which  is  new,  a  tim- 
brel    The  execution  very  poor. 

The  torso  of  a  youthful  satyr,  with  strongly  projecting  chest ; 
soft  in  the  forms,  and  of  excellent  workmanship. 

Statue  of  a  Roman  in  a  toga,  called  Cicero,  but  the  strange 
head,  though  an  antique,  does  not  confirm  this  appellation.  The 
workmanship  is  mediocre. 

Preparation  for  the  sacrifice  of  a  heifer.  This  solemnity  is 
represented  with  singular  distinctness  of  arrangement  in  a  rehef. 
The  workmanship  is  also  of  merit 

I  proceed  to  the  busts. 

Head  of  a  young  man,  of  antique  conventional  arrangement  of 
the  hair,  appears  to  me  a  Greek  production  shortly  previous  to  the 
time  of  Phidias,  or,  if  not  that,  a  very  good  imitation ;  the  nose 
and  the  bust  are  new. 

Venus  :  of  very  noble  ideal  character ;  the  fulness  of  the  under 
eyelid  only  slightly  pven  ;  the  hair  arranged  almost  exactly  like 
that  in  the  Apollo  Belvedere.     The  careful  execution  masterly. 

Julius  Caesar :  although  somewhat  rude  in  the  rendering  of  the 
forms,  yet  the  very  careful  execution  in  the  hard  material — a  fine 
reddish  porphyry — is  doubly  remarkable  ;  the  bust  part  is  new. 

The  head  of  a  child  :  the  treatment  of  the  eyes  and  hair  shows 
it  to  be  a  tolerable  work  of  the  Cinquecento  time. 
'  Marcus  Brutus :    of  mediocre  workmanship ;   the  nose  and  a 
part  of  the  mouth  are  new. 

Seneca,  in  bronze ;  of  rude,  but  animated  forms. 

Faustina  the  younger,  and  another  Roman  empress,  whom, 
however,  I  did  not  recognise ;  of  animated  conception  and  good 
workmanship  ;  noses  and  busts  of  each  are  new. 

Socrates,  in  bronze ;   very  animated,  but  the  rude  form  of 

VOL.  III.  8 

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258  INGE.  Letter  XXVII. 

the  chin  and  the  treatment  render  its  antique  origin  more  than 
doubtful. 

Four  tragic  masks,  and  one  such  as  was  probably  used  in  acting 
a  satyr ;  of  colossal  proportions,  which,  though  of  mediocre  work- 
manship, yet  are  of  great  effect  in  point  of  conception,  and  admir- 
able character. 

Six  fragments  of  an  antique  mosaic :  in  the  centre  a  bird  and 
three  fiiiits  and  a  rabbit  alternately  ;  all  enframed  in  tendrils  of 
the  same  pattern. 

In  a  smaller  and  less  pretending  building  opposite  to  this  I  re- 
marked the  following  sculptures  : — 

A  statue  in  a  toga ;  of  tolerably  good  execution,  named  Marcus 
Aurelius,  from  the  youthful  head  of  that  emperor  which  is  placed 
upon  it,  but  which,  though  antique,  and  of  admirable  workman- 
ship, does  not  belong  to  the  figure. 

A  female  statue,  also  with  a  head  not  belonging  to  it,  and  of 
bad  workmanship.  The  drapery,  though  of  conmionplace  execu- 
tion, is  striking  fix>m  the  peculiarity  of  its  cast 

A  female  statuette,  seated ;  attractive  in  motive ;  the  work- 
manship rude. 

A  large  sarcophagus :  in  the  centre  a  sacrifice  ;  in  the  comers 
three  large  lions  tearing  little  horses ;  often  met  with  in  very  late 
Roman  sarcophagi ;  the  workmanship  ruda 

In  the  open  idr,  in  front  of  this  building,  are  also  various  sculp- 
tures, of  which  I  observed  the  following : — 

The  torso  of  a  Minerva ;  of  good  motive  and  good  executioa 

A  female  bust ;  of  very  peculiar  arrangement,  the  hair  lying 
like  ears  of  wheat  on  the  forehead.  The  execution  soft ;  the  point 
of  the  nose  and  the  bust  new. 

A  relief,  with  events  from  the  games  in  the  Roman  amphi- 
theatre. A  dying  lion  is  tearing  a  gladiator;  also  two  other 
conquered  animals.  As  lively  and  peculiar  in  the  motives  as  it  is 
rude  in  the  workmanship. 

The  infant  Hercules  with  the  jaws  of  the  Nemaean  lion  as  a 
head-covering.  The  character  of  Hercules  is  but  little  apparent 
in^  the  beautiful  boy ;  the  nose  and  a  part  of  the  lion-skin  are  new. 

In  the  spaces  of  a  kind  of  caisson,  of  very  rich  decoration,  are 
two  boys  reaching  towards  apples  upon  a  tree.  The  motive  very 
natural  and  pleasing. 

Statuette  of  a  so-called  Spes :  a  mediocre  production,  in  imita- 


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Lettre  XXVII.    MR.  BLUKDELL  WELD'S  COLLECTION.  259 

tion  of  the  archaic  style.  The  nose,  part  of  the  drapery,  and  two 
fingers  of  the  right  hand  new ;  the  features  of  the  face  show  a 
late  period. 

The  statue  of  a  boy  with  a  goose,  in  Parian  marble.  As 
pleasing  in  motive  as  it  is  soft  in  execution.  The  nose,  the  right 
arm,  and  the  lower  part  of  the  legs  new. 

The  sight  of  these  sculptures  in  the  open  air  seems  to  transport 
you  from  England  to  some  Roman  villa,  and  this  eflFect  is  increased 
by  the  number  of  urns  and  vases — one  vase  of  Oriental  alabster — 
circular  and  quadrangular  altars,  with  fragments  of  columns,  some 
of  them  of  rare  specimens  of  marble. 

Two  days  and  a  half  barely  sufficed  for  the  observations  which 
I  have  endeavoured  to  lay  before  the  readers.  The  evenings  were 
most  pleasantly  spent  in  the  society  of  Dr.  Brown,  from  Wales, 
the  Roman  Catholic  bishop— a  gentleman  of  great  acquirements 
and  of  agreeable  manners — and  in  that  of  other  guests,  being  also 
delightftdly  varied  by  the  charming  sin^ng  of  a  lady  who  accom- 
panied herself  on  the  guitar. 

Part  of  the  evenings  were  also  dedicated  to  studies  connected 
with  my  pursuit.  Among  some  hundred  intaglios  are  many  of 
great  interest  and  valua  I  was  allowed  to  take  impressions  of 
some  of  them,  which,  however,  have  been  so  much  injured  by  my 
subsequent  travels,  that  I  can  only  give  an  account  of  very  few 
of  them. 

A  warrior  about  to  kill  an  enemy  he  has  just  overcome.  This 
subject  is  finely  disposed  in  the  oval  space,  and  is  an  admirable 
work  of  Etruscan  art,  in  the  style  of  the  well-known  Tydeus  and 
Peleus  in  the  Royal  Prussian  collection. 

A  woman  of  powerful  figure,  seated  on  a  stool  of  antique  form, 
holding  a  child  in  her  lap,  of  a  free  style  of  art,  though  of  antique 
profile  From  the  indication  of  horns  above  the  forehead,  and  two 
ears  of  com,  the  figure  is  probably  meant  for  lo  and  her  son  Epaphus. 

The  powerful  figure  of  a  man  of  middle  age  seated,  feeding  a 
large  eagle  from  a  patera.  This  is  excellently  conceived,  and  of 
very  good  workmanship. 

Head  of  Jupiter :  of  broad  and  masterly  treatment ;  very  noble 
and  stem  in  conception,  and  a  very  interesting  modification  of  the 
munerous  representations  of  this  deity  by  the  ancients. 

A  heifer  about  to  kick :  very  animated  in  motive,  and  of  good 
workmanship. 

8  2 

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260  LOWTHER  CASTLE.  Lettkb  XXVII. 

Finally  I  saw  a  number  of  drawings  from  the  collection  of 
the  late  Benjamin  West,  of  which,  however,  but  few  were  worthy 
of  note. 

After  a  period  of  great  gratification  in  every  respect,  I  was 
conveyed  in  Mr.  Blundell  Weld's  carriage  to  the  nearest  station 
for  Preston,  where  I  proposed  to  spend  the  night 


LOWTHER   CASTLE. 

The  following  day  I  had  hoped  to  visit  the  celebrated  Cum- 
berland lakes ;  but,  as  the  weather  was  very  stormy  and*  rainy,  I 
was  compelled  to  abandon  this  plan,  which,  for  one  so  alive  to  the 
beauties  of  nature,  was  a  great  disappointment  From  Preston  I 
proceeded  to  Lowther  Castle,  the  seat  of  the  Earl  of  Lonsdale. 
The  castle,  which  was  built  by  the  elder  Smirke  in  the  English 
(Gothic)  style,  forms,  with  its  towers,  a  fine  mass  in  the  distance. 
The  interior  has  also  a  fine  effect  from  a  large  and  splendid  stair- 
case. Nevertheless,  it  is  easy  to  perceive  that  the  architect  has 
failed  to  observe  the  real  principles  of  his  art.  Instead  of  the 
lightness  and  elegance  which  the  Gothic  style  permits  in  its  sup- 
porting members,  the  shafted  pillars  are  here  thick  and  heavy 
enough  to  support  the  cupola  of  a  great  dome,  while  the  profile  of 
the  separate  features,  cornices,  &&,  in  no  way  corresponds  with  the 
character  of  this  architecture. 

I  proceed  to  describe  the  pictures  in  the  order  in  which  I  saw 
them  as  I  was  conducted  through  the  rooms  by  a  very  obliging 
housekeeper.  The  strength  of  the  collection  lies  in  very  choice 
works  of  the  Netherlandish  school  of  the  17th  century ;  there  are 
good  specimens  also  of  the  Italian,  Spanish,  and  German  schools ; 
unfortunately  the  unfavourable  weather  much  obscured  the  light 

Paul  Brill. — A  very  poetic  landscape ;  harmonious  in  keep- 
ing and  colouring  for  him ;  of  his  latest  and  best  time. 

Gaspar  P0Ü88IN. — 1.  A  landscape,  with  a  man  and  an  ass  in 
the  foreground,  distinguished  not  only  for  the  poetical  composi- 
tion, but  for  the  transparency  of  the  colour,  and  the  careful  exe- 
cution of  the  detaik 

William  Van  de  Vblde. — 1.  The  mouth  of  a  river;  still 
water;  two  fishermen  with  a  boat  upon  the  coast;  two  Dutch 
vessels  on  the  river ;  1  ft  4^  in.  high,  1  ft.  10  ia  wide.  Of  sin- 
gular transparency  and  delicacy. 

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Letter  XXVII.    EARL  OP  LONSDALE'S  COLLECTION.  261 

Salvator  Rosa. — L  A  landscape  with  soldiers.  A  good  picture. 

Caspar  Poussin. — 2.  A  rather  large  landscape,  but  less  trans- 
parent and  refined  than  the  specimen  above  described. 

RuBENa — ^The  Vir^  seated,  holding  the  Child,  which  is  play- 
ing with  a  lamb,  the  ear  of  which  the  little  St  John  is  holding. 
Elizabeth  is  gazing  earnestly  at  the  children ;  a  landscape  back- 
ground. This  picture,  which  was  painted  by  Rubens  for  M. 
Gobou,  in  Antwerp,  and  sold  in  1763  by  a  descendant  of  that 
individual,  together  with  a  Charity  by  Vandyck,  to  Sir  James 
Lowther,  for  188 7t,  belongs  in  many  respects  to  the  finest  works 
of  the  master.  The  characters  of  the  figures  are  realistic,  but  of 
the  highest  animation ;  the  colours  perfectly  luminous ;  the  execu- 
tion of  admirable  body,  and  as  carefiil  as  it  is  spirited.  3  ft.  7  in. 
high,  5  ft.  wide. 

BoNiFAZia — The  Finding  of  Moses.  Resembling  Titian  in  the 
realistic  mode  of  conception,  and  Giorgione  in  colour. 

Vandyck.— 1.  AOharity ;  a  female  figure  of  great  charm,  with 
a  naked  child  on  her  lap,  another  encircling  her  arm,  and  a  third 
behind  her ;  landscape  and  architecture  in  the  background.  4  fL 
9  in.  high,  3  ft;.  9  in.  wide.  This  already-mentioned  picture  is  not 
only  very  attractive  in  composition,  but  of  so  deep  a  golden  tone 
that  it  was  doubtless  painted  not  long  after  Yandyck's  return  from 
Venice.  Another,  and  also  a  beautiful  example  of  this  picture, 
which  I  saw  at  Corsham  House  in  1835,  from  its  lighter  tone 
probably  belongs  to  a  later  period  of  the  master. 

Teniers. — 1.  A  rural  fdte.  Among  the  numerous  figures  three 
dancing  couples  are  particularly  distinguished  In  the  centre  a 
tree  and  two  cottages ;  in  front  a  party  eating  and  drinking. 
This  rich  and  careful  picture  has  singular  power  and  transparency 
of  colour.  A  sunbeam  falling  on  a  group  in  the  background 
introduces  an  agreeable  variety  of  light  2  fL  1|  ia  high,  2  ft.  10  in. 
wide.     From  the  celebrated  Lormier  collection  at  the  Hague. 

Philip  Wouvermans. — 1.  A  hunting-party  halting  in  the 
neighbourhood  of  a  stately  country-house,  as  appears  from  some 
groups  of  sculptura  One  of  the  party  is  teasing  a  lady's  lapdog 
with  his  falcon.  A  rich,  attractive,  and  very  careftil  compoffltion, 
executed  in  the  master's  second  manner,  but  heavy  and  cold  in  tone. 
1  ft.  6  in.  high,  2  ft.  Oi  in.  wide.    From  the  Lormier  collection. 

Sassoferrato. — A  good  example  of  the  frequentiy-recurring 
Vir^n  with  the  sleeping  Child. 

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262  LOWTHER  CASTLE.  Lettkb  XXVII. 

Bernhard  Van  Orley. — ^1  am  inclined  to  consider  this  pic- 
ture of  the  infant  Christ  and  St.  John  kissing  each  other  as  a 
delicate  and  careful  work  by  this  master,  from  a  well-known  com- 
position by  Leonardo  da  Vinci. 

Frank  HALa — A  Dutch  general,  in  yellow  uniform,  displays 
the  great  animation  and  the  masterly  execution  of  this  painter  in 
full  perfection. 

A  male  head  by  some  good  master,  though  not,  I  am  inclined 
to  think,  by  Titian. 

TENiERa — 2.  A  number  of  rustics  eating,  drinking,  and  danc- 
ing in  the  court  of  a  public-house ;  the  village  church-tower  in  the 
distance  ;  some  houses,  and  a  shepherd  with  his  flock.  Of  good 
motives,  and  carefidly  painted  in  a  powerful  but  somewhat  heavy 
brown  tone.  2  ft.  high,  2  ft  4:i  in.  wide.  From  the  Lormier  col- 
lection. 

Philip  Wouvermans. — 2,  Horsemen  halting,  in  a  landscape, 
with  a  female  suttier  ;  an  officer  dismounting  from  his  grey  horse 
and  lighting  his  pipe ;  a  soldier  caressing  a  girl.  A  rich  and  very 
picturesque  composition  of  his  second  manner.  Very  spirited  and 
delicate  in  execution,  though  somewhat  cold.  1  ft.  6i  in.  high, 
2  ft.  li  in.  wide.    From  the  Lormier  collection. 

Teniers. — 3.  A  large  rural  merrymaking  in  th6  court  of  the 
house  of  some  seigneur  de  village.  Guests  are  eating  and  drink- 
ing at  two  tables  ;  two  couples  dancing  ;  others  looking  on.  On 
the  right  a  group  of  trees.  This  picture,  also  from  the  Lormier 
collection,  is  one  of  the  most  admirable  of  this  class  by  the  master. 
Notwithstanding  the  size — 3  ft  14  in.  high,  4  ft;,  wide — ^the  execu- 
tion of  the  numerous  details  is  singularly  careful ;  the  keeping,  in 
a  clear  silvery  tone,  masterly.  In  the  flesh  only  we  observe  a 
somewhat  reddish  tone. 

Jan  Steen. — ^The  painter  himself,  in  an  elegantly  furnished 
apartment,  engaged,  much  at  his  ease,  in  eating  oysters,  which  an 
old  woman  is  opening  for  him,  while  a  pretty  young  ^rl  hands 
him  a  glass  of  wine.  A  boy  waiting,  and  a  dog,  complete  tiie 
figures.  In  point  of  humour,  power,  and  transparency,  careful 
and  spirited  treatment,  one  of  the  finest  specimens  of  the  master. 
A  view  through  a  door,  with  a  gentleman  and  lady,  approaches 
Peter  de  Hooge  in  transparency.     From  the  Lormier  collection. 

Lenain. — 1.  This  is  the  name  given  to  a  very  spiritedly-executed 
picture  of  an  intoxicated  woman  on  an  ass,  with  another  woman. 

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Letteb  XXVII.    EAEL  OF  LONSDALE'S  COLLECTION.  263 

a  man,  and  a  boy.  It  appears  to  me,  however,  too  powerful  in 
tone  for  him,  and  not  entirely  true  to  his  character.  In  both 
respects  it  reminds  me  much  of  Victor,  the  follower  of  Rembrandt 

MuRiLLO. — 1.  Two  beggar-boys,  one  holding  a  pigeon,  the 
other  eating  a  water-melon.  An  original  repetition  on  a  small 
scale  of  a  very  beautiful  picture  in  the  gallery  at  Munich. 

Adrian  Brouwer. — ^Boors  playing  cards.  This  appears  to 
me  rather  a  pleasing  picture  by  Zoro. 

Gerard  Dow. — 1.  The  Village  Lawyer.  An  elderly  man,  with 
spectacles,  seated  at  his  writing-table,  mending  his  pen  by  the 
light  of  a  candle.  Books  and  a  document  with  seals  on  a  shelf. 
Very  true  and  animated,  and  of  marvellous  clearness  and  delicacy 
in  the  effect  of  light  10  in.  high,  8i  in.  wide.  From  the  Lormier 
collection. 

Teniers. — 4.  Two  peasants  playing  cards ;  three  more  looking 
on;  five  other  persons  in  the  picture.  Executed  with  singular 
vigour  in  his  golden  tones.  1  ft  3i  in.  high,  1  ft  2^  in.  wide. 
From  the  Lormier  collection. 

Lenain. — 2.  Some  children  dancing  to  the  whisüing  of  a  boy  ; 
also  a  mother  and  her  child.    Very  animated,  imaffected,  and  true. 

WiGMANA. — To  this  to  me  unknown  master  is  attributed  a 
very  carefully  executed  house  with  a  landscape,  quite  in  the  style 
of  Ruysdael.  The  history  of  art  mentions  only  a  Gerard  Wig- 
mana,  who  was  a  mediocre  historical  painter. 

Adrian  van  der  WerpF. — 1.  Two  nymphs,  one  partly  clad, 
dancing  to  the  flute  of  a  satyr.  One  of  his  warm  and  trans- 
parent pictures,  of  great  delicacy  of  treatment.  1  ft.  4  in.  high, 
1  ft  Oi  in.  wide.     From  the  Lormier  collection. 

Adrian  van  Ostade. — 1.  Two  old  women  enjoying  a  little 
brandy  together.  Of  great  humour,  and  of  masterly  execution  in 
his  somewhat  cool  and  reddish  tones.     8  in.  high,  7  in.  wide. 

Philip  WouvBRMANa — 3.  Four  horsemen  halting  at  a  smithy ; 
the  smith  and  another  man  examining  the  foot  of  a  grey  horse. 
Some  children  walking  on  stilts,  one  of  whom  has  tumbled  down. 
Admirable  in  composition  and  delicacy  of  touch,  but  dark  in  parta 
His  second  manner.  1  ft  If  ia  high,  1  ft.  4  in.  wide.  From  the 
Lormier  collection. 

Gerard  Dow. — 2.  A  female  portrait,  which,  from  the  likeness 
to  himself,  I  imagme  to  be  hb  sister.  An  attractive  picture  of  his 
earlier  time. 

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264  LOWTHER  CASTLE.  Letter  XXVII. 

Lenaix. — 3.  A  boy  riding  on  a  goat,  with  other  persons.  The 
companion  to  the  woman  on  a  donkey,  and  by  the  same  Nether- 
landish hand. 

Adrian  van  Ostade. — 2.  Two  couples  dancing  to  a  pipe  and 
a  drum  before  a  cottage  shaded  with  trees ;  other  figures  looking 
on,  or  indulging  in  smoking  and  drinking.  In  point  of  richness 
of  composition,  picturesque  distribution  of  figures,  depth  and  trans- 
parency of  the  golden  tone,  and  delicacy  of  touch,  this  is  a  picture 
of  the  first  classw  Inscribed  and  dated  1656.  1  ft.  2  in.  high, 
1ft.  6t  in.  wide. 

Holbein. — A  female  portrait,  about  a  quarter  life-size,  with  a 
white  cap  and  a  white  pigeon,  is  an  admirable  and  well-preserved 
picture,  in  the  warm,  brownish  tones  of  his  earlier  time. 

Adrian  van  der  Werfe. — 2.  Christ  with  the  Woman  of 
Samaria ;  showing  all  the  delicacy  of  the  painter's  exec^tion,  but 
dark  in  colouring. 

Jan  Breughel. — ^The  Crucifixion;  a  very  rich  composition, 
and  executed  with  great  care. 

William  Van  de  Velde. — 2.  A  slightiy  agitated  sea.  Of 
great  delicacy. 

Valentin. — 1.  Soldiers  in  violent  quarrel.  This  small  pic- 
ture, with  very  animated  figures  and  great  clearness  of  colpur,  ap- 
pears to  me  rather  the  work  of  some  good  Netherlandish  painter. 

Adrian  van  Ostade. — 3.  Nine  figures  in  a  publio^house ;  one 
of  them  holding  up  a  glass  of  beer,  in  the  act  of  proposing  a  toast 
In  the  space  behind  are  three  peasants  playing  cards.  Inscribed 
and  dated  1654.  In  his  reddish,  warm  flesh-tones,  with  a  won- 
derftd  charm  of  chiaroscuro,  and  of  masterly  execution.  1  ft.  3  in. 
high,  1  ft.  bi  in.  wide. 

Valentin. — 2.  The  Tribute-money.  Companion  to  the  fore- 
going picture,  and  by  the  same  hand 

Vandyck. — 2.  Portrait  of  the  Earl  of  Dorset ;  on  a  small  scale. 
Very  warmly  coloured ;  but  the  high  position  and  the  bad  weather 
allowed  me  to  form  no  judgment 

Pictures  on  the  Staircase. 

Titian. — 1.  A  male  portrait,  full-length  figure,  life-aze,  appears 
to  be  a  good  picture,  but  the  darkness  prevented  a  more  precise 
opinion. 

Guido  RENL-^t.  Francis  kneeling  in  prayer.  Noble  in  feel- 
ing, and  powerful  in  colouring. 

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Letteb  XXVn.    EARL  OP  LONSDALE'S  COLLECTION.  265 

Albert  Cuyp. — A  hilly  landscape,  with  a  herdsman,  a  herds- 
woman,  cows,  and  sheep.  Of  great  truth  of  detail,  but  somewhat 
pale  in  the  colouring  of  the  principal  parts.  2  ft.  2  in.  high,  2  ft. 
8  in.  wide. 

Decker. — A  landscape  of  much  merit  for  him« 

Titian. — 2,  Portrait  of  a  Spanish  general.  Half-length  figure  ; 
nobly  conceived,  and  of  glowing  colour. 

GioRGiONE. — Ceres.  A  picture  of  value,  but  belonging  to  some 
later  master. 

MuRiLLO. — 2.  A  boy  faisant  la  chasse.  Very  animated,  but 
somewhat  dark  in  colouring. 

Salvator  Rosa. — 2.  St  Jerome.  Too  darkly  placed  to  permit 
an  opinion. 

Tintoretto. — 1.  The  Magdalen.  Whole-length  figure,  life- 
size  ;  of  great  energy. 

2.  Portrsdt  of  a  Venetian  nobleman.     A  capital  picture. 

PiETRO  DELLA  Vecchia. — 1  and  2.  Two  pictures,  with  soldiers 
at  cards.  Very  admirable  works  of  the  master.  Animated  in  the 
heads,  warm  and  clear  in  colouring,  and  very  carefiiL 

Van  den  Eckhout. — St  Peter  and  St  John  healing  the  lame 
man  at  the  gate  of  the  Temple.     Of  great  delicacy. 

Rembrandt. — Belisarius  blind,  with  a  youth  ;  behind,  another 
male  figure.  A  picture  of  unusual  subject,  and  also  of  unusual 
character,  though  still  an  excellent  work  of  the  master.  4  ft.  9  in. 
high,  3  ft  7  in.  wide. 

Elisabetta  Siranl — ^The  Magdalea  To  judge  fi»m  the 
style  of  feeling,  and  from  the  clear  and  warm  colour,  a  fine  picture 
by  CiooLi. 

Paul  Veronese. — A  party  of  men  and  women.  Three- 
quarters  life-size ;  full  of  animation ;  of  admirable  keeping,  and 
carefully  executed. 

Lord  Lonsdale  also  possesses  a  fine  collection  of  pictures  by 
Sntders,  at  another  seat,  called  Whitehaven,  to  which,  by  the 
intervention  of  a  friend,  I  had  received  a  letter  of  admission, 
which  was  an  unusual  favour.  Much,  however,  as  I  admire  the 
works  of  this  great  animal-painter,  other  collections,  both  in  Scot- 
land and  England,  more  consonant  with  the  object  of  this  work, 
claimed  too  much  of  my  time  to  allow  me  to  pay  a  visit  to  White- 
haven. 


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266  EDINBURGH,  Letter  XXVIII. 


LETTER   XXVIIL 

Edinbargh  :  Beautiful  situation  of  the  city  —  Steele  the  sculptor. —  Pictures 
belonging  to  the  Royal  Institution  —  The  Torry  marbles  and  bronzes  — 
The  Torry  pictures  —  Scott  monument  —  First  acquaintance  with  whisky 

—  Oalton  Hill  —  Monuments  —  View  from  it  —  Holyrood  Palace  —  The 
Queen's  Drive  —  Heriot's  and  Donaldson's  hospitals  —  The  University  — 
College  Library  :  Manuscripts  with  miniatures.  —  Library  of  Writers  to 
the  Signet :  MSS.  with  miniatures  —  Mr.  Dennistoun's  pictures  —  The 
late  Thomas  Duncan  —  Sir  John  Watson  Gordon.— Glasgow :  The  College 

—  Hunterian  collection  of  pictures  —  MSS.  with  miniatures. —  Pictures 
belonging  to  the  School  of  Design  —  Mr.  M'Lellan's  pictures  —  Trip  to 
the  Highlands. — Gku-scube,  seat  of  Sir  Archibald  Campbell  :  Pictures  — 
Hamilton  Palace  :  Collection  of  pictures  —  Daniel  in  the  Lions'  Den,  by 
Rubens  —  Miscellaneous  schools  —  Sculpture  —  MSS.  with  miniatures  — 
Greek,  Prankish,  German,  and  Italian  MSS.  —  Library. — Wishawe,  seat 
of  Lord  Belhaven. — ^Hopetoun  House,  seat  of  Lord  Hopetoun :  Collection 
of  pictures.  —  Various  collections  in  Scotland  —  Dalkeith  Palace  ;  Xist  of 
pictures. 

EDINBURGH. 
I  HAVE  now  become  acquainted  with  Edinburgh,  a  city  I  had 
always  longed  to  sea  As  I  did  not  at  once  find  some  individuals 
at  home  to  whom  I  had  letters  of  introduction,  I  sallied  forth  to 
view  the  wondrous  city,  beginning  with  the  gardens  lying  in  the 
valley  under  the  castle,  between  the  old  and  new  town.  The 
grand.  {)08ition  of  these  grounds  has  been  well  taken  advantage 
of,  so  that  few  capitals  in  the  world  can  offer  walks  at  all  ap- 
proaching these  in  beauty.  My  next  aim  was  to  reach  the  summit 
of  those  mighty  masses  of  rock  on  which  the  castle  stands.  On  my 
way  I  was  astonished  at  the  variety  and  richness  of  picturesque 
views  which  the  city  presents,  as  it  follows  the  bold  outlines  of 
the  ground — ^now  climbing  hills  and  now  sinking  into  glens — and 
which  surpassed  anything  I  had  ever  seen  in  my  numerous  travels. 
One  surprise  came  upon  me  after  another,  each  arresting  my  steps 
on  the  way  to  the  desired  goal  Once  on  the  height,  with  an 
invalid  soldier  directing  me  to  the  chief  points  of  the  view,  I  felt 
as  if  some  gorgeous  dream  had  been  actually  realized.  Beyond 
the  old  town,  with  all  its  rising  and  sinking  planes  of  buildings, 
lay  the  new  town,  stretched  out  on  its  more  level  base  with  great 
regularity  of  line.    Further  on  the  right  was  the  Calton  Hill,  with 


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Letter  XXVIII.  EDINBURGH.  267 

its  peculiar  forms;  then  Holyrood,  and  the  mighty  Salisbury 
Crags,  and  Arthur's  Seat,  with  the  harbour  of  Leith ;  and,  high 
on  the  horizon,  the  sea,  which,  illumined  by  a  sunbeam,  shone  like 
a  silver  plain.  I  returned  through  the  High-street,  over  the 
mound,  and  so  through  Princes-street,  whence  I  saw  the  mighty 
labyrinth  of  the  old  town,  with  houses  nine  stories  high,  stretched 
out  in  all  its  grey  mass. 

Returning  after  a  walk  of  five  hoiu*s  in  a  state  of  the  utmost 
delight,  I  found  a  note  from  Miss  Rigby,  to  whom  her  sister.  Lady 
EasÜake,  had  ^ven  me  a  letter  of  introduction,  but  whom  I  had  not 
previously  found  at  home.  '  The  next  morning  this  accomplished 
and  amiable  lady  escorted  me  to  the  atelier  of  Steele  the  sculptor, 
an  artist  of  the  greatest  talent,  who  showed  me  some  of  his  suc- 
cessful work&  The  most  important  is  an  equestrian  statue  of  the 
Duke  of  Wellington,  in  which  I  recognised  the  same  aim  which 
distinguishes  Rauch,  viz.  the  union  of  a  genuine  plastic  style,  as 
preserved  to  us  in  the  Greek  marbles,  with  the  conditions  of  a 
modem  costume.  At  Mr.  Steele's  house  we  found  the  secretary 
of  the  Scottish  Academy,  Mr.  D.  O.  Hill,  a  skilful  and  well-known 
landscape-painter,  who  most  kindly  took  charge  of  me.  I  received 
also  the  same  attention  from  Mr.  Christie,  Director  of  the  School 
of  Design,  whose  acquaintance  I  had  made  before  in  Berlin.  To 
these  two  gentlemen  I  am  indebted  for  having  seen  more  of  Edin- 
burgh in  a  few  days  than  others  do  in  weeks,  and  I  rejoice  to 
have  this  opportunity  of  expressing  my  gratitude. 

I  was  first  taken  by  Mr.  Hill  to  the  building  of  the  Royal  Insti- 
tution "for  the  promotion  of  the  Fine  Arts  in  Scotland,"  in  which 
also  the  Royal  Society  and  the  Board  of  Trustees  for  the  Improve- 
ment of  Manufactures  hold  their  meetings.  The  building  is  like 
a  Doric  temple  of  the  richest  form,  with  a  portico  of  eight  pillars, 
three  pillars  deep.  Four  small  projections,  supported  by  two 
pillars,  on  the  long  colonnaded  sides,  and  an  attic  behind  the 
portico,  on  which  is  the  statue  of  Queen  Victoria  enthroned,  con- 
stitute the  chief  departures  from  the  Doric  form.  The  execution 
of  the  building  is  sharp  and  precise  in  a  beautiful  stone. 

Several  rooms,  successfully  Ughted  from  above,  among  which  is 
a  large  saloon,  contain  a  considerable  number  of  pictures,  the 
bulk  of  which  are  by  the  old  masters ;  the  rest  by  the  modem 
English  school.  The  catalogue,  of  which  Mr.  Christie  presented 
me  with  an  elegant  copy,  informs  us  that  the  portion  of  these  pictures 

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268  EDINBURGH.  Letter  XXVIII. 

belonging  to  the  Royal  Institution  were  purchased  for  the  foundation 
of  a  public  gallery  for  Scotland,  on  the  same  footing  as  the  Na- 
tional Gallery  in  London.  They  include  some  very  valuable  works, 
though  unfortunately  the  best  have  sufiered  greatly  by  restorations. 
Single  pictures  have  also  been  added  by  presents  and  legacies. 
The  other  portion,  containing  genuine  and  good  pictures,  especially 
of  the  Netherlandish  school  of  the  17th  century,  consists  of  the 
collection  of  Sir  James  Erskine,  of  Torry,  bequeathed  by  him  to 
the  university  of  Edinburgh,  who,  greatly  to  their  credit,  have 
placed  them  in  the  Royal  Institution,  and  thrown  them  open  for 
the  enjoyment  of  the  public,  and  the  instruction  of  artists.  For 
the  same  reasons  that  actuated  me  in  the  Royal  Institution  at 
Liverpool,  I  shall  briefly  mention  many  pictures  here  that  I  should 
have  passed  over  in  silence  in  a  private  gallery.  I  adhere  to  the 
numbers  and  to  the  names  given  in  the  catalogue  in  the  description 
of  the  pictures. 

PICTURES  BELONGING  TO  THE  ROYAL  INSTITUTION. 

1.  Vandyck. — ^The  Lomellini  family.  This  picture,  which  is 
9  ft.  square,  is  unquestionably  one  of  the  chief  works  executed  by 
Vandyck  in  Genoa.  It  was  there  bought  by  the  deceased  Mr. 
Andrew  Wilson,  an  admirable  connoisseur,  of  the  Marchese  Luigi 
Lomellino.  It  was  formerly,  as  I  am  informed  by  an  artist  who 
studied  tiie  picture  well  before  tiie  last  restoration,  upon  the  whole 
in  good  preservatioa  Only  the  head  of  the  boy,  his  dress,  and  a 
portion  of  his  hand,  with  those  of  the  lady,  required  any  restora- 
tion. It  has  now,  however,  been  quite  recently  restored,  and  is 
not  only  injured  by  over-cleaning,  but  the  heads,  and  especially 
that  of  the  prl,  which  was  one  of  tiie  finest  portions  of  the  picture, 
have  been  reduced  to  such  a  cold  and  empty  state  by  over-paint- 
ing, that  whoever  looks  to  a  picture  for  something  more  than  a 
name  can  only  derive  a  very  painful  impression  from  it 

2.  Portrait  of  a  gentieman  in  armour;  whole-length  figure, 
life-size.  Purchased  at  Grenoa  firom  the  Gentili  family.  Finely 
conceived,  and  painted  in  a  warm  golden  tone,  but  somewhat 
empty  in  the  forms.     8  ft,  7i  in.  high,  5  ft;  wide. 

3.  The  Martyrdom  of  St  Sebastian.  The  saint  is  being  boimd 
by  three  men  to  a  tree.  Two  Roman  horsemen  are  introduced. 
8  ft;.  6  in.  high,  5  ft;.  6  in.  wide.  This  picture,  which  was  pur- 
chased at  Genoa  ftt)m  the  Balbi  family,  is  nobly  conceived,  and 
executed  in  the  earlier  time  of  the  master,  with  an  energy  and 

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Letter  XXVHI.  ROYAL  INSTITUTION.  269 

warmth  and  power  of  colour  allied  to  Rubena     The  figure  of  the 
saint  is  unfortunately  so  over-cleaned  as  to  be  of  a  cold  tone. 

4.  Paris  Bordone. — A  lady  at  her  toilet,  4  ft.  7  in.  high,  3  ft. 
5  in.  wide.  This  picture,  firom  the  collection  of  the  Duke  of  Gri- 
maldi,  has  all  the  animation  and  luminous  flesh-tones  of  the 
master.     It  belongs,  however,  to  his  somewhat  gaudy  works. 

5.  Titian.  A  landscape  representing  noon,  which  once,  with 
three  others,  is  said  to  have  adorned  a  bed  belonging  to  Charles 
V.  1  fL  1  ia  high,  6  ft.  6  ia  wide.  Purchased  from  the  Duke  of 
Vhraldi-Pasqua.  The  forms  and  colours  are  too  hard  for  Titian, 
and  the  figures  too  feebly  drawn ;  at  the  same  time  it  is  imques- 
tionably  the  work  of  some  skilful  painter  of  the  Venetian  school. 

6.  Titian. — A  portrait;  too  feeble  in  drawing,  and  too  cold  in 
colour,  for  him. 

7.  Sebastian  del  Piombo.— Bacchus  and  Ariadne.  By  an 
inferior  and  hard  painter  of  the  Ferrarese  school.  « 

8.  Justus  Sustbrman. — ^Portrait  of  Alessandro  Famese,  half- 
length  figure ;  unusually  animated  in  conception  and  free  in  treat- 
ment for  him. 

9.  Garofalo. — Christ  driving  the  Money-changers  out  of  the 
Temple.    Although  warmly  coloured  and  carefully  executed,  the 
picture  is  not  attractive.     Subjects  of  this  class,  as  I  have  alread 
had  occasion  to  remark,  are  not  within  the  province  of  this  painter. 
The  figure  of  Christ  is  very  unsuccessful  here. 

10.  Dirk  Van  Delbn. — An  architectural  piece,  very  hard  and 
gaudy  for  him. 

11.  Gaspar  Poussin. — ^A  landscape.  This  has  something 
hard  in  the  colour  for  him,  but  hangs  too  high  for  an  opinion. 

12.  GiACOMO  Bassano. — ^Portrait  of  a  senator;  noble  and 
animated  in  conception,  and  of  masterly  painting  in  a  glowing 
golden  tona     From  the  collection  of  the  Duke  of  Grimaldi. 

13.  Guercino. — ^The  Virgin  and  Child,  and  St  John;  a 
beautiful  and  characteristic  picture  of  tiie  master. 

Palma  Vecchio. — ^The  Adoration  of  the  Shepherds.  A  feeble 
picture  of  his  school. 

18.  Pordenone. — Christ  on  the  Mount  of  Olives.  Too  feeble 
for  this  great  master. 

21  to  24  Tintoretto. — Summer,  Autumn,  and  Winter.  In- 
teresting as  showing  the  free  and  slight  treatment  and  gaudy 
colouring  of  this  master  in  his  total  degeneracy. 

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270  EDINBURGH.  Letter  XXVin. 

Michael  Angelo  da  Caravaggio. — St  Christopher.  The 
moral  vulgarity,  and,  at  the  same  time,  the  off-hand  power  of  the 
master,  are  seen  here  in  the  fullest  extent 

GiORGioNB. — Small  portrait  of  a  man,  which  I  have  often  seen 
elsewhere.  Although  the  tone  of  the  flesh  is  unusually  reddish  for 
him,  yet  the  conception  and  warmth  of  colouring  in  the  other  por- 
tions, and  the  style  of  touch,  lead  me  to  attribute  it  to  his  hand 
From  the  Grimaldi  collection. 

MuRiLi/>. — A  shepherd-boy  singing,  with  a  pipe  in  his  hand. 
At  the  first  glance  I  was  inclined  to  ascribe  this  to  Michel- 
angelo Ameriohi  da  Caravaggio — a  good  work — a  supposi- 
tion confirmed  by  the  initials  M.  A.,  with  which  it  is  inscribed. 

31.  Bernasig. — A  landscape  of  rich  composition.  In  design, 
colour,  and  execution,  one  of  his  best  pictures. 

32.  Pandolfo  Reschi,  a  native  of  Dantzic,  but  settied  in 
Florence. — A  batüe-piece,  in  which  he  appears  as  a  very  skilful 
scholar  of  Le  Bourguignoa 

33  and  34.  Francesco  Fürini. — Head  of  a  St  Sebastian  and 
of  a  poetess ;  both  good  works. 

36.  Jan  Miel. — A  landscape  with  figures.  Too  heavy,  to  my 
view,  in  colour  for  him,  and  too  dark  in  the  treatment  I  should 
ascribe  it  rather  to  Michael  Angeld  Cbrquozzi,  called  M.  A. 
delle  Bambocciate. 

37.  Jan  Both. — A  landscape.  Too  gloomy  in  tone  and  too 
uncertain  in  treatment  for  him. 

38.  Elisabetta  Siranl — St.  John ;  a  pleasing  but  not  distin- 
guished picture  by  this  admirable  scholar  of  Guido. 

39.  GiACoMO  Bassano. — Christ  driving  the  Money-changers 
out  of  the  Temple.  A  good  picture,  with  the  full  warmth  of  his 
colouring,  but  unfortunately  much  restored  in  many  parts. 

40.  LoDovioo  Carracci. — ^The  Death  of  Abel ;  a  feeble  pro- 
duction. 

41.  Spagnoletto. — ^The  Martyrdom  of  St  Sebastian,  by  a  later 
and  feebler  master. 

42.  Snyders. — A  bear-hunt ;   quite  unworthy  of  him. 

43.  Spagnoletto. — The  Release  of  Peter  firom  Prisoa  Too 
poor  for  him. 

46.  Adrian  Van  der  Werff. — The  Burgomaster  and  his 
wife.  In  my  opinion,  a  delicate  picture  of  the  latter  time  of  Bar- 
tholomew Van  der  Helst,  which,  however,  by  over-cleaning, 
has  become  empty  in  form  and  cold  in  colour. 

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Letter  XXVIII.  KOYAL  INSTITUTION.  271 

47.  Ferdinand  Bol. — Portrait  of  a  professor ;  hard  and  dis- 
agreeabla 

49.  Tintoretto. — 5.  Portrait  of  a  senator ;  genuine,  but  com- 
monplace. 

51.  TiBPOLO. — ^The  Finding  of  Moses ;  a  very  good,  and  for  him 
unusually  powerfully-coloured  picture,  in  the  style  of  Paul  Veronese. 

52. — 2.  The  landing  of  Pharaoh's  daughter ;  admirably  exe- 
cuted in  his  more  broken  colours. 

I  mention  also  the  following  older  pictures,  which  are  not  in  the 
catalogue : — 

Walscapellen. — A  breakfast;  a  very  good  picture  by  this 
rare  and  excellent  master,  in  the  taste  of  A.  Mignon. 

BoNiFAZio. — The  Last  Supper;  a  particularly  fine  work  in 
composition,  glow  of  colouring,  and  mastery  of  execution. 

Caspar  Netscher. — Portrait  of  a  noble  boy ;  a  delicate  pic- 
ture in  the  silvery  tones  peculiar  to  his  later  period. 

Cornelius  Huysman. — A  poetic  landscape,  of  tolerable  size, 
and  of  very  powerful  colour. 

Of  the  pictures  of  the  modem  school  the  following  were  most 
remarkable : — 

59.  H.  W.  WiLLiAMa — ^The  Temple  of  Minerva  at  Sunium  ; 
a  water-colour  drawing  of  singular  power  and  freedom. 

60.  Rev.  John  Thompson. — Bruce's  Castie  of  Tumberry; 
spiritedly  conceived,  and  of  great  power  of  colouring,  but  decora- 
tive in  treatment,  and  showing,  by  its  deep  cracks,  the  want  of  a 
sound  technical  basi& 

Here  I  may  also  mention  five  pictures  by  Etty,  belonging  to 
the  Scotch  Academy,  and  exhibited  in  a  separate  room.  I  here 
saw  this  master  in  a  new  and  most  favourable  light,  namely,  as  an 
historical  painter  of  great  energy  in  events  of  the  deepest  dramatic 
character ;  with  figures  as  large  as  life,  displaying  motives  of  the 
utmost  animation,  tiiough  sometimes  bordering  on  the  theatrical ; 
a  powerful  colouring,  and  a  solid,  marrowy  treatment.  Three  of 
the  pictures  represent  events  from  the  history  of  Judith : — herself 
about  to  kill  Holofemes ;  her  female  attendant  waiting  before  the 
tent;  and  Judith  putting  the  head  into  the  basket.  Another 
picture  is,  "Woman  interceding  for  the  Vanquished:"  a  female 
figure,  of  noble  and  touching  expression,  with  two  figures  in 
mortal  combat  Benaiah  slaying  the  two  lion-men  of  Moab  is  the 
most  exaggerated. 

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272  EDINBURGH.  Letter  XXVIII. 

In  the  next  following  and  hat  room  are  placed  the  sculptures 
belonging  to  the  legacy  of  St  James  Erskine.  They  consist  of 
some  small  antique  torsos ;  of  a  number  of  copies  (some  in  marble, 
the  rest  in  bronze)  from  celebrated  antique  marbles ;  of  specimens 
of  the  Cinquecento  time ;  and,  finally,  of  several  vases  of  precious 
marbles.  Among  the  torsos  I  was  most  struck  with  that  of  a 
draped  female  in  Parian  marble,  and  also  that  of  a  man,  with  the 
head  and  limbs  restored 

Here  I  also  saw  a  copy  of  Volpato's  engraving  of  Raphael's 
Loggie,  coloured  for  the  use  of  students,  and  also  for  manufac- 
turers; a  work  the  more  to  be  prized,  as  the  originals  in  the 
Vatican  are  hastening  to  their  destruction. 

THE  TORRY  COLLECTION. 

1.  Rembrandt. — A  very  wooded  landscape.  Although  much 
in  his  style  of  conception,  it  difiers  from  him  too  much  in  treat- 
ment, and  especially  in  the  minute  making  out  of  the  trees,  for  me 
to  assent  to  the  name  here  given.  It  is,  however,  by  some  good 
master.     1  ft.  9  in.  high,  2  ft.  3|  in.  wide. 

2.  HoBBEMA.— A  wooded  landscape.  Hie  inscription  upon  it  is  a 
false  one,  the  picture  being  too  hard,  spiritless,  and  crude  for  him. 

3.  Van  der  Meulen. — A  landscape,  with  Louis  XIV.  in  a 
state  carriage,  and  with  a  numerous  suite.  Warm  in  colour,  and 
careful  in  execution.     2  ft.  0}  in.  high,  2  ft.  91  in.  wida 

4.  Greuze. — Interior  of  a  peasant  house,  with  a  young  woman 
nursing  her  child  ;  her  mother  next  to  her ;  also  a  maid  cleaning 
a  copper  vessel.  A  very  attractive  picture,  careftdly  executed  in 
his  delicate  but  subdued  tones. 

5.  Andreas  Both. — A  rocky  landscape.    Too  feeble. 

6.  Jan  Both. — A  landscape,  with  a  warm  morning  light ;  two 
horsemen  watering  their  horses.  A  delicate,  pretty  littie  picture, 
though  somewhat  injured  with  cleaning.  1  ft.  4  in.  high,  1  ft. 
9i  in.  wida 

7.  Titian. — ^The  Vir^n  and  Child,  to  whom  a  lady  is  giving 
flowers.     A  somewhat  feeble  picture  of  his  school. 

8.  Carel  Dujardin. — A  hilly  landscape,  with  a  stream,  and 
two  horsemen  and  other  persons  halting  before  a  tavern  door.  A 
beautiftil  picture ;  only  the  tone  of  the  distance  somewhat  too  uni- 
formly insipid.     2  ft.  71  ia  high,  2  ft.  8i  in.  wide. 

9.  GiuLio  Romano.— Part  of  the  Battie  of  Constantine,  in 
which  the  father  is  about  to  bear  away  the  son  whom  he  has 

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struck  down  without  his  knowledge ;  a  motive  which  Shakspeare 
has  introduced  into  his  Henry  VI.,  in  order  to  express  the 
horrors  of  a  civil  war.  This  little  picture  is,  however,  judging 
from  colouring  and  touch,  unquestionably  a  study  by  that  well- 
known  Dutch  painter  of  battle-scenes,  Peter  van  Bix>£Men, 
called  Standart  (lived  1649-1719),  from  Giulio  Romano's  pic- 
ture. The  assertion  also  in  the  catalogue,  of  Raphael  having 
commenced  that  picture,  is  erroneous.  Both  the  painting,  as 
well  as  the  notices  extant  upon  it,  prove  that  Raphael  only  sup- 
plied the  composition.     1  ft.  6^  in.  high,  2  ft.  1  in.  wide. 

10.  Jacob  Ruysdael. — A  wooded  country  with  a  standing 
water,  in  which  some  figures  are  angling.  Careful,  but  belonging 
to  his  dark  and  grey-toned  pictures. 

11.  DoMENiCHiNO. — ^The  Martyrdom  of  St  Andrew.  Much 
too  spiritless  and  too  grey  for  him ;  and  decidedly  only  an  old 
copy. 

12.  DoMENiCHiNO. — ^A  wooded  landscape,  with  a  figure  about 
to  dress  after  bathing :  a  beautiful  picture,  but,  judging  from  tone 
and  touch,  rather  an  unusually  good  work  by  Grimani. 

13.  Pynacker. — A  wooded  landscape,  with  hilly  distance ;  in 
front  a  shepherd-boy  with  his  dog,  and  a  cow.  In  this  solidly 
painted  picture,  which  represents  a  fresh  morning  light,  the  master 
appears  in  lus  most  favourable  aspect  3  ft  0^  in.  high,  1  ft;. 
8  in.  wide. 

14.  Procaccini. — ^The  dead  Christ  lamented  by  the  Magdalen 
and  by  angels.     A  very  good  sketch. 

15.  Albert  Cuyp. — A  landscape.  Too  heavy  in  tone,  and 
too  decorative  in  treatment,  for  him. 

16.  Jan  le  Due. — ^A  party  playing  cards.  In  a  warm,  but 
for  him  heavy  tone,  and  careftilly  executed. 

17  and  20.  Ghibolfi. — ^Two  pictures  of  ruins  and  fragments 
of  sculpture,  with  figures.  Composed  with  taste,  and  skilftdly 
executed,  though  in  his  heavy  tone. 

18.  Jacob  Ruysdael. — 1.  A  landscape,  with  distant  view  over 
a  flat  country :  trees  in  the  centre ;  in  the  foreground  a  group  of 
oaks  and  a  stream  in  which  three  horsemen  are  watering  their 
animals,  while  other  figures  are  angling.  This  large  landscape, 
in  which  Wou  verm  ans  painted  the  principal  figures,  belongs  in 
point  of  originality  of  composition,  in  depth  of  feeling  for  nature, 
and  in  spirited  treatment,  to  the  first  works  of  the  master.    In 

VOL.  III.  T 

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274  EDINBURGH.  Lkttkb  XXVIII. 

the  tone,  especially  of  the  water,  it  is,  however,  somewhat  heavy. 
4  ft.  5i  in.  high,  6  ft.  4i  in.  wide. 

19.  SNYDERa — A  wolf-hunt.  Conception,  drawing,  and  paint- 
ing, all  prove  it  to  be  not  by  this  master,  but  by  Abraham  Hon- 
Dius.     Figures  life-size« 

21.  Adrian  Van  de  Velde. — A  landscape,  with  shepherds 
and  cows.  A  careful  but  somewhat  crude  picture.  1  ft;,  high, 
1  ft;  3i  in.  wide. 

22.  HoBBEMA. — A  woody  landscape,  with  groups  of  trees,  and 
water,  with  a  boat  and  three  men.  Inscribed  and  dated  1650. 
The  last  number  is,  however,  not  quite  distinct  A  very  attractive 
picture,  of  very  spirited  treatment.  1  ft;.  9t  in.  high,  2  ft  lU  ia 
wide. 

23.  Paul  Veronese. — Venus  and  Adonis.  More  delicately 
drawn  than  usual,  and  painted  in  a  very  clear  tone.  2  ft  0^  in. 
high,  2  ft;.  8*  in.  wide. 

24  Peter  NEEFa — Interior  of  a  church ;  warmly  coloured, 
but  with  his  sharp  and  metallic  rendering  of  the  architectural 
forms. 

25.  Jan  Steen. — ^A  sick  lady  in  bed ;  the  doctor  and  a  maid. 
A  spirited  and  warmly-toned  work  of  the  master.  But  over- 
cleaning  has  rendered  the  sick  lady  paler  still  than  she  ori^nally 
was.     1  ft.  10^  in.  high,  2  ft;.  3^  ia  wide. 

26.  Jan  Both. — A  landscape.  Doubtful ;  but  too  high  for  an 
opinioa 

28.  Wilson. — A  landscape  of  an  Italian  character;  in  his 
delicate  and  clear  tone.     1  ft.  7i  in.  high,  2  ft.  4  ia  wide. 

29.  GiORGiONE. — A  youth  and  a  maiden :  decidedly  by  Pibtro 
DELLA  Vecchia.  A  pictuTc  he  often  repeated,  and  one  example 
of  which  is  in  the  Berlin  Museum. 

30.  Salvator  Rosa. — A  wild  scene,  with  robbers.  Spiritedly 
composed,  but  very  dark  in  colour.  1  ft  8  ia  high,  3  ft.  (H  ia  wide. 

Jacob  Ruysdael. — 2.  To  this  master  I  attribute  a  sea-piece, 
marked  "  unknown,"  with  agitated  waves  and  fishermen's  boats 
on  the  Dutch  coast  Particularly  fine,  and  the  sky  quite  in  his 
manner. 

32.  Teniers. — 1.  A  woman  on  horseback,  and  other  figures, 
in  which  he  has  sucoessftiUy  imitated  the  manner  of  Giacomo 
Bassano.     Ill  ia  high,  1  ft;.  5|  in.  wide. 

33.  Rembrandt. — A  hilly  landscape.     Poetical  in  feeling,  and 

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spiritedly  and  sketchily  thrown  on  the  canvas.     Hi  in.  high,  1  ft. 
3i  in.  wide. 

34.  Adrian  Van  de  Vblde. — A  landscape,  with  a  woman 
riding  a  donkey,  and  various  cattle  in  the  foreground.  A  very 
pleasing  and  careful  picture,  but  so  dark  in  the  foreground  that 
I  rather  doubt  the  originality.    1  fL  8i  in.  high,  3  ft.  5i  in.  wide. 

35.  William  Van  de  Vblde. — A  smooth  sea,  with  fishing- 
boats.     A  rich,  clear,  and  delicate  picture. 

36.  Jan  Lingelbach. — A  landscape,  with  an  inn,  before  which 
a  waggon  and  various  figures  are  halting.  A  very  remarkable 
work,  in  which  the  painter  has  successftdly  aimed  at  the  delicacy 
and  truth  of  Wouvermans. 

37.  Berghem. — ^A  hilly  landscape,  in  warm  evening  light ;  in 
the  water  in  the  foreground  are  two  cows  and  a  goat  The  cold 
tones  of  the  shadows  and  the  kind  of  treatment  show  the  later 
time  of  the  master. 

38.  Teniers. — 2.  Peasants  playing  at  skittles  in  the  couri- 
jeard  of  an  inn.  A  beautiftd  and  delicate  little  picture,  in  his 
somewhat  brownish  flesh-tones.    1  ft.  Ij^  in.  high,  1  ft  10  in.  wide. 

39  and  45.  Lb  Bourguignon. — ^Two  skirmishes  of  cavalry. 
Very  spiritedly  designed,  and  treated  in  his  somewhat  gaudy 
colouring.     1  ft.  Ij  in.  high,  1  ft  10^  in.  wide. 

40.  Carel  Dujardin. — ^A  smith  at  his  forge  shoeing  the  hind 
foot  of  an  ox ;  a  genuine  picture,  but,  from  the  predominating 
masses  of  shadow,  one  in  the  master's  least  esteemed  style.  Also 
somewhat  injured  in  the  sky.  1  ft.  2  ^  in.  high,  1  ft.  4^  in. 
wide. 

41.  Caspar  Poussin. — A  land-storm.  However  poetical  in 
composition,  yet  the  treatment  of  the  trees  and  the  colouring  of 
the  figures,  especially  of  one  of  a  brick-red  tone,  lead  me  to  con- 
sider it  a  very  beautiful  picture  by  Julius  Frans  van  Bloemen, 
called  Orizzonte.     1  ft  9|  in.  high,  2  ft.  71  in.  wide. 

42.  Guido  Reni. — ^An  Ecce  Homo.  Delicate  and  noble  in 
design,  but  with  the  greenish  local  flesh-tones  and  the  grey  sha- 
dows of  his  later  time.    1  ft.  10  in.  high,  1  ft.  41  in.  wide. 

43.  Van  der  Heyden. — A  wood  with  stags.  Not  a  subject 
congenial  to  the  master's  powers. 

44.  LuDOLPH  Backhuyskn. — An  agitated  sea ;  the  small  boats 
driving  into  harbour.  Of  delicate  touch,  but  cold  and  rather 
crude.     1  fi  5  in.  high,  1  ft  11  in.  wide. 

T  2 

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276  EDINBURGH.  Letteb  XXVIU. 

46.  A  bear-hunt ;  rightly  given  in  the  catalogue  as  a  copy  of 
Sntbers. 

On  visiting  the  fine  collection  of  casts  from  celebrated  antiques, 
and  of  architectural  ornaments,  I  made  the  acquaintance  of  Mr. 
Dallas,  one  of  the  teachers  in  the  School  of  Design  in  which  these 
casts  are  made  use  of  I  found  him  a  person  of  a  cultivated  taste 
for  art,  and  full  of  zeal  in  his  vocation. 

I  now  proceeded  to  inspect  the  tomb  of  Walter  Scott,  which 
the  piety  of  his  fellow-countrymen  has  erected  to  him.  It  rises 
from  the  level  of  Princes  Street,  in  the  form  of  a  perforated  tower 
of  late  Gothic  style,  200  feet  high.  When  it  is  remembered  that 
the  architect,  the  late  Mr.  George  Kemp,  was  formerly  only  a 
common  mason,  it  is  astonishing  that  he  should  have  succeeded 
in  planning  this  monument  And  it  was  doubtless  a  right  feeling 
that  selected  this  style  of  architecture  for  the  poet,  who  was  espe- 
cially inspired  by  the  spirit  of  the  middle  ages.  At  the  same  time 
the  proportions  of  the  lower  part  of  the  tower  appear  to  me  too 
wide  for  the  lofty  centre  part,  while  the  connection  with  the  four 
small  comer  towers  is  too  steep,  and  the  buttresses  are  neither 
constructively  necessary  nor  agreeable  to  the  eye.  In  the  details, 
also,  all  congruity  and  understanding  is  wanting.  To  justify  this 
criticism,  I  may  refer  to  the  beautiful  fountain  at  Nuremberg  as 
the  most  successful  work  I  know  of  this  form.  Below  the  arch  of 
the  lowest  tier  of  architecture  is  seen  the  figure  of  Walter  Scott 
seated,  by  Steele.  The  head  is  true  and  animated,  the  action 
simple  and  dignified,  the  execution  carefiiL  I  would  only  observe 
that  the  drapery  is  rather  too  heavily  massed  in  some  portions. 

At  a  dinner  to  which  I  was  invited  by  Mr.  Dallas  I  met  a 
small  number  of  accomplished  and  learned  gentlemen,  with  whom 
I  spent  a  very  delightful  evening.  Straightforwardness,  true- 
heartedness,  and  amiability,  seemed  as  much  at  home  as  in  some 
similarly  social  circles  of  my  native  land.  For  the  first  time  I 
made  acquaintance  with  **  whisky,"  a  beverage  only  known  to  me 
hitherto  in  the  pages  of  Walter  Scott  With  hot  water  and  sugar 
as  here  compounded  it  is  an  agreeable  beverage,  so  that  I  can 
imagine  a  considerable  degree  of  enthusiasm  in  its  enjoyment 

A  breakfast  next  morning  with  Mr.  Hill  was  combined  with  a 
visit  to  the  Calton,  on  which  his  house  stands.  Among  the  many 
monumental  buildings  upon  it,  that  erected  to  Dugald  Stewart,  a 

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Lkttbb  XXVm.  THE  CALTON.  277 

free  imitation  of  the  monument  to  Lysicrates  at  Athene,  from  a 
design  by  Playfair,  occupies  the  first  place.  The  twelve  columns, 
also — the  commencement  of  a  monument  to  those  who  fell  at 
Waterloo — have  a  very  good  effect,  while  the  otherwise  unfortu- 
nate memorial  to  Nelson  presents  at  all  events  an  imposing  mas& 
The  views  from  the  Calton  are  magnificent ;  on  one  side  on  to 
the  town,  with  the  prison  in  the  foreground,  looking  with  its 
towers  like  a  mediaeval  fortress,  and  in  the  background  the  rocky 
mass  of  the  Castle,  stretched  out  in  all  its  imposing  grandeur ; 
and  then  on  the  other  side,  towards  the  distant  expanse  of  the  sea, 
animated  with  vessels,  and  with  its  straight  horizontal  line,  splen- 
didly contrasting  with  the  bold  sweeping  outline  of  Salisbury  Crags 
and  Arthur's  Seat  The  High  School,  also,  which  lay  at  our  feet, 
with  its  portico  of  six  columns,  was  an  object  on  which  the  eye 
willingly  dwelt  Lower  down  is  the  ancient  and  celebrated 
Palace  of  Holyrood,  lying  so  peacefully  in  a  narrow  valley,  that  it 
is  difficult  to  imagine  it  the  scene  of  such  a  bloody  event  as  the 
death  of  the  harmless  Bizzio.  The  fortress-like  towers  alone  at  the 
comers  of  the  facade  give  a  mediseval  character  to  the  quadran- 
gular building.  On  visiting  the  apartments  so  well  known  in  his- 
tory in  this  portion,  I  was  surprised  at  the  humble  and  modest 
character  of  a  residence  inhabited  by  so  splendid  and  life-loving  a 
queen  as  Mary  Stuart 

In  order,  however,  to  obtain  the  most  complete  view,  far  and 
near,  of  all  the  splendours  of  this  locality,  I  drove,  by  my  friend 
Mr.  Christie's  advice,  with  him,  to  the  grand  new  road  called  the 
Queen's  Drive,  encircling  the  Salisbury  Crags,  and  which,  from 
the  panorama  it  commands,  is  decidedly  the  most  beautifril  road 
in  the  world.  Marvellous  are  the  contrasts  here  presented  to  the 
mind.  In  the  distance  the  inuneasurable  ocean,  suggesting  the 
mysterious  longing  for  that  which  lies  beyond  it ;  low  in  the  fore- 
ground Duddingston  Loch,  with  its  quiet  village — ^the  scene  of 
Thomson's  clerical  as  well  as  artistic  labours — ^bringing  thoughts 
of  a  peaceful  asylum  from  the  world,  till  Schiller's  verses  occurred 
to  my  memory — 

"  Aus  des  Lebens  Mühen  und  ewiger  Qual 
Möcht'  ich  fliehen  in  dieses  glückselige  Thal.** 

Then  the  wide  outstretched  city,  with  its  opposite  associations — 
the  old  town  offering  the  striking  picture  of  a  rude  and  multiform 
past — ^the  new  town  and  all  surrounding  it  that  of  a  fresh  and 

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278  EDlNBUBaH.  Lettbb  XXVIIT. 

living  present.  As  we  drove  along  my  kind  companion  drew  my 
attention  to  every  point  in  any  way  connected  with  Walter  Scott's 
*  Heart  of  Mid-Lothian.'  Few  buildings,  however,  so  much 
attracted  my  notice  as  that  of  Heriot's  Hospital,  which,  from  its 
four  grand  comer  towers,  I  at  first  mistook  for  the  ancient  citadel 
of  the  town.  For  a  building  of  the  17th  century  (1628-1660),  it 
has  a  very  ancient  aspect.  The  name  of  Heriot,  however,  jeweller 
to  King  James  VI.,  rose  high  in  my  estimation,  as  I  learnt  that 
this  building  was  dedicated  to  the  education  and  advancement  of 
a  number  of  poor  boys.  Altogether  I  was  most  gratefiilly  im- 
pressed by  the  number  of  benevolent  institutions  of  various  kinds 
in  Edinburgh,  the  grandest  and  most  recent  of  which  is  the  hos- 
pital erected  by  the  will  of  one  Mr.  Donaldson—  a  printer,  who  died 
in  1830 — which  lies  at  a  short  distance  from  the  city.  This  build- 
ing, which  has  been  erected  by  Playfair  the  architect,  at  a  cost 
of  200,000^,  is  of  such  extent  and  elegance,  that  I  took  it  at  first 
sight  for  some  royal  palace.  Nor,  while  I  admire  the  benevolence 
that  prompts  such  foundations,  must  I  overlook  the  fact  that  it  is 
sometimes  at  the  expense  of  the  natural  heirs  of  the  princely  donors. 

Within  the  city  also  there  are  numeroiis  stately  buildings  which 
do  honour  to  modem  architecture,  especially  the  University, 
erected  1789,  from  a  design  by  Robert  Adam&  The  portico  of 
four  Doric  columns,  with  shafts  26  ft  long,  in  one  piece  of  granite, 
leads  into  a  magnificent  quadrangular  court,  358  ft.  by  255  ft, 
enclosed  by  buildings  of  the  finest  materials  and  workmanship.  As 
regards  the  interior,  the  great  College  Library  is,  in  point  of  pro- 
portion and  splendour  of  fitting  up,  one  of  the  grandest  rooms  I 
have  ever  seen.  Among  the  MSS.  with  miniatures,  I  was  stmck 
by  the  following : — 

A  Breviary,  octavo,  imperfect  at  the  end;  written  in  one 
colunm  in  a  beautiful  minuscule  letter  Judging  from  the  border 
decorations,  and  from  the  saints  in  the  calendar,  of  English  origin ; 
from  text  and  style  of  art,  about  the  date  1420-1430.  The  few 
pictures  occupying  a  whole  page  are  still  treated  in  that  ideal 
taste  which  came  into  vogue  about  the  middle  of  the  14th  century. 
The  technical  part  is  slight  but  skilftd ;  the  grounds  coloured. 

A  Breviary,  folio,  presented  by  Dr.  Thomas  Douglas  in  1679  ; 
a  large  and  fiill  minuscule  letter,  in  one  column.  Judging  from 
border  decorations,  and  the  character  of  some  pictures  introduced 
in  initials,  also  executed  in  England  about  1430-1440. 

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Letteb  XXVni.  THE  UNIVERSITY.  279 

The  works  of  Virgil,  large  octavo ;  a  beautiful  minuscule  letter 
in  one  columa  According  to  a  notice  at  the  end,  executed  by 
Florins,  a  Parisian.  The  frontispiece,  two  shepherds,  in  reference 
to  the  Eclogues;  on  the  back  of  the  page,  a  scene  from  the 
^neid,  both  delicate  but  unfortunately  injured  French  miniatures 
of  the  second  half  of  the  15th  century.  The  later  pictures  are  by 
a  ruder  hand,  and  towards  the  end  the  spaces  for  pictures  are  left 
entirely  vacant 

Prayers  to  the  Virgin  and  others,  octavo,  containing  numerous 
pictures,  by  a  mediocre  painter  of  that  French  school  which  pro- 
duced the  Hours  of  Anne  of  Bretagne,  about  1470-1480.  The 
border  decorations  are  of  the  commonest  forms,  and  very  mecha- 
nically treated. 

I  learnt  here  that  the  rules  of  the  University  differ  greatly  from 
those  of  the  English  universities,  and,  in  the  greater  fireedom  they 
allow  the  student,  approach  far  more  to  the  German. 

Having  now  seen  the  city  of  Edinburgh  pretty  well  from  all 
sides,  I  became  convinced  that,  independent  of  the  beauties  which 
Nature  has  conferred  upon  it,  it  far  exceeds  London  in  that  monu- 
mental aspect  derived  both  from  the  excellence  of  its  material 
and  the  beauty  of  its  niunerous  buildings. 

Being  by  right  of  my  birthplace — Hamburgh— a  great  lover  of 
fish,  I  gladly  accepted  an  invitation  to  a  fish  dinner,  at  an  hotel 
on  the  sea-shore,  at  some  distance  from  Edinburgh.  Among  the 
participators  in  the  repast  was  Mr.  Macculloch,  the  highly-esteemed 
landscape-painter,  an  enthusiastic  lover  of  art,  whose  pictures, 
however,  I  was  not  so  fortimate  as  to  see.  Also  Mr.  Black,  the 
bookseller,  a  most  intelligent  and  amiable  maa  He  presented 
me  with  his  *  Guide  through  Edinburgh,'  a  book  of  profound  and 
varied  knowledge  and  practical  arrangement,  illustrated  by  suc- 
cessful steel  engravings  and  woodcuts,  from  which  I  have  derived 
much  informatioa  I  was  especially  glad  to  learn  from  it  that  the 
art-unions  had  been  so  successful  in  Scotland,  since  I  was  one  who, 
in  my  evidence  before  the  Parliamentary  Commission  in  1835, 
recommended  the  establbhing  of  such  societies  as  a  means  of  pro- 
moting the  feeling  for  art  Seated  where  I  looked  full  on  the  sea, 
with  whose  children  I  made  a  succession  of  new  and  agreeable 
acquaintances,  and  surrounded  with  the  most  cheerful  and  intelli- 
gent companions,  the  hours  flew  past  so  quickly,  that  I  only  re- 
turned to  my  hotel  at  eleven  o'clock 

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280  EDINBURGH.  Lettbb  XXVITI. 

Knowing  my  ardour  for  MSS,  with  miniatures,  my  fiiend  Mr. 
Christie,  who  spared  neither  time  nor  trouble  in  obliging  me, 
took  me  to  the  Library  of  the  Writers  to  the  Signet,  where,  in  a 
fine  apartment,  I  found  the  following  interesting  MSS : — 

The  Life  of  Christ,  folio,  written  in  two  columns,  with  a  fidl 
minuscule  letter,  in  the  English  tongue,  and  according  to  the  style 
of  art  executed  about  1430,  and  for  an  Archbbhop  of  Canterbury. 
At  the  beginning,  the  splendid  arms  of  the  archbishop,  occupying  a 
whole  page.  Next,  on  a  rose-coloured  ground  with  golden  lozenges, 
St.  Jerome,  as  cardinal,  writing.  Above,  as  acroteria,  upon  three 
roofe,  David  and  two  angels.  Then  follows  a  picture  occupying  a 
whole  page:  in  the  centre,  in  a  circle,  the  Coronation  of  the 
Virgin ;  over  it,  in  square  compartments,  the  nine  angelic  orders ; 
below,  the  patriarchs  and  saints,  Moses,  &c. ;  quite  below,  the 
clergy  in  the  middle,  the  laity  on  each  side,  the  men,  kings,  &&, 
on  the  right,  the  women,  with  a  queen,  &c.,  on  the  left ;  in  the 
angles,  in  circles,  the  four  evangelists.  On  the  lower  border,  in 
the  centre,  an  angel  holding  the  arms ;  at  the  sides,  a  knight  and 
his  lady  adoring.  The  Nativity,  next  following,  is  peculiarly 
conceived.  The  Virgin  is  resting  exhausted  on  the  bed,  while 
Joseph  is  bringing  her  refreshment,  and  the  Child  is  warmed  by 
the  breath  of  tiie  ox  and  the  ass.  The  Flight  into  Egypt  is  con- 
ceived as  a  landscape  ;  next  follow  the  Baptbm  and  the  Tempta- 
tion ;  then  Christ  disputing  with  the  Doctors ;  St  Peter  plucking 
ears  of  wheat  on  tiie  Sabbath-day  ;  the  miracle  of  the  Loaves  and 
Kshes ;  Christ  on  the  Mount  of  Olives,  unfortunately  torn ;  the 
Crucifixion,  a  rich  representation,  like  all  the  other  pictures,  more 
or  less  of  an  ideal  tendency ;  the  Resurrection  of  Christ,  who 
appears  to  the  Vir^n,  very  peculiarly  conceived ;  the  Ascension,  a 
rich  composition ;  and  finally,  the  Descent  of  the  Holy  Ghost  Botii 
the  style  of  the  landscape  background,  and  the  strong  glutinous 
vehicle,  indicate  a  Netherlandish  influence.  The  pictures  exhibit  a 
skilful  artist    In  the  border  decorations  the  English  taste  prevails. 

The  Libraiy  of  the  Faculty  of  Advocates  contains  much  that  is 
interesting,  of  which  I  single  out  the  following  : — 

The  Vulgate,  folio,  two  columns,  in  a  very  beautful  minuscule 
letter,  with  the  Seven  Days  of  Creation,  and  some  pretty  drolleries, 
by  a  skilful  hand  ;  the  date  about  1260. 

The  Corpus  Juris,  folio,  with  rather  commonplace  vignettes  in 
French  miniature-painting ;  the  date  about  1340. 

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Lettkb  XXVm.      MR.  DENNISTOUN^S  COLLECTION.  281 

The  same  work,  folio,  with  vignettes  in  the  taste  of  the  school 
of  Giotto ;  judging  from  the  style,  executed  at  Bologna  about  1360. 

A  prayer-book,  duodecimo,  with  pleasing  miniatures ;  executed, 
as  appears  from  a  date  in  the  book,  in  1512,  in  the  taste  of  the 
school  of  Mantegna. 

A  copy  of  the  first  Bible  printed  at  Mayence. 

A  copy  of  the  Vulgate,  printed  by  Jansen  at  Venice,  in  1470, 
with  elegant  picturesque  decorations  on  the  first  page.  On  the 
lower  border  a  shield  of  arms  and  two  centaurs. 

To  my  regret  I  found  Mr.  Dennidtoun,  a  gentleman  known  for 
his  love  of  art,  and  especially  for  the  ecclesiastical  productions  of 
the  13th  to  the  16th  century,  absent  from  Edinburgh.  The  learn- 
ing and  zeal  of  Mr.  Dennistoun  have  been  brought  before  the 
public  in  his  profound  and  instructive  work,  *  The  Dukes  of  Ur- 
bino.'  He  had  paid  me  a  visit  at  Berlin  in  1851,  in  company  of 
his  accomplished  lady,  who  shares  his  feeling  for  art.  He  had, 
however,  left  charge  with  his  servants  to  admit  me  to  see  his  pic- 
tures, and  thus  I  am  able  to  give  a  short  notice  of  those  which 
appeared  to  me  most  remarkable. 

An  Adoration  of  the  Kings,  and  the  Visitation ;  good  pictures, 
especially  the  last,  of  the  school  of  Giotto.  Mr.  Dennistoun 
attributes  them  to  Taddeo  Gaddi,  but  the  signs  of  that  master  are 
not  sufficiently  pronounced  in  them  for  me  to  agree  with  him. 

FiESOLE. — 1.  The  Virgin  and  Child ;  Pope  Gregory  the  Great 
and  St  Domenic  at  the  sides.  In  this  little  picture  all  that 
earnestness  and  spirituality  peculiar  to  the  master  is  expressed. 

2.  The  risen  Christ,  with  two  guards.  A  genuine  picture, 
but  not  so  characteristic  of  the  master. 

Giovanni  Santl — Conception,  colouring,  and  treatment  lead 
me  to  attribute  to  this  master  the  portrait  of  a  boy  in  profile, 
which,  according  to  an  inscription  beneath,  purports  to  be  that  of 
the  young  Raphael  by  his  father.  Both  in  itself,  however,  and  in 
the  manner  in  which  it  is  introduced,  the  inscription  shows  the 
signs  of  falsity.  The  decided  blonde  hair  alone  proves  that  this 
is  not  the  portrait  of  Raphael,  who,  in  all  genuine  pictures  of  him, 
appears  with  dark-brown  hair. 

CiMA  DA  CoNEG  LIANG. — The  Virgin  and  Child.  A  pleasing 
and  inscribed  picture. 

Gregorio  Schiavonb. — An  altar-picture  in  different  compart- 
menta     In  the  centre  the  Virgin  and  Child;  at  the  sides  a 

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282  GLASGOW.  Letteb  XXVHI. 

sainted  monk  and  John  the  Baptist;  above,  in  the  centre,  the 
dead  Christ,  supported  by  two  angels ;  at  the  sides  St  Anthony 
of  Padua  and  St  Peter  Martyr ;  below,  on  a  predella  of  un- 
usual height,  two  male  and  two  female  sainta  Inscribed  "  Opus 
Sclavonii  Dissipulus  {sic)  Squarcioni  S."  This  is  the  best  spe- 
cimen known  to  me  of  this  second-rate  scholar  of  Squarcione. 
Some  of  the  heads  are  of  good  expression,  the  colouring  of 
the  flesh  is  less  cold,  the  outlines  of  the  form  less  hard  and  cutting 
than  usual. 

Alessandro  Allorl — ^Portrait  of  Torquato  Tasso.  To  the 
kneea  Animated  and  delicate  in  conception,  and  carefully  treated 

School  of  Van  Eyck. — ^The  Virgin  and  Child  Although  the 
head  of  the  Virgin  is  dignified,  yet  the  whole  is  too  feeble  to 
belong  to  the  hand  of  Hugo  van  der  Gros. 

It  was  with  a  sorrowful  feeling  that  I  saw  at  the  house  of  Mr. 
Hill's  brother  two  admirable  pictures  by  Thomas  Duncan,  who, 
to  the  great  loss  of  art,  died  in  the  prime  of  life  :  the  one  repre- 
sents the  Pretender,  sleeping  in  a  cave,  and  watched  by  a  beau- 
tiful and  noble  Scotch  lady  and  some  Highlanders  ;  the  other,  his 
entry  into  Edinburgh.  A  very  animated  and  spirited  conception 
is  here  combined  with  a  harmonious  and  powerful  colouring  and 
careful  executioa 

In  the  present  President  of  the  Scotch  Academy,  Sir  John 
Watson  Gordon,  whose  merits  as  a  portrait-painter  are  acknow- 
ledged in  England  as  well  as  in  Sotland,  I  found  a  gentleman  of 
frank  and  pleasing  manners.  At  a  dinner  at  his  country  house,  in 
the  neighbourhood  of  Edinburgh,  I  met,  besides  the  friends  I  have 
already  mentioned,  other  individuals  belonging  to  the  Scottish 
world  of  art.  Here,  also,  that  cheerful  and  easy  tone  prevailed 
which  I  had  remarked  before,  and  conversation  and  music  so  be- 
guiled the  hours,  that  it  was  one  o'clock  before  I  found  my  way 
back  to  Edinburgh. 


GLASGOW. 


I  must  now  give  you  an  account  of  two  excursions  I  made  from 
Edinburgh,  one  of  which  was  to  the  great  manufacturing  city 
of  Glasgow,  which  I  reached  by  the  admirable  railroad  My 
prospects  there  were  not  very  cheering  at  first,  for  two  gentlemen, 
Mr.   Graham  and   Mr.  Alexander  Dennistoun,  to  whom  I  had 

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Lkttkb  XXVIII.  GLASGOW  COLLEGE.  283 

letters  of  introduction,  were  both  absent  in  the  Highlands,  while 
Mr.  Wilson,  the  Director  of  the  School  of  Design,  was  not  at  home. 
A  visit,  however,  from  this  latter  gentleman  within  a  few  hours  made 
ample  amends  for  my  first  disappointments.  He  not  only  welcomed 
me  in  the  kindest  way,  but  insisted  most  kindly  in  accommodating 
me  in  his  own  house,  and  devoted  during  the  next  few  days  all 
the  time  to  me  that  he  could  spare  from  his  duties.  Thus  within 
a  comparatively  short  time  all  the  objects  of  my  journey  were 
accomplished.  I  enjoyed  the  conversation  of  a  highly  cultivated 
artist,  and  I  exchanged  the  cold  life  of  an  hotel  for  the  delightful 
influences  of  a  domestic  circle ;  a  most  amiable  and  interesting  lady 
and  sweet  young  children  rendered  this  particularly  attractive. 

Although  Glasgow  neither  in  situation  nor  in  buildings  can  be 
in  any  way  compared  with  Edinburgh,  yet,  as  a  great  manufac- 
turing city,  which  has  taken  an  unprecedented  growth  within  the 
last  thirty  years,  it  has  far  less  of  that  desolate  and  monotonous 
appearance  than  other  cities  of  this  kind ;  indeed,  many  streets  and 
single  buildings  have  an  imposing  appearance.  A  statue  of  Wel- 
lington, by  Marochetti,  in  one  of  the  squares,  is  of  happy  design, 
though  the  execution  does  not  correspond  with  it 

The  College  contains  a  collection  of  pictures  and  MSS.  with 
miniatures,  bequeathed  to  it  by  the  celebrated  Dr.  Hunter,  together 
with  700/.  for  a  building.  Among  the  pictures  the  following 
appeared  to  me  particularly  worthy  of  notice.  Unfortunately  the 
lighting  from  above  is  very  unfavourable. 

Philip  de  Koninck. — A  beautiful  landscape,  of  unusual  power 
of  colouring. 

Sir  Joshua  Reynolds. — ^The  very  animated  and  careful  por- 
trait of  Dr.  Hunter. 

RuBENa — Study  of  a  head  for  his  picture  of  the  Woman  taken 
in  Adultery. 

MuRiLLO.— Christ  as  the  Good  Shepherd,  wearing  a  crown  of 
thorns.  I  mention  this  otherwise  feeble  and  slight  picture  merely 
because  the  treatment  of  the  subject  was  new  to  me. 

Rembrandt. — ^The  Entombment.  A  rich  and  very  spirited 
composition  in  chiaroscuro,  but  yet  warm  in  tone. 

SNYDERa — ^A  pantry  of  provisions,  in  which  a  dead  stag  plays 
the  chief  part  Admirably  executed  in  a  warm  but  singularly 
clear  and  light  tone. 

Salvator  Rosa. — A  scene  from  the  history  of  Laomedon  King 

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284  GLASGOW  COLLEGE.  Letter  XXVIIL 

of  Troy,  with  Neptune  and  Apollo.     A  most  strange  conception, 
with  a  wild  treatment  quite  in  his  style. 

Among  the  MSS.  with  miniatures  the  following  attracted  me : — 
A  Psalter,  small  folio,  written  in  a  strong  minuscule  letter,  in 
one  columa  Jud^ng  from  the  saints  in  the  calendar,  such  as 
St  Cuthbert  and  St.  Oswald,  and  from  the  taste  of  the  border  de- 
corations and  initials,  of  English  origin,  and,  from  the  costumes 
and  style  of  art,  of  the  first  half  of  the  12th  century.  In  the 
calendar  are  the  occupations  of  the  month,  on  gold  ground,  with 
a  very  beautiful  pattern;  above,  an  initial  with  very  elegant 
flourishes ;  below,  on  the  right,  in  a  circle,  on  coloured  grounds, 
with  elegant  arabesques,  the  sign  of  the  zodiac.  These  are  suc- 
ceeded by  twenty  pictiu^es  by  a  different  hand,  with  the  chief  scrip- 
tural events,  from  the  creation  of  Adam,  in  which  the  Almighty 
appears  in  the  mosaic  type  of  Christ,  to  the  Assumption  of  the 
Virgin,  most  of  which  occupy  half  a  page,  and  some  a  whole  page. 
The  last  representation  is  so  far  peculiar  that  the  Virgin,  swathed 
up  like  a  mummy,  is  borne  up  to  heaven  by  sixteen  angels,  while 
Christ  stands  by.  This  picture,  which  covers  a  whole  page,  comes 
next  to  one  of  Christ  enthroned  in  an  almond-shaped  glory.  At 
the  beginning  of  the  Psalms,  in  the  centre,  is  David  playing  on 
the  psalter,  in  very  animated  action ;  above,  two  figures  playing 
on  the  bells ;  and  below,  four  more  playing  on  other  instruments. 
In  these  pictures  the  actions  are  generally  lame,  the  proportions 
too  long,  the  very  simple  cast  of  the  drapery  in  the  Romanesque 
taste,  the  light  colours  of  great  beauty,  and  the  technical  part  simple 
but  clean.  The  armour  occasiondly  seen  resembles  that  in  the 
tapestry  at  Bayeux.  The  borders  of  the  pictures  are  plain  but 
very  tasteful.  At  the  beginning  of  the  Psalms  is  a  peculiarly 
rich  and  beautiful  B,  with  light  flourishes  with  spots  on  a  gold 
ground.  In  four  circles,  formed  by  the  flourishes,  are  four  angels ; 
also  men,  lions,  and  birds ;  and  in  the  straight  stroke  of  the  B  a 
beautiful  Greek  pattern.  The  execution  is  of  great  precisioa  The 
other  numerous  initials  also  present  very  peculiar  and  beautiful  de- 
signs ;  here  and  there  are  some  drolleries,  of  which  I  may  mention 
an  ass  playing  on  the  psalter,  and  a  goat  singing  to  it,  as  a  singu- 
larly early  example  of  those  parodies  at  the  expense  of  the  clergy 
which  prevailed  so  much  in  the  following  centuries. 

The  Consolations  of  Philosophy,  by  Boethius,  folio,  with  some 
beautiful  initials  with  rather  rude  ornaments  proceeding  from 

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Letteb  XXVm.        MSS.  AVITH  MINIATURES.  285 

them.  At  the  beginning,  in  a  C,  Boethius  himself  dealing  out  his 
consolations ;  below,  his  hearers  in  prison.  Executed  by  a  mediocre 
miniature-painter  under  the  influence  of  the  school  of  Giotto  be- 
tween 1360  and  1380. 

A  copy  of  the  Breviary  printed  at  Venice,  1478,  by  Janson  ; 
folio,  with  numerous  and  somewhat  rude  miniatures  and  border 
decorations,  under  the  influence  of  Andrea  Mantegna 

Ten  books  of  Livy,  written  in  a  fine  minuscule  letter  in  one 
column  about  1450.  Some  of  the  elegant  initials  contain  small 
pictures  by  a  skilful  Italian  hand.  Only  in  one  vignette  is  a 
Netherlandish  hand  not  to  be  mistaken.  The  borders  show  here 
and  there  the  gaudy  decorations  with  little  golden  leaves  usual  at 
that  time. 

The  History  of  Alexander  the  Great,  by  Quintus  Curtius,  folio, 
written  in  a  beautiful  minuscule  letter  of  pure  Roman  character. 
Before  the  beginning  of  the  text,  in  a  square  compartment,  the 
portrait  of  the  youthfully  conceived  Quintus  Curtius,  a  very  deli- 
cate little  picture.  The  border  contains  armorial  bearings  in  brown 
and  gold  on  a  blue  ground.  Below,  two  very  pretty  children,  who 
probably  sustained  the  now  obliterated  arms  of  the  patron  of  the 
book ;  in  my  opinion  executed  in  Loml^u^dy  in  1520-1530. 

The  French  translation  of  Boccaccio's  work  on  the  lives  of  emi- 
nent women  and  men,  executed  by  order  of  John  Duke  of  Berry. 
This  personage  is  therefore  represented  at  the  beginning  receiving 
the  book.  This  transcript,  however,  was  adorned  with  very  me- 
chanically executed  miniatures  much  later,  about  the  year  1480. 

A  Breviary  in  folio,  written  in  the  most  delicate  minuscule 
letter  in  two  columns,  about  1400 ;  adorned  with  the  Annuncia- 
tion and  other  vignettes,  by  a  skilful  miniature-painter  under  the 
influence  of  the  Van  Eyck  school  Also  a  few  border  decorations 
in  the  known  taste  of  that  time  and  school. 

The  Life  of  Christ,  in  four  folio  volumes,  written  in  two  co- 
lumns. As  frontispiece,  Charles  VIII.  of  France  receiving  the 
book ;  below,  the  arms  of  France.  This  picture,  and  all  the  others, 
are  of  the  same  school  of  miniature-painting  that  supplied  the 
Hours  of  Anne  of  Bretagne,  and  of  tolerably  skilful  execution. 
The  numerous  other  pictures,  some  occupying  a  half-page,  some 
only  vignettes,  are  by  an  inferior  hand. 

The  Apocaljrpse,  folio,  two  columns.  At  the  beginning  a  coat- 
of-arms,  and  tiie  motto  ''  Sans  nombre,"  written  about  the  end  of 

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286  GLASGOW.  Letteb  XXVIII. 

the  15th  century.  The  numerous  pictures  are  of  a  decided  French 
character,  of  very  mechanical  execution— one  miniature  excepted, 
which  is  of  more  Netherlandish  character. 

The  School  of  Design  possesses  also  a  few  pictures ;  among 
which  a  mother  and  her  child,  a  woman,  and  a  male  head  by 
Vandyck,  and  a  flower-piece  by  Van  Huysum,  in  his  earlier 
broad  and  decorative  style,  appeared  to  me  the  most  attractive. 

To  my  great  satisfaction  I  learnt  from  my  host  how  numerous 
and  how  zealous  were  the  students  who  availed  themselves  of  the 
means  of  instruction  offered  in  the  school,  having  myself  stated 
my  conviction,  before  the  Parliamentary  Commission  in  1835,  as 
to  the  beneficial  influence  of  the  fine  arts  upon  manufEu^ures,  and 
cited  the  then  existing  institutions  in  Prussia  as  an  encoura^ng 
example. 

The  taste  for  collecting  has  at  present  but  little  obtidned  among 
the  rich  merchants  and  manufacturers  of  Glasgow.  Only  one  in- 
dividual, a  carriage-builder,  Mr.  Alexander  M'Lellan,  forms  an 
honourable  exception.  Having  been  introduced  by  Mr.  Wilson, 
I  found  in  this  gentleman  a  most  ardent  lover  of  the  arts,  and  was 
allowed  the  undisturbed  study  of  his  numerous  pictures,  with 
which  every  room  in  his  house  is  so  filled,  that  many  are  from  ne- 
cessity placed  in  imfavourable  lights.  By  far  the  greater  portion 
belong  to  the  Flemish  and  Dutch  schools  of  the  17th  century ; 
Mr.  M^Lellan  has  also  specimens  of  the  16th  century  of  these 
schools,  as  well  as  of  the  Italian,  Spanish,  French,  and  English 
schools.  I  have  only  space  to  notice  such  as  appeared  to  me 
genuine  and  remarkable.  I  proceed  to  mention  them  in  the  order 
they  occupied  in  the  different  rooms. 

First  Koom. 

Albert  Cuyp. — Christ's  entry  into  Jerusalem.  Although  this 
subject  is  not  within  the  sphere  of  this  painter's  talents,  yet  the  warm 
and  clear  colouritig,  and  masterly  treatment,  are  worthy  of  notice. 

Pater, — To  this  French  painter  I  am  inclined  to  attribute  a 
large  party  in  a  landscape,  which  unites  a  skilful  composition  with 
a  warm  and  clear  colouring  and  a  very  careful  execution.  It  here 
goes  by  the  name  of  Laueret 

Adrian  Van  de  Velde. — ^A  landscape,  with  a  cow  being 
milked,  and  a  sheep  lying  dowa  Delicate  and  careful  Inscribed 
and  dated  1670. 

MuRiLLo. — ^The  sleeping  Child  contemplated  by  the  Vir^n, 

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Letter  XXVIII.    MR.  M*LELLAN'S  COLLECTION.  287 

who  is  seated,  and  by  Joseph,  who  is  standing  and  holding  the 
ass.  This  picture,  which  is  from  the  collection  of  Luden  Bona- 
parte, decidedly  displays  the  influence  of  Rubens  and  VandycL 
The  very  realistically  conceived  Virgin  is  of  unusually  cold  red- 
dish flesh-tones.  The  careful  execution  is  equally  carried  out  into 
every  part     Unfortunately  it  has  been  retouched. 

RoTHENHAMMER. — A  Bacchaual.  A  rich  and  carefully  treated 
composition. 

Frank  Floris. — An  allegorical  subject  A  good  picture  for  him. 

Jacob  Rutsdael. — 1.  A  view  of  the  town  and  lake  of  Kat- 
wyck,  not  far  from  Scheveningen,  which  is  seen  under  the  shadow  of 
a  dark  doud,  while  the  sea  in  the  distance  is  lighted  by  a  sunbeam. 
Of  deep  feeling  for  nature,  and  admirably  painted  in  a  very  solid 
impasto.     1  ft.  7^  in.  high,  2  ft  2i  in.  wide. 

Sir  David  Wilkie. — ^The  first  preparation  for  a  portrait  of 
Queen  Victoria     Delicately  treated  in  a  dear  colouring. 

Philip  Wouvermans. — 1.  A  landscape,  somewhat  in  the  cha- 
racter of  his  master,  Wynants,  and  unusually  poetical  for  him. 

Patenier. — 1.  The  Adoration  of  the  Kings.  Carefully  painted 
in  a  warm  tone,  but  shining  like  a  mirror  from  the  quantity  of 
varnish. 

LuDOLPH  Backhuysen. — 1.  Vicw  of  a  sea-coast,  with  a  storm. 
In  the  foreground  a  woman  on  horseback,  supported  by  a  man. 
Of  singular  truth,  and  of  masterly  execution,  in  a  somewhat  dark 
tone.     I  ft.  6i  in.  high,  2  fL  2  in.  wide. 

Wynants. — A  landscape,  with  his  favourite  sand-bank  in  the 
foreground ;  in  the  middle  distance  a  house  and  a  corn-field  ;  ad- 
mirable figures  of  a  gentleman  and  lady,  and  a  young  black  boy, 
by  Wouvermans.  Of  great  truth  of  nature,  and  dear  in  the 
warm  colouring.     9i  in.  high,  1  ft.  3  in.  wide. 

Hobbema. — 1.  A  landscape,  with  a  dark  wood  in  the  fore- 
ground, with  which  a  light  corn-field  in  the  background  forms  a 
pleasing  contrast 

Berouem. — ^A  landscape,  with  a  shepherd  in  the  foreground, 
two  cows  and  a  dog.  Of  his  later  time ;  somewhat  dark  and 
heavy  in  the  tona 

William  Van  de  Velde. — 1.  A  fine  sear-piece,  with  a  ship  of 
war  firing  a  gun.  A  dark  cloud  and  a  dark  shadow  on  the  water 
give  this  picture  an  imusually  striking  effect 

The  Virpn  and  Child ;  on  the  right  St  Joseph ;  on  the  left  St 

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288  GLASGOW.  Lbtteb  XXVIII. 

Catherine,  St  George,  and  the  Baptist  The  heads  in  this  delicate 
picture  are  very  pleasing,  but  it  appears  to  me  rather  later  than 
Cima  da  Conegliano,  to  whom  it  is  here  attributed.  Unfortu- 
nately much  restored. 

Teniers. — 1.  Peasants  before  a  house.  A  small  inscribed  pic- 
ture, of  great  power  and  transparency  of  colour. 

Adrian  Van  der  Werfp. — ^Dalilah  cutting  ofiF  Samson's  hair. 
Genuine ;  but,  like  most  of  his  Scripture  scenes,  but  little  attractive. 

David  Vinckeboom. — A  very  delicate  landscape,  with  figures 
by  Rothenhammer.  Erroneously  ascribed  to  Jan  Breughel  and 
Elzheimer. 

Claude  Lorraine. — ^A  landscape ;  but  in  so  high  and  dark  a 
place  as  to  permit  of  no  opinion. 

Lingelbach. — 1.  To  this  painter  I  attribute  a  very  pretty  land- 
scape with  rocks,  which  passes  for  a  Wouvermans. 

Il  Cayaliere  d'Arpino. — St  Michael  subduing  Satan.  An 
original  repetition  of  the  picture  in  the  Bridgewater  Gallery. 

Philip  WoüVERMANa — 2.  A  landscape,  with  a  grey  and  a 
brown  horse  under  a  tree ;  a  party  resting,  a  dog,  and  an  ass. 
Pleasingly  composed,  and  of  peculiar  power  and  truth.  Inscribed, 
and  in  his  second  manner. 

Second  Room. 

Paris  Bordone. — The  Virgin  and  Child  and  St.  George ;  'the 
Magdalen,  and  St.  John  the  Baptist  pointing  to  the  LamK  A 
good  picture  of  his  earlier  time,  in  which  a  more  earnest  and  reli- 
gious feeling  prevails.  In  this  respect  the  Baptist,  who  is  glow- 
ingly coloured,  is  very  fine ;  while  the  Virgin,  the  Child,  and  the 
Magdalen,  partake  of  the  character  of  his  later  pictures. 

Camillo  Procaccini. — The  Virgin  and  Child,  St.  John  the 
Baptist,  and  St  Joseph.    A  good  and  warm-coloured  picture  for  hinu 

Caspar  Netscher. — ^Portrait  of  a  lady :  painted  with  all  his 
delicacy,  in  his  later  but  still  warmly-coloured  manner. 

HoBBEMA. — 2.  A  landscape,  with  peasant-houses  and  trees  upon 
a  dark  piece  of  water.  Of  singular  breadth  of  treatment,  but  much 
restored  on  the  right  side. 

Claude  Lorraine. — 2.  A  landscape;  in  the  foreground  a 
shepherd  and  two  shepherdesses ;  in  the  background  a  ruin.  A 
beautiful  picture,  of  his  middle  time,  and  of  warm  tone. 

Garofalo. — 1.  A  school  copy  of  the  St  Augustin  in  the  Na- 
tional Gallery. 

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Latter  XXVIU.    MB.  M*LELLAN'S  COLLECTION.  289 

GioRGioNE.— The  Virgin  and  Child,  St.  John,  and  St  Cathe- 
rine. This  picture  agrees  so  much  both  in  glow  of  colour  and  in 
treatment  with  a  Holy  Family  by  this  master  in  the  Louvre,  that, 
though  more  realistic  in  character,  I  have  no  hesitation  in  consi- 
dering it  an  early  work  of  the  master.  Here  it  is  called  Bonifacio. 

Jan  Both. — A  landscape ;  of  fine  composition  and  rich  detail, 
carefiilly  executed  in  a  clear  and  subdued  warm  tona  Unfortu- 
nately rather  overcleaned.     Inscribed. 

Garofalo. — 2.  St  Catherine  in  ecstacy,  in  a  landscape ;  a 
pleasing  little  picture  in  a  silvery  tone  unusual  with  him.  The 
companion  to  it,  a  saint  with  a  standard,  has  much  suffered. 

Mabuse.— Fragment  of  an  altar-picture,  St.  George  and  the 
donor.  Of  the  same  thne  as  his  principal  picture  at  Castle 
Howard.  The  saint  of  noble  character ;  the  portrait  of  the  donor 
very  individual.  The  execution  in  a  warm  and  transparent  colour, 
very  solid. 

Patenier. — 2.  The  Virgin,  in  a  landscape,  with  rich  architec- 
ture, nursing  the  Child  ;  her  head  is  of  singular  tenderness,  her 
red  robe  very  fine,     unfortunately  much  restored. 

Baroccio. — ^The  Virgin  and  Child  in  clouds ;  a  free  study  from 
the  Madonna  di  Foligno.  Of  great  depth  of  colour,  and  less  man- 
nered than  usual 

Rachel  Ruysch. — ^A  bunch  of  flowers ;  very  delicate  and 
tender,  and  unusually  clear.     Inscribed. 

Jacob  Ruysdaei* — 2.  A  richly  wooded  landscape ;  two  fisher- 
men angling  in  a  dark  piece  of  water  in  the  foreground,  with  some 
ducks;  in  the  background  mountains.  The  sky  very  beautiful, 
and  the  execution  of  the  details  more  careful  than  I  have  ever 
observed  in  a  work  of  this  size.  Unfortunately  somewhat  injured 
by  cleaning. 

Teniers. — 2.  The  Visitatioa  Obviously  a  skilfid  imitation  of 
Palma  Vecchio. 

3.  The  plundering  of  a  village.  Rich  in  animated  motives,  and 
delicately  executed  in  a  powerful  and  clear  tone. 

Bed-room. 

Jan  Breughel. — ^Two  landscapes,  with  very  good  figures  by 
Heinrich  van  Balen. 

Sir  Joshua  Reynolds. — Study,  from  nature,  of  the  woman  for 
the  picture  of  Sheridan's  *  School  for  Scandal,'  in  Lord  Lans- 
downe's  possession.     Very  animatedly  and  spiritedly  treated. 

VOU  III.  u 

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290  GLASGOW.  Letteb  XXVm. 

HoNDEKOETER. — Poultry.     A  careful  picture,  of  warm  tona 

LuDOLPH  Backhuysen. — 2.  A  storm.  True  and  transparent, 
and  of  his  softest  execution.    Inscribed. 

DoMENicHiNO. — ^A  landscape,  with  St.  Jerome.  Poetically 
composed,  and  of  clear  colouring.     For  closer  inspection  too  high. 

Artus  Van  der  Neer. — ^A  winter  landscape.  Of  singular 
delicacy  of  harmony,  and  unusual  breadth  and  freedom  of  touch. 
Inscribed 

William  Van  de  Velde. — 2.  A  sea-piece,  with  a  vessel  firing 
a  gua     It  appears  fine,  but  hangs  too  high. 

Hobbema. — 3.  A  small  landscape,  with  a  cottage  and  some 
country  people.     Of  great  truth. 

Gaspar  Poussin. — ^A  landscape  with  two  figures.  Poetic,  dear, 
and  careful. 

Another  Room. 

Teniers. — 4.  A  landscape  with  cattle ;  a  cow  being  milked.  Of 
admirable  effect,  great  freshness  of  colour,  and  broad  and  masterly 
treatment. 

Jan  Steen. — Children  skaiting.  Carefully  painted  in  a  very 
warm  tone.     Inscribed. 

LuDOLPH  Backhuysen. — 3.  A  small  sea-piece,  with  vessels  on 
the  dark  surface  of  the  water.  Very  poetically  conceived  and  care- 
fully treated. 

Nicolas  Maas. — ^A  woman  seated  by  a  cradle  with  a  child ; 
another  child  reading.  I  consider  this  to  be  a  good  picture  of  his 
broader  time.  It  is  here  attributed  to  Rembrandt.  Unfortu- 
nately it  has  been  enlarged  at  some  later  period,  and  much  over- 
pidnted  in  the  ground  and  accessories. 

Joseph  Vernet. — A  genuine  and  pretty  pictura 

Jan  lb  Due. — A  tavern ;  a  soldier  with  a  glass  in  the  fore- 
ground ;  in  the  middle-ground  a  gentleman  and  a  lady.  Most  de- 
licate in  finish,  and  unusually  dark  in  colouring. 

Paul  Veronese. — Europa  on  the  Bull  A  subject  often  treated 
by  him,  but  placed  too  high  for  an  opinion. 

Valentin. — ^The  IncreduUty  of  St.  Thomas.  Erroneously  called 
Daniel  da  Volterra. 

Vandyck. — 1.  Charles  I.  and  Henrietta  Maria,  almost  to  the 
knees.  The  last-named  appears  to  be  clear  and  delicate,  but 
both  hang  too  high  for  an  opinion. 

Benjamin  West. — ^The  Virgin  and  Child  and  St.  Joseph ;  of 

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Lbtteb  XXVni.    MB.  M'LELLAN'S  COLLECTION.  291 

pleasing  forms,  softly  and  carefully  modelled  in  a  transparent 
tone. 

William  van  Aelst. — ^Two  dead  fowls.     Masterly. 

William  Van  de  Velde. — 3.  A  sea-piece,  with  numerous  ves- 
sels.    Genuine,  but  very  dark. 

LiNGELBACH. — 2.  A  Small,  very  pretty  picture. 

Lenain. — A  boy  with  sheep.  Very  animated,  but  it  hangs 
too  high  for  an  opinioa 

Vandyck. — 2.  Henrietta  Maria,  about  a  third  life-size,  crowned 
by  an  angel.  An  allegorical  representation.  Looks  well,  but 
hangs  too  high. 

Venetian  School  of  the  time  of  Titian. — Christ  on  the 
Mount  of  Olives.  This  also  hangs  too  high,  but  is  apparently  a 
good  picture. 

A  short  trip  to  the  Highlands,  with  Mr.  Wilson,  his  wife,  and 
another  gentleman,  was  an  agreeable  change  after  my  studies.  By 
a  happy  combination  of  steamboat,  railway,  and  pedestrian  jour- 
neys, we  managed  to  see  Loch  Lomond  and  Loch  Long,  two  of 
the  most  interesting  lakes,  in  one  day.  Although  I  had  been  for- 
merly assured  that  the  mountains  and  lakes  of  the  Highlands 
were  not  worth  visiting  after  those  of  Switzerland,  I  was  thankftd 
to  have  had  the  opportunity  of  judging  for  myself.  I  found  the 
character  of  these  Highlands  perfectly  peculiar  to  themselves, 
which  is  the  great  attraction  in  scenery.  Never  before  had  I  wit- 
nessed scenery  which  bore  so  strongly  the  impress  of  a  grand 
melancholy.  In  those  mists,  which  never  dispersed  during  the 
whole  day,  and  veiled  more  or  less  the  forms  of  the  hills,  I  could 
well  imagine  the  presence  of  those  Ossianic  spirits  which  pervade 
Macpherson's  poems.  Many  parts  also  brought  Walter  Scott's 
*  Lady  of  the  Lake'  vividly  before  me.  On  our  return  I  admired 
the  proud  fortress  of  Dumbarton.  I  can  but  regret  that  I  had  not 
time  to  penetrate  deeper  into  the  Highlands. 

Another  trip  was  devoted  to  nature  and  art  both ;  a  drive  of  a 
few  miles  brought  Mr.  Wilson  and  myself  to  Garscube,  the  charm- 
ing seat  of  Sir  Archibald  Campbell  of  Succoth.  The  pleasure- 
grounds,  through  which  a  bum  flows,  glistened  with  the  freshest 
verdure,  while  a  conservatory  connected  with  the  drawing-room  had 
a  most  pleasing  eflFect.  Sir  Archibald  received  us  most  kindly,  and, 
after  showing  us  round,  left  us  to  our  studies,  whieh  were  only 

u  2 

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292  GARSCUBE.  Letteb  XXVIII. 

interrupted  by  lunch.  His  collection,  which  was  chiefly  formed  by 
his  grandfather,  contains  a  moderate  number  of  pictures,  with  very 
good  works  of  the  Netherlandish  school ;  its  chief  strength  consists, 
however,  of  pictures  of  the  Italian  schools,  by  masters  of  the 
highest  excellence,  and  which  are  seldom  found  in  Great  Britain. 

DkA  WING-ROOM  • 

Albert  Cuyp. — A  grey  horse  watered  by  a  boy,  and  a  man 
upon  a  brown  horse ;  in  the  background  vessels.  A  very  good 
picture,  of  warm  and  clear  colour,  of  his  first  period. 

Annibale  Carracci. — 1.  The  Virgm  and  Child,  St.  John  the 
Baptist  near  a  cradle,  and  Joseph.  A  good  example  of  this  often 
repeated  picture. 

Claude  Lorraine. — ^A  seaport,  in  unusually  red  lighting.  A 
good  picture  of  his  later  tima 

Michael  Angelo  Caravaggio. — ^The  Woman  taken  in 
Adultery.  A  rich  and  peculiar  composition,  telling  the  story  well ; 
less  vulgar  than  usual  in  the  heads,  and  of  careful  execution. 

Annibale  Carracci. — 2.  The  Virgin  and  Child  adored  by  St. 
Peter,  St.  Paul,  and  John  the  Evangelist ;  also  two  angels.  Ani- 
mated and  graceftd  in  the  motives,  clear  in  the  colouring,  and 
careful  in  treatment 

I  must  here  mention  a  bowl  of  oval  form  of  majolica,  of  unusual 
size  and  beauty,  supported  by  two  Tritons ;  outside  are  two  Silenus 
masks ;  the  inside  is  adorned  with  a  beautiful  arabesque  border, 
the  centre  with  a  subject  of  chariot-races  and  spectators. 

Staircase. 

JoRDAENs. — Mercury  about  to  kill  the  sleeping  Argus.  Not 
so  glowingly  coloured  as  the  picture  in  the  Dresden  Gallery,  but 
still  a  good  original  picture. 

Pynaker. — A  landscape;  carefully  executed,  and  unusually 
warm  in  colour. 

Titian. — St.  Jerome,  in  a  landscape.  A  spirited  picture,  look- 
ing like  the  master,  but  hanging  too  high  for  me  to  decide. 

An  animated  and  very  clear  portrait  of  a  woman,  by  a  Dutch- 
woman, with  the  name  upon  it,  but  too  high  for  me  to  read  it 
Erroneously  ascribed  to  Mytens. 

Billiard-room. 
Vandyck. — 1.  Portrait  of  a  woman  seated ;  to  the  knees.    The 
dark  tone  and  the  slight  treatment  of  the  drapery  are  in  the  style 

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Letter  XXVIIT.    SIR  A.  CAMPBELL'S  COLLECTION.  293 

of  most  of  his  pictures  painted  in  Genoa ;  the  head  is  of  trans- 
parent colouring,  and  the  hands  recall  his  master,  Rubens. 

Orizzontr — 1  and  2.  Two  pretty  little  landscapes. 

SwANEVELDT. — ^A  carcful  landscape  in  evening  light,  with  a 
woman  on  a  donkey. 

Teniers. — 1.  Peasants  at  cards ;  a  woman  coming  from  a 
cellar.  It  appears  a  good  picture,  but  hangs  too  high  for  me  to 
decide. 

Artois.— A  large,  decoratively  treated  landscape,  with  very 
pretty  figures, 

Simon  de  Vlieger. — ^A  sea-piece.  Of  very  great  truth,  and 
admirably  executed  in  a  clear  tone. 

Study. 

Alessandro  Bonvicino,  called  II  Moretto. — To  this  great 
master,  who  has  only  been  properly  recognised  in  the  last  ten 
years,  may  be  ascribed,  I  am  convinced,  an  altar-piece  which  is 
excellent  in  composition,  character,  and  drawing,  and  by  its  warm 
tone  indicates  the  later  period  of  the  master.  In  the  centre  is 
the  Virgin  enthroned  beneath  a  red  canopy  supported  by  two 
angels.  The  Child  is  on  her  lap,  opening  its  arms  (a  new  motive 
to  me)  towards  heaven,  whence  descends  a  ray  of  light.  A  beau- 
tiful angel  is  touching  the  strings  of  a  guitar.  On  the  right  is 
St.  Augustin,  with  a  very  dignified  head,  reading  a  book  ;  on  the 
left  St  Stephen  and  St.  I^awrence,  the  last  with  a  censer.  The 
background  is  a  landscape  of  blueish  tona  In  every  portion  the 
execution  is  very  solid.  Purchased  in  1827  of  the  Swedish 
sculptor,  Byström,  by  the  recommendation  of  Mr.  Andrew  Wilsoa 

Palma  Vecchio. — The  Virgin  and  Child,  St.  John  the  Baptist, 
Joseph,  and  an  angel ;  a  pleasing  picture,  but,  as  compared  with 
his  earlier  works,  of  slight  and  loose  treatment,  and  of  his  very 
latest  time. 

Teniers. — 2.  A  sea-shore,  with  two  fishermen  and  their  fish. 
Of  admirable  keeping,  and  spirited  though  slight  treatment. 
Inscribed. 

Two  pretty  sketches  from  the  school  of  Rubens, 

Palma  Giovane, — The  Entombment.  An  excellent  work  of 
his  earlier  and  better  time.  The  heads  are  of  good  expression, 
the  colouring  of  great  force  and  warmth.  Inscribed  "  Jacobus 
Pahna  f." 

Vandyck. — 2.  Portrait  of  a  knight  holding  a  sword.     Pur- 
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294  GARSCUBE.  Letter  XXVHI. 

chased  in  Genoa ;  of  fine  conception,  but  overcleaned  and  restored 
in  some  parts. 

Valentin. — ^The  Prodigal  Son.  A  very  good  picture  of  the 
artist,  in  which  he  approaches  his  master,  M.  A.  da  Caravaggio, 
in  body,  as  well  as  in  clearness  of  colouring. 

GuERCiNo. — St  Joseph  with  the  Child.  A  pleasing  and  careful 
picture  in  his  light  manner. 

Joseph  Vernet. — One  of  the  sea-caves  near  Sorrento.  Careful 
and  transparent 

Orizzonte. — 3.  A  very  well-composed  landscape;  of  clear 
colouring  and  careful  treatment,  with  numerous  pretty  figures  by 
the  hand  of  Filippo  Laurl 

Carel  Dujardin. — A  landscape,  with  a  goat  being  milked, 
six  sheep  and  a  horse.  The  sky  warm,  but  otherwise  of  decidedly 
cool  tone,  and  somewhat  more  broadly  treated  than  usual 

Gerard  Honthorst. — St  Peter  released  from  prison.  The 
head  finer  than  usual  with  the  psunter.  The  execution  masterly, 
in  a  fine  body. 

A  Small  Room. 

Gaudenzio  Ferrarl — To  this  admirable  master  I  have  no 
hesitation  in  ascribing  a  picture  with  the  Virgin  and  Joseph  ador- 
ing the  new-bom  Child  lying  on  the  ground ;  in  the  background 
the  Flight  into  Egypt.  This  picture  has  a  great  charm  of  com- 
position, with  a  fine  feeling  in  the  heads,  and  transparency  of 
colour.  It  was  purchased  by  Mr.  James  Irvine  in  Italy  for  Sir 
William  Forbes,  and  sold  by  his  son  to  the  grandfather  of  Sir 
Archibald  Campbell  for  800«. 

Garofalo. — The  Virgin  and  Child,  and  the  Baptist ;  the  two 
children  are  kissing  ;  also  Elizabeth  and  Joseph.  A  small  picture 
of  pretty  composition,  but  in  many  parts  of  feeble  drawing. 

GiACOMO  Francia. — The  Virgin  and  Child ;  St  Francis  and  St 
Catherine,  half-length  figures,  at  the  sides. '  A  good  picture  of  his 
earlier  time,  in  which,  in  expression  of  heads,  in  warmth  of  colour, 
and  in  conscientious  treatment,  he  approaches  his  father,  Francesco. 

Nicolas  Poussin. — ^An  old  man  speaking  to  some  individuals, 
among  whom  is  his  sick  wife.  An  incomprehensible  subject  to  me. 
The  background  architecture  and  landscape. 


On  my  return  to  Glasgow  I  was  glad  to  find  a  renewed  invita^ 
tion  for  Mr.  Wilson  and  myself  from  the  Duke  of  Hamiltoa     As 

/Google 


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Lettbr  XXVra.  HAMILTON  PALACE.  295 

this  aged  nobleman  had  shortly  before  broken  his  arm  by  a  fall 
from  a  horse,  I  had  apprehended  the  possibility  of  not  seeing  the 
works  of  art  in  Hamilton  Palace,  which  were  the  chief  object  of 
my  visit  to  Scotland.  Arriving  at  Hamilton  towards  evening,  we 
were  received  by  the  Duke  and  Duchess,  and  found  two  families 
of  their  acquaintance  guests  in  the  palace.  Although  the  Duke 
still  wore  his  arm  in  a  sling,  and  looked  by  no  means  recovered, 
I  was  astonished  at  the  animation  which  he  exhibited.  The 
Duchess,  a  daughter  of  the  late  well-known  Mr.  Beckford,  a  lady 
of  the  most  refined  and  easy  manners,  showed  in  her  features  and 
in  the  elegance  of  her  figure  great  remains  of  her  former  beauty, 
while  her  conversation  evinced  the  highest  cultivation  of  mind. 
The  Duke,  since  deceased,  was  an  ardent  lover  of  all  styles  of  art, 
and  his  wealth  and  long  life,  and  frequent  sojourns  in  difierent 
countries  of  Europe,  enabled  him  to  gather  together  treasures  of 
art  of  every  difierent  kind.  His  collection  of  pictures,  dispersed 
among  the  difierent  apartments  of  the  large  and  rambling  edifice, 
to  which  he  made  many  additions,  contains  admirable  specimens 
of  the  various  Italian  schools,  as  well  as  of  the  Flemish  and  Dutch 
schools,  from  the  15th  to  the  17th  century.  Nor  are  works  of 
the  German,  Spanish,  and  French  schools  wanting.  As  regards 
sculpture,  I  remarked  some  antiques,  as  well  as  careful  copies,  both 
in  marble  and  bronze,  of  celebrated  antique  works.  The  library, 
which  is  rich  in  curiosities  of  the  most  costly  description,  contains 
a  collection  of  MSS.  with  Byzantine,  Italian,  German,  Nether- 
landish, and  French  miniatures,  from  the  9th  to  the  16th  cen- 
tury. As  the  Duke  combined  in  equal  measure  a  love  of  art 
with  a  love  of  splendour,  and  was  an  especial  lover  of  beautiful 
and  rare  marbles,  the  whole  ameublement  was  on  a  scale  of  cost- 
liness, with  a  more  numerous  display  of  tables  and  cabinets  of  the 
richest  Florentine  mosaic  than  I  had  seen  in  any  other  palace. 
As  a  ftdl  crimson  predominated  in  the  carpets,  a  deep  brown  in  the 
woods  of  the  furniture,  and  a  black  Irish  marble,  as  deep  in  coloiu* 
as  the  nero  antico,  in  the  specimens  of  marble,  the  general  efiect  was 
that  of  the  most  massive  and  truly  princely  splendour ;  at  the  same 
time  somewhat  gloomy,  I  might  almost  say  Spanish,  in  character. 
I  proceed  now  to  consider  the  works  of  art  in  the  order  they 
occupied  in  the  different  rooms.* 

*.TiotwithBtaiidiiig  the  death  of  the  Duke  I  have  retained  the  same  arrangement, 
as  it  is  hardly  to  be  expected  that  the  present  Duke  will  institute  any  great  changes 
— the  more  so  as  the  nature  of  some  of  the  objects  of  art  hardly  permits  any  alteration. 

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296  HAMILTON  PALACE.  Letter  XXVIII. 

Large  Staircase. 

GiROLAMO  da'  Libri. — ^This  is  the  largest  altar-piece  I  know 
by  this  rare  Veronese  master ;  the  Virgin  and  Child  under  a  tree 
on  a  rising  ground ;  on  one  side  St.  Augustin  and  another  saint ; 
on  the  other  two  female  saints ;  below,  three  sin^ng  angels.  Of 
decided  ecclesiastical  character.  The  cast  of  the  drapery  shows 
the  strong  influence  of  Andrea  Mantegna.  The  background  is  a 
rich  landscape,  with  rocks  and  castles.  The  colouring  is  for  him 
unusually  clear  and  warm. 

An  admirable  antique  example  of  the  Venus  of  the  Capitol,  in 

Parian  marble. 

Hall. 

In  this  imposing  space,  lighted  from  above,  hangs  the  largest 
altar-picture  by  Sandro  Botticelli,  formerly  in  the  church  of  S. 
Pietro  Maggiore  at  Florence — according  to  Vasari,  executed  for 
Matteo  Palmieri.  It  represents,  below,  the  Apostles  round  the 
tomb  of  the  Virgin,  and  the  donor  with  his  wife.  Quite  above  is 
the  Coronation  of  the  Virgin ;  below  that  are  three  circles  in  the 
sky,  each  circle  formed  of  three  rows  of  figures — the  patriarchs,  the 
apostles,  the  evangelists,  the  martyrs,  the  fathers  of  the  Church, 
the  holy  virgins,  in  short,  the  personification  of  every  class  con- 
stituting the  whole  ecclesiastical  system,  an  idea  furnished  to  the 
painter  by  Matteo  Palmieri,  who  was  deeply  versed  in  such  subjects. 
This  picture  is  not  only  remarkable  aä  the  largest  and  completest 
representation  of  this  class  of  subjects  that  the  middle  ages  have 
bequeathed  to  us,  but  the  very  numerous  figures  are  executed  with 
much  care.  Below  this  picture  is  a  large  and  most  beautiful 
mantelpiece  in  black  limestone,  executed  at  Florence  in  the  second 
half  of  the  15th  century,  in  the  style  of  the  Renaissance,  by  one  of 
the  excellent  sculptors  of  the  day. 

Of  six  busts,  also  in  this  space,  I  was  much  struck  by  one  of 
Napoleon,  and  one  of  the  Duke  of  Hamiltoa 

A  very  beautiful  table  in  Florentine  mosaic  also  deserves  notice. 

Gallery. 

Rubens. — 1.  Daniel  in  the  lions'  den.  This  celebrated  picture, 
not  being  seen  to  advantage  by  day  from  the  circumstance  of  its 
hanging  opposite  the  windows,  was  admirably  lighted  in  the  even- 
ing with  reflectors  for  my  gratification.  Although  the  nearly  nude 
and  seated  figiure  of  Daniel,  who  is  looking  beseechingly  upwards, 
is  carefully  drawn  and  modelled,  yet  the  head  in  no  way  conveys 
the  character  of  a  prophet    On  the  contrary,  Rubens  has  evidentiy 

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Lbttee  XXVIII.    DUKE  OF  HAMILTON'S  COLLECTION.  297 

copied  the  features  of  his  model.  Upon  the  whole,  this  figure  is 
only  an  accessory  employed  by  the  great  master  to  introduce,  in 
the  most  perfect  form,  nine  figures  of  lions  and  lionesses  the  size 
of  life,  the  various  studies  for  which,  both  in  drawings  and  engrav- 
ings, were  already  known  to  me ;  and  in  truth,  one  is  at  a  loss 
which  to  admire  most,  the  varied  actions  of  the  grimly  growling, 
gaping,  and  reposing  beasts,  or  the  truth  and  mastery  of  the  execu- 
tion. As  this  is  one  of  the  few  great  pictures  by  Rubens  which 
we  know  with  certainty  to  have  been  entirely  executed  by  his 
own  hand,*  I  was  the  most  interested  in  observing  the  colouring, 
which  is  by  no  means  brilliant  or  exaggerated,  but  rather  in  a 
subdued  tone.  This  picture  was  formerly  in  the  collection  of 
Charles  I.,  to  whom  it  was  presented  by  Lord  Dorchester.  It  is 
7  ft.  6  in.  high,  10  ft.  10  ia  wida 

Besides  this  picture  the  gallery  contains  a  set  of  portraits,  more 
remarkable  for  the  personages  they  represent  than  as  objects  of 
art.     The  following  are  an  exception : — 

Vandyck. — 1.  William  Fielding,  Earl  of  Denbigh,  in  an 
eastern  hunting  costume,  a  gun  in  his  right  hand ;  next  him  a 
boy  in  a  Persian  dress,  aiming  at  a  parrot  on  a  tree ;  the  back- 
ground landscape.  Carefully  executed  in  a  warm  tone.  6  ft.  8  in. 
high,  4  ft.  2  in.  wide. 

Mytens. — ^Two  very  animated  and  careful  portraits. 

Cornelius  de  Voa — 1.  To  this  painter  I  attribute  the  portrait 
of  a  lady  with  pretty  features. 

Dining-Saloon. 

Velasquez. — Portrait  of  Philip  IV.,  King  of  Spain.  Whole- 
length,  life-size.  This  looks  a  fine  picture,  but,  being  placed  be- 
tween two  windows,  it  admits  of  no  opinion. 

Vandyck. — 2.  The  Duchess  of  Richmond,  in  white  silk  dress. 
Full-length,  life-size ;  her  son  next  her,  as  Cupid,  with  an  arrow 
in  his  hand.  The  background,  architectiwe  and  sky.  Of  great 
elegance,  and  careftdly  executed  in  a  clear  tone. 

Sir  Peter  Lely. — One  of  the  beauties  of  Charles  II. 's  court 
sleeping.  Successftilly  conceived  and  painted  in  the  taste  of 
Vandyck. 

Charles  I.  on  horseback,  called  Vandyck.  In  my  opinion,  an 
old  and  very  good  copy  of  that  pictura 

*  Rabens  says  this  explicitly  in  an  Italian  letter  to  Sir  Dudley  Carleton,  which 
Mr.  Carpenter  has  printed  in  his  pictorial  Notices,  p.  140. 

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298  HAMILTON  PALACE.  Lettbb  XXVIII. 

PiETRO  DELLA  Vecchia. — ^The  fouT  Fathers  of  the  Church. 
Very  animated  in  motive,  and  of  great  force  of  colouring. 

David. — ^Napoleon.  Full-length,  life-size  ;  executed  for  the 
Duke  of  Hamilton.  One  of  his  animatedly-conceived  and  care- 
fully-executed works. 

This  superb  apartment  contains  also  the  following  interesting 
pieces  of  sculpture : — 

Antique  bust  of  a  Venus  ;  the  nose  and  lower  lip  new.  The 
conception  remarkable  as  being  midway  between  that  of  the  Venus 
of  Milo  and  of  Medici,  and  at  the  same  time  of  a  beauty  of  work- 
manship which  bears  witness  to  a  Greek  chisel 

Bust  of  the  dying  Alexander ;  conceived  exactly  like  the  marble 
at  Florence,  and  in  the  finest  red  porphyry.  Wonderfully  exe- 
cuted, considering  the  hardness  of  the  stone. 

The  group  of  the  Laocoon,  in  bronze,  the  size  of  the  original, 
upon  a  table  with  a  slab  13  ft  long,  adorned  with  Florentine 
mosaics,  and  with  rich  and  splendid  feet. 

Finally  I  must  mention  a  large  tripod  of  giallo-antico,  as  one 
of  the  most  costly  specimens  of  this  kind  that  I  know. 

MüSIC-KOOM. 

Vandyck. — 3.  Henrietta  of  Lothringen,  Princess  of  Thals- 
burg.  Whole-length  figure,  life-size.  Notwithstanding  the  inscrip- 
tion with  her  name  and  title,  and  the  date  1634,  I  cannot  look 
upon  this  as  the  original  picture  once  in  the  collection  of  Charles  L, 
and  afterwards  in  the  Orleans  Gallery.  It  appears  to  me  too 
heavy  in  tone,  and  too  spiritless  in  treatment. 

Lucas  Cranach. — Judith  with  the  head  of  Holofemes ;  her 
head  is  but  little  attractive,  and  the  dead  head  of  frightfiil  truth. 
The  colouring  has,  however,  all  the  force  and  clearness,  and  the 
execution  the  carefulness,  which  characterise  the  best  pictures  of 
this  master.     It  is  also  inscribed. 

Salvator  Rosa. — ^An  antique  hero,  of  animated  action  and 
glowing  colouring. 

Artus  van  der  Neer.— A  somewhat  large  moonHght-piece, 
much  darkened. 

Albert  Durer. — 1.  His  own  portrait  Although  inscribed 
with  his  monogram  and  the  year  1507, 1  can  only  regard  this  as 
an  old  copy. 

Andrea  Mantegna. — 1.  Portrait  of  a  gentleman  and  his  wife. 
Animatedly  conceived  and  very  warmly*  coloured,  but  not  refined 

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Lrttbb  XXVIII.    DUKE  OP  HAMILTON'S  COLLECTION.  299 

enough  for  this  great  master.  *  The  dresses  are  painted  with  gold ; 
armorial  bearings  are  on  the  black  ground. 

Tintoretto. — 1.  Moses  striking  the  rock.  A  rich  composi- 
tion of  animated  but  sketchy  execution. 

PiETRO  DA  0)RTONA. — 1.  The  Adoratiou  of  the  Shepherds. 
A  pleasing  and  careful  picture  for  him. 

Tintoretto. — 2.  A  male  portrait  Looks  promising,  but 
hangs  in  too  dark  a  place. 

The  chimney-piece  is  here  of  beautiful  black  Irish  marble. 

The  picture-gallery,  properly  speaking,  is  divided  into  a  suite 
of  four  rooms,  which  I  now  proceed  to  describe. 

First  Room. 

LucA  SiGNORELLi. — ^Thc  Qrcumcisiou  of  Christ.  A  large 
altar-piece  with  ten  figures,  life-size.  In  the  centre,  before  the 
altar-apse,  is  the  priest  looking  up  to  heaven ;  in  the  angles  of  the 
semicircular  picture  are  two  circles  with  two  prophets.  This  is 
one  of  the  most  important  pictures  by  this  great  master,  who  was 
the  precursor  of  Michael  Angelo.  The  artistic  richness  of  the 
composition,  the  understanding  of  the  forms,  which  are  of  masterly 
modelling  and  great  truth  of  nature,  the  deep  warm  colouring, 
and  the  solid  execution,  all  prove  that  this  admirably-preserved 
picture  belongs  to  Luca  Signorelli's  maturest  time.  It  bears  the 
inscription,  "  Lucas  Cortonensis  pinxit" 

Berguem. — Landscape,  with  a  herd  of  cattle  in  the  water,  and 
a  herdswoman  carrying  her  child  on  her  back.  A  picture  of 
careful  and  fine  composition,  but  somewhat  heavy  in  general  tone. 

Titian. — Philip  II.  with  the  figure  of  Fame  kneeling  before 
him.  This  picture  has  suflfered  so  much  that  it  is  difiicult  to  form 
an  opinion  of  it  It  appears  to  me,  however,  to  have  been  origin- 
aUy  too  feeble  for  him. 

Tintoretto. — 3.  Portrait  of  an  admiral  The  back  a  red  cur- 
tain and  the  sea,  on  which  is  a  vessel.  Grandly  conceived,  and  of 
full  marrowy  painting,  in  his  clear  brownish  tones. 

PiETRO  DA  CoRTONA. — 2.  Christ  appearing  to  the  Magdalen, 
and  Eleazar  with  Rachel  at  the  well.  Two  very  good  pictures  by 
the  master. 

Ubertini. — A  rich  allegory,  of  careful  execution,  called  Pon- 
tormo,  but  decidedly  by  that  rare  master  Ubertini 

Cornelius  de  Vos. — 2.  A  female  portrait,  which,  in  warmth 
and  transparency  of  colouring,  approaches  Rubens. 

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300  HAMILTON  PALACE.  Letteb  XXVIH.. 

Jan  van  Goyen. — ^View  of  a  Dutch  canaL  A  small  picture, 
of  the  utmost  truth  of  nature. 

Isaac  van  Ostade. — Landscape,  with  a  grey  horse.  Of  ad- 
mirable warmth  of  tone  and  solidity  of  impasto,  recalling  Paul 
Potter. 

Razzl — Christ ;  at  the  sides  the  two  patron  saints  against  the 
plague — St.  Sebastian  and  St  Rock.  Noble  in  forms  and  cha- 
racter, but  in  colouring  belonging  to  his  somewhat  gaudy  pictures. 

BoNiFAZio. — The  Resurrection  of  Christ  Rather  hard  in 
forms.     In  the  guards  the  influence  of  Titian  is  very  distinct. 

GiROLAMO  DA  Santa  Croce. — ^A  male  portrait,  with  land- 
scape background.     Noble  in  feeling,  and  warmly  coloured. 

Philip  de  Champagne. — ^The  Stoning  of  St.  Stephea  The 
motives  and  forms  of  the  very  animated  figures  show,  more  than 
any  other  picture  I  have  seen  by  the  master,  the  influence  of 
Nicolas  Poussia  This  work  has  also  all  the  warmth  and  trans- 
parency of  his  colouring. 

QuENTiN  Matsys. — An  example  of  the  Misers.  Much  injured, 
and  originally  probably  only  a  work  by  his  soa 

A  table  with  a  porphyry  slab  will  interest  the  amateur  of  pre- 
cious marbles. 

Second  Room« 

Nicolas  Poussin. — The  Entombment  A  fine  composition  of 
six  figures.  The  kneeling  St  John  supports  the  head  of  the 
Saviour,  while  Joseph  of  Arimathea,  at  the  feet,  is  in  the  act  of 
wrapping  the  body  in  clothes ;  the  Virgin,  accompanied  by  two  of 
the  Maries,  is  wiping  her  tears.  A  feeling  of  deep  and  elevated 
sorrow  prevails  in  this  gloomy  picture. 

Bernardino  Luinl — To  this  painter  I  attribute  a  boy  with  a 
toy,  which  bears  the  name  of  Leonardo  da  Vinci,  but  which  is 
too  feeble  in  drawing  and  clumsy  in  forms  for  him. 

LoDovioo  CarraccI. — The  Cumsean  Sibyl,  accompanied  by 
three  angela  In  his  grandest  style,  evidently  in  emulation  of 
Michael  Angelo. 

Adrian  Brouwer. — Interior  of  a  cottage,  with  a  peasant 
playing  the  guitar,  his  wife  with  him.  Quite  in  the  harmoniously 
broken  tones  and  the  soft  touch  of  thb  excellent  artist 

Andrea  del  Sarto. — Portrait  of  his  wife  as  the  Magdalen. 
Very  animated,  but  somewhat  crude  in  colour. 

Gaspar  Poussin. — 1.  A  thunder-storm,  with  a  bolt  falling. 

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Leti'er  XXVm.    DUKE  OP  HAMILTON'S  COLLECTION.  301 

Highly  poetic,  and  more  carefully  executed  than  other  pictures  of 
this  class  by  him  :  it  has  only  become  somewhat  dark. 

GiAcoMO  Bassano. — 1.  The  Almighty  appearing  to  Noah 
after  the  Deluge.  This  subject  is  very  appropriate  for  intro- 
ducing the  numerous  animals  in  which  he  delights.  With  all  the 
force  and  warmth  of  his  colouring. 

Gaspar  Poussin. — 2.  A  landscape  with  a  flock  of  sheep.  A 
fine  feeling  of  evening  repose  pervades  this  beautifid  picture. 

A  portrait  of  Edward  VI.,  attributed  to  Holbein,  is  too  tasteless, 
too  stiff,  and  too  empty  for  him.    It  is  also  injured  by  cleaning. 

RuB£N& — 2.  Venus  rising  from  the  sea,  accompanied  by  the 
Graces.  Cupid  and  Psyche  floating  over  their  heads.  This  large 
composition,  executed  in  chiaroscuro,  is  the  design  for  the  centre 
of  a  silver  vessel.  The  border  is  adorned  with  Neptune,  Amphi- 
trite,  and  their  attendants.  These  spirited  inventions  are  executed 
with  singular  delicacy. 

In  this  apartment  are  also  the  following  objects : — a  table  of 
Florentine  mosaics,  with  a  casket  of  the  same  workmanship ;  a 
cabinet  belonging  to  Marie  Antoinette  ;  a  slab  of  malachite,  with 
a  vase  of  the  rare  green  porphyry ;  and  bronze  statuettes  on 
pedestals  of  lapis-lazulL 

Thied  Room. 

MuRiLLo. — St.  John  the  Baptist  as  a  child  sleeping.  The  de- 
cidedly realistic  conception  is  singularly  truthful.  The  clear  tone 
of  the  yellow  lights  makes  a  rather  abrupt  contrast  with  the  very 
dark  shadows. 

Rubens. — 3.  In  the  foreground  of  a  very  fine  landscape  are  a 
male  and  female  centaur,  with  another  capering  about  in  the 
green  middle  distance.  Although  the  animal  portions  of  these 
fantastic  creations)  are  even  for  Rubens  very  heavy  and  clumsy, 
yet  the  spirited  design,  and  no  less  spirited  execution,  quite  com- 
pensate for  these  defects.    1ft.  8  in.  high,  2  ft.  4  in.  wide.    Wood. 

HoBBEMA. — ^Trees  and  houses  on  a  clear  piece  of  water  in  the 
foreground  ;  distance  and  sky  sparkling  in  the  sunshina  A  care- 
ful picture,  in  which  the  marvellous  clearness,  truth  and  delicacy 
of  aerial  perspective  in  which  this  master  is  so  great,  are  here 
seen  in  full  perfection. 

Albert  Dürer. — 2.  A  male  portrait,  with  his  monogram. 
Although  a  glass  which  covers  this  picture  renders  it  difficult  to 
judge  of  it,  yet  the  conception  is  obviously  not  elevated  enough, 

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302  HAMILTON  PALACE.  Letteb  XXVIH. 

and  the  drawing  of  the  head  too  feeble,  for  him.     The  hands  are 
the  best  part.     Canvas. 

PoNTORMO. — Portrait  of  Gaston  de*  Medici,  son  of  Cosmo  I., 
Grand  Duke  of  Tuscany.  To  the  knees.  Nobly  conceived, 
excellently  drawn,  and  of  masterly  execution. 

Annibale  Carracci. — The  penitent  Magdalen,  with  three 
angek.     A  careful  pictiu*e,  though  somewhat  dark  in  colouring. 

Angelo  Bronzino.-^1.  Portraits  of  Cosmo  I.  and  his  wife 
Isabella.  She  is  consumptive-looking.  Half-length  figures.  Very 
true  and  carefiiL 

Giovanni  Battista  Moroni. — ^A  male  portrait ;  almost  to 
the  knee&  Inscribed,  "  Jo.  Bap.  Moronus,  mdlxl"  This  is  the 
earliest  date  I  have  found  on  a  picture  by  this  artist.  Although 
it  exhibits  the  delicate  and  animated  conception  of  his  later  pic- 
tures, yet  the  flesh  has  quite  that  local  reddish  tone  which  distin- 
guishes  the  later  pictures  of  his  master  H  Moretto. 

Tintoretto.— 4.  The  visit  of  the  Queen  of  Sheba  to  Solomon. 
A  rich  composition,  full  of  animated  motives,  and  spiritedly  exe- 
cuted in  a  warm  tona     The  figures  about  a  foot  high. 

Domenichino. — John  the  Baptist  reproving  Herod  for  taking 
his  brother's  wife,  in  presence  of  her  and  her  daughter.  The  mo- 
ral intention  is  well  expressed,  and  the  separate  motives  graceful. 

Teniers. — 1.  A  stable,  with  a  woman  milking  a  cow,  and  giving 
her  child  a  bowl ;  carefully  modelled  in  evident  imitation  of  Rubens. 

2.  Landscape,  with  a  woman  leading  her  drunken  husband; 
animated  in  the  figures  and  very  transparent  in  colouring. 

Among  the  gorgeous  objects  which  adorn  this  room,  a  bowl  of 
oriental  agate  onyx,  of  very  beautiful  colour  and  pleasing  form, 
richly  set  in  gold  and  enamel,  in  the  taste  of  Benvenuto  Cellini, 
occupies  the  first  place.  It  is  so  large  as  to  have  served  as  a 
christening  bowl  for  the  children  of  the  Duke  of  Hamilton,  and  is 
the  largest  piece  I  have  yet  seen  of  this  precious  stone. 

Also  a  very  rich  casket,  formerly  in  the  possession  of  Cardinal 
Mazarin.  Two  tables,  the  slabs  of  which  are  of  Plasma  di  Sme- 
raldo,  the  borders  of  breccia  (pudding-stone),  deserve  the  attention 
of  the  initiated. 

Cabinet. 

Antonello  da  Messina. — Portrait  of  a  young  man  in  red 
dress,  inscribed,  "  1474,  Antonellus  Messaneus  me  fecit"  This 
is  very  interesting  as  a  proof  how  long  the  influence  of  his  master 

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Lbttbb  XXVm.    DUKE  OF  HAMILTON'S  COLLECTION.  303 

Jan  Van  Eyck  remained  in  his  worka  For  although  executed 
thirty-three  years  after  the  death  of  that  master,  his  style  is  seen 
both  in  the  mode  of  conception  and  in  the  colouring. 

Franz  de  Paula  Ferg. — A  charlatan  preaching  to  a  set  of 
beggars ;  very  animated  and  careful. 

Teniers. — 3.  View  of  his  country  house.  A  small  picture  of 
very  clear  colouring  and  tender  treatment 

Job  Berkheyden. — ^Exterior  of  a  church ;  admirably  carried 
out  in  a  clear  smmy  eflFect. 

Sebastian  del  Piombo. — 1.  Pope  Clement  VOL  seated,  and 
taken  in  profila  This  picture  shows  not  only  his  elevated  and 
animated  conception,  but  his  warm  Venetian  colouring,  which 
proves  that  this  picture  was  psdnted  not  long  after  the  elevation  of 
Clement  VIL  to  the  papal  chair;  therefore  about  1523.  The 
right  hand  is  particularly  excellent 

William  Van  de  Velde. — A  quiet  sea ;  both  water  and  sky 
of  the  utmost  transparency  and  delicacy.  One  of  the  most  beau- 
tiftil  pictures  I  know  of  this  master.     Inscribed. 

Philip  Wouvermans. — A  barren  country,  with  a  huntsman  on 
a  brown  horse,  a  man  watering  his  horse,  and  some  other  figures. 
The  landscape,  which  is  of  very  delicate  aerial  perspective,  recalls, 
in  composition  and  coolness  of  tone,  his  master  Wynants ;  although 
the  delicately  executed  figures  prove  this  picture  to  be  of  his 
second  manner.     1  ft.  11  ia  high,  2  ft  4  in.  wide. 

Mabuse. — An  Adoration  of  the  Kings,  from  the  Beckford 
collection,  bears  this  name,  with  which  I  am  not  disposed  to  con- 
cur.   This  otherwise  good  picture  is  most  probably  by  Patenier. 

Adrian  van  Ostade. — ^Interior  of  a  peasant's  house,  with  the 
owner  ;  of  uncommon  warmth  of  tone,  but  it  bangs  too  high  for 
a  more  precise  opinion. 

I  now  proceed  to  consider  the  pctures  in  other  apartments  of 
this  extensive  palace. 

SiTTINO-ROOM   NEAR   THE   LIBRARY. 

Tintoretto. — 5.  The  Ascension;  very  dramatic,  and  very 
animated  in  the  single  figures. 

Palma  Giovane. — An  allegorical  subject  unknown  to  me ;  a 
careful  work  of  warm  tone. 

GioRoioNE.  —  Hippomenes  and  Atalanta,  accompanied  by 
Cupid,  in  a  landscape.  Both  the  conception  and  glow  of  colour 
are  true  to  Giorgione  and  of  great  charm. 

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304  HAMILTON  PALACE.  Lkttee  XXVIII 

The  Virgin  holding  the  Child,  with  Joseph  and  the  Magdalen. 
A  somewhat  hard  picture  in  the  style  of  Giovanni  Bellini.  From 
an  inscription,  "L.  licinii,"  it  is  attributed  to  Pordenone;  but 
the  L.  before  the  name,  which  has  nothing  to  do  with  that  master, 
makes  the  conclusion  doubtful  to  me. 

Lo  Spaqna. — The  Virgin  holding  the  Child,  who  is  pointing 
to  his  mouth ;  a  female  saint  with  a  lily,  and  a  youthful  male 
saint.  This  picture,  which  is  charming  in  feeling,  clear  in  colour- 
ing, and  delicate  in  execution,  I  am  inclined  to  ascribe  to  this 
master.     It  is  erroneously  given  to  Francesco  Francia. 

Tintoretto. — 6.  The  Presentation  in  the  Temple.  In  depth 
and  glow  of  colour  approaching  Schiavone,  but  dark  in  some  parts. 

GiACOMO  Bassano. — 3.  Joseph  discovering  himself  to  his 
brethren  ;  of  carefiil  execution. 

Schiavone. — The  Ecce  Homo,  and  Pilate  washing  his  hands ; 
half-length  figures ;  one  of  his  coarser  and  dark  works. 

ScHiDONE. — The  Assumption  of  the  Virgin ;  a  beautiful  little 
picture,  of  nobler  conception  than  usual. 

Solomon  Ruysdael. — A  very  pretty  landscape  for  him. 

Parmigianino. — ^Venus  and  the  Graces  bathing;  a  pretty 
picture,  which,  however,  judging  from  the  style  of  art,  appears  to 
me  somewhat  later  than  the  master. 

Perino  del  Vaga. — ^The  stately  portrait  of  a  knight,  erro- 
neously called  Csesar  Borgia,  whom,  according  to  the  calculation 
of  the  time,  this  master  could  not  have  painted. 

As  regards  precious  objects,  this  apartment  contains  two  columns 
of  the  rare  marble  Lumachetto ;  a  chimney-piece  of  a  very  beauti- 
ful black  marble  with  yellow  veins ;  a  very  rich  Florentine  cabinet 
with  works  in  pietra-dura ;  a  very  splendid  modem  cabinet  with 
flowers  a  la  Sevres,  with  the  two  sisters  of  Napoleon,  each  as 
Venus  with  Cupid,  painted  on  it 

Boudoir  op  the  new  State  Booms. 

Fra  Filippo  Lippi. — ^The  Adoration  of  the  Kings ;  a  picture 
with  small  figures,  executed  like  a  miniature  ;  in  every  respect  a 
real  gem  of  this  great  master;  the  composition  as  fine  as  it  is 
poetical.  In  the  distant  landscape  of  grey  brownish  tone  is  seen 
tile  procession  of  the  kings  and  some  pilgrims.  From  the  Beck- 
ford  collection,  where  it  was  erroneously  called  a  Sandro  Botticelli. 

Andrea  Mantegna. — 2  and  3.  Summer  and  Autumn ;  two 
small  figures  of  masterly  execution  in  chiaroscuro.     They  vividly 

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Letter  XXVIII.    DÜKE  OF  HAMILTON'S  COLLECTION..  305 

recall  the  Triumph  of  Scipio  in  Mr.  Vivian's  possession,  and  belong, 
like  that,  decidedly  to  the  latest  and  maturest  time  of  the  master. 

Sebastian  del  Piombo. — 2.  The  Transfiguration ;  showing  in 
composition  and  drawing  the  unmistakable  influence  of  Michael 
Angelo ;  in  colour,  however,  it  is  so  dark  as  to  give  almost  the 
effect  of  a  chiaroscuro  picture.  Inscribed  1518,  with  a  long  sen- 
tence to  the  purport  that  this  picture  was  formerly  presented  to  the 
Emperor  Charles  V. 

Marcello  Venusti. — Christ  driving  the  Money-changers  from 
the  Temple,  which  edifice  is  expressed  by  twisted  columns  and  by 
a  seven-branched  candlestick.  This  small  picture  is  of  great  force 
of  colouring  and  very  careful. 

Angelo  Bronzing. — 2.  Isabella,  wife  of  Cosmo  I.,  in  younger 
years,  in  a  rich  dress,  seated ;  next  her  one  of  her  children  ;  to 
the  knees.  This  is,  in  every  respect,  one  of  the  finest  portraits  I 
know  by  the  master. 

Sassgferratg. — A  carefiil  and  warmly-coloured  example  of 
the  oftp-recurring  praying  Madonna. 

In  this  room  is  also  the  very  carefiil  portrait  of  the  Empress 
Catherine  II.,  in  full  state,  the  size  of  life.  Presented  to  the 
Duke  during  his  residence  in  St.  Petersburg. 

Some  of  these  new  state-rooms  are  decorated  with  hangings 
representing  scenes  from  Tasso.  Their  value,  as  works  of  art,  are 
subordinata 

Two  other  rooms  are  entirely  adorned  with  sculpture. 

Marble  Hall. 
The  centre  of  this  large  and  superb  apartment  is  occupied  by  a 
very  careful  copy  in  marble  of  the  Borghese  Gladiator.  In  the 
front  of  the  hall  are  copies  in  the  same  material  of  the  Apollo 
Belvedere  and  the  Diana  of  Versailles ;  also  copies  of  the  fine 
statue  of  the  Mercury  in  the  Vatican,  so  long  mistaken  for  that  of 
Antinous,  and  of  the  Hercules  with  the  Telephus,  which  last  was 
executed  for  Mary  de'  Medici  This  has  a  basement  of  black  Irish 
marble.  Two  porphyry  vases,  and  two  very  large  ones  of  oriental 
alabaster  complete  the  subjects  in  this  halL 

Marble  Staircase. 
At  the  inner  sides  of  the  doors  which  lead  on  to  this  staircase 
are  two  colossal  Atlases  in  bronze,  cast  by  Soyer  in  Paris,  which 
support  the  entab^ture.     On  each  side  of  the  stairs  are  porphyry 

VGL.  III.  X 

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306  HAMILTON  PALACE.   .         Letter  XXVIIL 

busts  of  the  emperors  Augustus  and  Vespasfan ;  the  latter  very 
forcible,  and  taken  at  an  advanced  period  of  life.  On  a  pedestal 
upon  the  stately  staircase,  which  consists  of  enormous  blocks  of  the 
same  black  Irish  marble,  is  again  the  admirable  bust  of  Vespasian ; 
the  head  of  nero  antico,  the  bust  of  coloured  marble.  Formerly  at 
Strawberry-hill. 

Library. 

The  walls  of  this  grand  apartment  are  entirely  occupied  with 
large  glass  cases,  containing  a  rich  collection  of  rare  MS&  with 
miniatures,  scarce  books,  and  illustrated  works. 

The  mantelpiece,  within  which  a  bright  fire  was  burning,  is  of 
red  porphyry.  Two  cabinets  are  also  in  this  room,  richly  adorned 
with  mosaics  in  pietra-dura ;  the  slabs  of  rosso  antico. 

Here  I  enjoyed  the  favour  of  having  the  most  costly  MSS.  shown 
to  me  by  the  Duke  himself,  the  Duchess  being  also  present  and 
evincing  a  lively  interest  My  sensations,  however,  were  of  rather 
a  mixed  nature ;  for,  much  as  I  was  alive  to  the  honour  of  seeing 
these  remarkable  MSS.  under  such  flattering  circumstances^  it  was 
at  the  same  time  not  a  little  trying  to  be  obliged  to  look  through 
them  in  the  most  superficial  way ;  for  no  sooner  did  I  pause  to 
consider  some  of  the  more  beautiful  miniatures  more  closely,  than 
the  Duke  remarked  that  it  would  take  weeks  to  study  them  at 
that  rate,  and  urged  me  on.  This  being  the  case,  it  was  utterly 
impossible  for  me  to  make  a  single  memorandum.  I  add,  however, 
the  slight  reminiscences  which  I  jotted  down  in  my  room  in  the 
short  time  before  dinner,  as  they  will  give  some  idea  of  what  this 
library  containa 

Greek  Manuscrifts. 

An  Evangeliarium,  folio.  In  the  Duke's  opinion,  of  the  11  th 
century  ;  but  in  mine,  judging  from  the  character  of  pictures  and 
borders — the  latter  showing  a  very  decided  Arabian  influence — of 
the  12th  century.  Among  the  pictures  were  three  evangelists, 
Christ  teaching,  with  the  four  evangelists,  &a 

An  Evangeliarium,  of  smaller  form,  showing  in  ornamentation 
still  stronger  traces  of  the  East ;  numerous  pictures. 

A  Greek  MS.  with  figures  on  the  borders,  which  show  a  strong 
Italian  influence ;  an  ivory  work  in  relief  on  the  recto  side  of  the 
binding  is  also  an  Italian  work  of  the  14th  century. 


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Letter  XXVIII.       MSS.  WITH  MINIATURES.  307 

Prankish  and  German  Manuscripts. 

An  Evangeliarium,  large  folio,  throughout  in  golden  capital 
letters,  on  a  crimson  coloured  parchment  Not  adorned  with 
pictures,  hut  nevertheless  one  of  the  most  beautiful  and  best  pre- 
served specimens  of  this  kind.  It  may  belong  to  the  end  of  the 
8th  century. 

A  book  of  ecclesiastical  import,  probably  a  Psalter,  written  at 
Hildesheim  in  the  13th  century,  and  with  miniatures  of  a  some- 
what rude  character.  In  the  calendar  is  St  Godehart,  the  patron 
saint  of  Hildesheim. 

Italian  Manuscripts. 

A  Commentary  on  the  Code  of  Justinian,  with  miniatures  of 
rather  rude  character  in  the  style  of  the  school  of  Giotto ;  per- 
haps executed  in  Bologna  about  1360. 

The  Vulgate,  adorned  with  numerous  miniatures,  obviously 
under  the  influence  of  Andrea  Orcagna ;  in  design  and  treatment 
belon^ng  to  the  finest  specimens  I  have  seen  of  Italian  works  of 
this  time.  It  was  particularly  painful  to  be  obliged  to  hurry 
through  this  MS.  like  all  the  rest. 

La  Divina  Commedia,  large  folio,  of  the  second  half  of  the 
15th  century ;  containing  indubitably  the  richest  illustrations  ex- 
isting of  this  great  poem,  each  page  having  a  picture ;  all,  however, 
with  the  exception  of  one  coloured  page,  consisting  of  drawings 
with  the  pen.  Various  hands,  of  various  artistic  skill,  are  dis- 
cernible ;  that  of  Sandro  Botticelli  is  very  obvious :  he  is  known  to 
have  studied  Dante  with  great  zeal,  and  to  have  furnished  the 
drawings  for  Baldini's  engravings  in  the  Landino  edition.  While 
many  of  the  drawings  at  the  early  part  of  the  work  are  very  inte- 
resting and  spirited,  the  larger  figures  in  the  latter  part  are  the 
finest  and  most  original  with  which  this  poem  has  ever  been  illua- 
trated.  The  publication  of  fac-similes  of  a  selection  of  them,  in 
woodcuts  or  lithography,  now  so  easily  accomplished,  would  be 
highly  welcome  equally  to  the  lovers  of  Dante  and  of  Italian  art 

An  Antiphonarium,  executed  for  Leo  X.,  from  1513  to  1521, 
contains  a  title-page  which  I  instantly  recognised  to  be  the  work 
of  the  celebrated  Florentine  miniature-painter  Attavantb  ;  it 
represents  Leo  X.  in  a  large  assembly.  It  is  the  largest  and 
most  beautiful  miniature  I  have  seen  by  the  hand  of  Attavante. 

The  Duke  appeared  to  be  gratified  with  my  admiration  of  his 
treasures  in  this  department.     I  was  the  more  content  that  he 

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308  HAMILTON  PALACE.  Letter  XXYllF. 

should  be  so,  since  he  himself  possessed  some  knowledge  and  dis- 
crimination of  these  works  of  art 

We  also  visited  the  library  inherited  by  the  Duchess  from  her 
father.  ITiis  is  placed  in  an  elegant  room,  lighted  from  above, 
and  contains  a  number  of  rare  works  of  the  finest  editions,  in  the 
neatest  bindings.  Some  Italian  incunabula,  particularly  specimens 
of  the  Aldine  press,  on  the  finest  parchment,  which  were  taken  out 
for  me  to  see,  were  of  extraordinary  beauty.  The  Duchess  also 
showed  me  two  small  elegant  prayer-books  with  miniatures. 
Those  in  the  larger  one,  which  are  quite  in  the  taste  of  the  minia- 
tures in  the  Hours  of  Anne  of  Bretagne,  are  by  a  skilful  French 
hand ;  those  in  the  other,  which  is  very  small,  and  richly  bound, 
being  wrapped  besides  in  gold  stuflF  of  oriental  manufacture,  and 
written  in  the  most  delicate  and  beautiful  text  of  pure  Roman 
character,  are  by  a  meritorious  Italian  miniature-painter  of  the 
16th  century. 

Occupied  with  these  studies,  and  recreated  with  the  agreeable 
company  which  always  assembled  for  lunch  and  dinner,  and  with 
one  evening  of  great  musical  enjoyment,  the  two  days  only  flew 
too  quickly.  At  the  same  time  I  declined  the  kind  invitation  of 
the  Duchess,  who  urged  my  staying  a  day  longer,  assuring  me 
that  the  Duke  had  many  other  objects  of  art  worthy  of  my 
notice.  I  had  remarked  that  his  Grace  was  exceedingly  fatigued 
with  what  we  had  already  seen  together,  and  felt  that  it  would 
be  indiscreet  to  cause  him  any  further  excitement,  which  evidently, 
in  his  delicate  state  of  health,  was  too  much  for  him  I  therefore 
took  leave  of  the  Duchess,  with  the  truest  acknowledgments  for 
the  great  favour  that,  under  the  circumstances,  had  been  permitted 
me,  the  Duke  being  too  unwell  to  leave  his  room  that  evening. 

The  following  pictures  in  Hamilton  Palace  may  have  been  in 
other  rooms  ;  or  even,  among  the  mass  of  interesting  objects  pre- 
sented to  my  view,  may  have  escaped  my  notice  : — 

RuBEN& — 4,  5,  6,  and  7.  Portrait  of  Count  Olivarez,  two 
studies  of  a  Christ  triumphant,  and  a  small  picture  representing 
a  combat 

Vandyck. — 4,  5,  and  6.  The  life-size  portraits  of  a  Duke  and 
Duchess  of  Hamilton,  and  the  head  of  a  monk. 

Rembrandt. — 1.  Prince  Adolphus  of  Geldern  threatening  his 
old  father  in  prison ;  a  repetition  of  the  picture  in  the  Berlin 
Museum. 

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Leti^eb  XXVIIL    WISHAWE— HOPETOUN  HOUSE.  309 

2.  The  portrait  of  a  young  woman. 

TENiERa — 4.  A  moonlight  landscape,  with  a  rendezvous. 

I  must  not  omit  to  notice  a  little  trip  which  I  took  with  my 
friend  Mr.  Wilson,  one  afternoon,  to  Wishawe,  the  seat  of  Lord 
Belhaven.  Under  the  guidance  of  Lady  Belhaven,  a  most  intellec- 
tual and  amiable  lady,  I  visited  the  very  picturesque  scenery  of  the 
park,  in  which  an  undidating  ground,  a  beautiful  vegetation,  and 
a  flowing  stream,  have  been  improved  with  the  utmost  feeling  for 
beauty.  I  also  derived  the  utmost  pleasure  from  the  sight  of  a 
number  of  drawings  by  Lady  Waterford,  which  evinced  talent  of 
the  highest  order.  The  acquaintance  with  Lord  Belhaven,  who 
appeared  at  dinner,  aflbrded  me  great  gratification,  from  the  ex- 
tensive knowledge  and  perfect  frankness  which  are  united  in  this 
nobleman. 

On  returning  to  Edinburgh  I  again  made  a  short  excursion, 
and  this  time  in  the  company  of  my  friend  Mr.  Christie,  to  Hope- 
toun  House,  the  seat  of  young  Lord  Hopetoun.  This  stately 
residence,  which  is  splendidly  situated,  commanding  on  two  sides 
the  Firth  of  Forth,  recalls  on  one  side  the  Palace  of  Versailles. 
I  hailed  it  as  a  good  omen  that  I  had  the  pleasure  to  find  Miss 
Catherine  Sinclair  there,  a  distinguished  and  most  amiable  lady, 
whose  acquaintance  I  had  made  in  London.  She  welcomed  me 
most  kindly,  and  introduced  me  to  Lady  Hopetoun,  who  afforded 
me  every  possible  facility  for  examining  the  fine  collection  of 
Italian  and  Netherlandish  pictures,  which  adorn  two  large  apart- 
ments, and  which  I  describe  in  the  order  in  which  I  saw  them. 
Drawing-room. 

Teniers. — 1.  A  landscape,  with  the  painter,  his  wife  and  child, 
about  to  enter  a  boat.  The  light,  cheerful,  silvery  tone,  and  the 
delicate  and  spirited  treatment,  render  this  picture  very  attractive^ 

WYNANxa — A  landscape,  belonging  to  his  later  heavy  and 
grey  pictures.     Inscribed  and  dated  1669. 

Palma  Vecchio. — Portrait  of  a  Doge  seated  in  an  arm-chair. 
Delicately  and  animatedly  conceived,  and  carefully  executed  in  a 
subdued  golden  tone.     Erroneously  ascribed  to  Tintoretto. 

SwANEVELDT. — ^Landscape  with  water,  in  his  cool,  airy  tones. 

Albert  Cüyp. — 1.  A  kind  of  riding-school ;  a  large  picture  in 
his  second  manner,  in  which,  the  freshness  of  morning  is  given 
with  the  most  marvellous  transparency.     Inscribed 

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310  HOPETOUN  HOUSE.  Lktteb  XXVIII. 

Grimaldi. — A  pleasing  landscape,  erroneously  called  Dome- 
nichino. 

PoELEMBURO. — A  pretty  specimen. 

Claude  Lorraine. — 1.  Landscape,  with  the  landing  of  the 
Queen  of  Sheba,  but  a  different  composition  from  that  in  the 
National  Gallery.  The  red-brown  flesh-tones  are  rather  inhar- 
monious in  the  figures ;  the  foreground  also  is  very  dark  ;  but  the 
architecture  and  distance  of  great  clearness.  The  treatment  un- 
usually broad. 

Cornelius  Jansen. — Portrait  of  a  young  girl ;  very  animated, 
warm,  and  clear. 

Henrik  Verschurino.  —  Landscape,  with  houses.  A  very 
good  picture,  but  not  by  Wouvermans,  to  whom  it  is  ascribed. 

Vandyck. — 1.  Portrait  of  Clara  Eugenia  Isabella,  Governess 
of  the  Netherlands.  Among  the  various  examples  of  this  picture 
which  I  have  met  with,  this  one  is  distinguished  for  great  warmth 
and  clearness  of  tone. 

Albert  Cuyp. — 2.  Six  cows  in  a  landscape ;  dark,  but  trans- 
parent, and  in  ,the  masterly,  broad  treatment  of  his  second  manner. 

Philip  Wouvermans. — A  stable,  with  horses.  Of  delicate 
chiaroscuro,  and  very  delicate  treatment 

Pietro  Francesco  Mola. — Landscape,  with  St  Jerome.  A 
good  picture  of  the  master. 

Saloon. 

Rubens. — ^The  Adoration  of  the  Shepherds.  A  picture  pur- 
chased by  Lord  Hopetoun  in  Genoa,  for  lOOOi  This  is  the  chief 
picture  in  the  collection,  and  one  of  the  finest  by  this  great  master, 
for  the  composition  of  eight  life-sized  figures  is  well  balanced,  the 
motives  true  and  animated,  the  heads  of  nobler  form  than  usual, 
the  effect  very  harmonious,  the  masses  of  light  admirably  sustained, 
and  the  execution  as  spirited  as  it  is  careful 

Titian. — ^Three  sportsmen  with  dogs,  in  a  magnificent  poetical 
landscape.  The  heads  of  the  huntsmen  very  animatedly  treated, 
but  the  dogs  feeble. 

Vandyck. — 2.  Christ  as  Ecce  Homo.  Very  nobly  conceived, 
and  very  solidly  painted  in  a  golden  tone,  with  great  decision  of 
forms ;  the  influence  of  the  great  Venetian  masters  strongly  seen. 
A  Moor,  whom  he  has  introduced  as  a  soldier,  is  particularly 
animated. 

3.  Portrait  of  a  man.     Whole-lengtli,  life-size.     Of  masterly 

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Lbtteb  XXVm.    EARL  OP  HOPETOUN'S  COLLECTION.  311 

painting  in  a  light  golden  tona  The  name  of  Spinola,  knowing 
other  portraits  of  this  general,  is  doubtful  to  me. 

Rembrandt. — Portrait  of  his  grandmother.  A  repetition  of 
the  picture  in  the  possession  of  Sir  Charles  Eastlake,  but  neither 
of  such  fine  body  nor  so  broadly  painted.  This  is  dated  1636, 
that  of  Sir  Charles  Eastlake  1634. 

LuDOLPH  Backhuysen. — A  sea-piece,  with  a  pier  in  the  fore- 
ground, with  a  barrel  fastened  upon  some  stakes.  Two  large 
vessels  on  the  sea.     A  dear  and  careful  picture. 

William  Van  de  Velde. — A  small  sea-piece,  with  a  vessel 
firing  a  gua     Of  great  tendemesa 

Thomas  Wyck. — Interior  of  a  house.    One  of  his  good  pictures. 

Teniers. — 2.  The  Temptation  of  St  Anthony.  Appears  to  be 
good,  but  hangs  too  unfavourably. 

A  sea-piece,  showing  in  many  respects  an  affinity  with  Ruys- 
dael,  though  I  cannot  suggest  the  master. 

Mytenr — Portrait  of  the  Marquis  of  Hamiltoa  Whole-length, 
life-size.    Animatedly  conceived,  and  very  warmly  coloured. 

After  lunch,  which  agreeably  interrupted  my  studies,  and  where 
I  had  the  honour  to  meet  Lady  Morton  and  her  beautiful  daughter. 
Lady  Hopetoun  showed  me  some  prayer-books  with  miniaturea 
One  of  these,  decorated  with  many  interesting  small  pictures  of 
the  often-mentioned  French  school  of  the  15th  century,  may  have 
been  executed  about  1470.  Another  contains  pleasing  pictures 
by  an  Italian  hand  of  the  first  half  of  the  15th  century. 

Finally  I  must  mention  a  beautiful  bowl  of  majolica  of  consi- 
derable size,  in  the  inner  side  of  which  a  sea-fight  is  represented. 

By  the  kind  proposal  of  Lady  Hopetoun,  in  whose  features  the 
purest  goodness  of  heart  is  expressed,  though  mixed  with  the  signs 
of  great  bodily  sufiering,  I  accompanied  her  in  a  drive  through 
the  garden  and  park.  With  an  amiability  which  I  shall  never 
forget,  she  pointed  out  to  me  the  objects  most  worthy  of  note. 
Here,  in  a  well-protected  walled-in  garden,  I  saw  the  first  fir-tree 
ft'om  the  Himmalaya  Mountains  that  had  been  transplanted  to 
Great  Britain,  with  two  other  foreign  kinds  of  fir  of  singular 
beauty.  But  I  was  truly  astonished  to  find  cedars  of  Lebanon, 
and  among  them  two  of  very  considerable  size,  growing  in  the 
open  air.  The  park,  which  is  of  grand  extent,  conmiands  mag- 
nificent views  on  to  the  Forth,  with  the  whole  line  of  Ochills  to 
Stirling.     And  among  the  beauties  of  nature,  those  with  which 

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312  VARIOUS  COLLECTIONS.         Letter  XXVIII. 

she  endows  the  human  race  were  also  not  absent ;  for  we  were 
accompanied  by  the  younger  sister  of  Lady  Hopetoun,  a  young 
widow,  whose  noble  features  and  fine  form  realised  one  of  those 
earthly  apparitions  which  nature  only  sparingly  produces,  and  in 
which  the  lover  of  art,  as  well  as  the  artist  himself,  recognises  the 
highest  ideal  of  an  historical  picture. 

A  kind  invitation  to  dinner  I  was  obliged  to  decline,  as  my 
departure  from  the  poetic  scenes  of  Scotland  and  the  kind  friends 
I  had  formed  there  was  fixed  for  the  next  morning. 


Here,  therefore,  terminates  the  list  of  collections  I  visited  in 
Scotland.  In  vain  had  1  taken  steps  in  London  to  procure  in- 
formation regarding  other  coUectiona  Even  in  Edinburgh  and 
Glasgow  my  inquiries  in  this  respect  were  fruitless.  But  the  less 
the  treasures  of  art  contained  in  Scotland  are  known  to  the  world, 
the  more  do  I  feel  it  my  duty  to  give  a  short  notice  of  such 
collections  as  I  did  not  see.  For  two  of  them  I  am  indebted  to 
Mr.  Murray,  the  publisher,  though  by  an  unfortunate  mistake  they 
reached  me  too  late.  For  the  others  I  have  to  thank  Captain 
Stirling,  of  Glentyan,  in  Renfrewshire,  a  connoisseur  of  very 
catholic  taste,  whose  acquaintance  I  made  subsequently  in  Berlia 

As  I  am  not  well  versed  in  the  geography  of  Scotland,  I  take 
the  places  where  pictiu*es  are  to  be  seen  in  alphabetical  order. 

Bothwell  Castle^  seat  of  Lord  Douglas,  not  far  from  Hamilton. 
The  half  of  the  great  Lord  Clarendon's  collection,  of  which  I  have 
already  given  an  account  at  "The  Grove,"  has  found  its  way 
here  by  descent*  Although  Horace  Walpole's  sentence  on 
these  pictures  may  be  too  severe — "not  one  original,  I  think; 
at  least  not  one  fine," — yet  it  is  probable  that  the  number  of  ori- 
ginals is  small. 

Cadder,  seat  of  Mr.  Stirling,  in  the  neighbourhood  of  Glasgow. 

Carehotisey  seat  of  the  late  Lord  Cranstoun,  in  Lanarkshire. — 
Here  there  is  a  picture  by  Paul  Veronese. 

OuJldees  Castle,  not  far  from  CrieflF,  seat  of  Mr.  Spier,  Perth- 
shire.— ^Among  some  interesting  pictures  of  the  Spanish  School, 
a  St  John  with  the  lamb,  leaning  on  a  cross,  is  most  remarkable. 

Dalkeith  Palace,  seat  of  the  Duke  of  Buccleuch. — The  list  of 
these  pictures  I  have  taken  from  Black's  *  Guide  through  Scotland.' 

*  See  further  account  in  the  interesting  work  '  Lives  of  the  Friends  and  Contempo- 
rariet  of  Lord  Chancellor  Clarendon/  by  Lady  Theresa  Lewis,  vol.  i.  pp.  15  and  58. 


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Letter  XXVIII.  DALKEITH  PALACE.  .  313 

Entbance  Hall. 
William  Van  de  Velde. — ^A  sea-piece,  with  vessels. 
Sir  David  Wilkie. — George  IV.  in  Highland  costume. 
DoBSON. — Duke  Francis  and  Duchess. 

Marble  Hall. 
Sir  Peter  Lely. — Lucy  Walters. 
Campbell. — Statue  of  the  Duke  of  Wellingtoa 

Staircase. 

Holbein. — Sir  Nicholas  Carew,  Master  of  the  Horse  to 
Henry  VIH. 

Titian. — 1.  Portrait  of  the  Duke  of  Parma,  as  a  child ;  a  frag- 
ment. 

2.  Portrait  of  the  Duke  of  Alba  in  armour. 

Vandyck. — 1.  Portrait  of  the  Duke  of  Monmouth  as  a  youth. 

DlNINO-BOOM. 

Gainsborough. — 1  and  2.  Portndts  of  the  Duke  and  Duchess 
of  Montague. 

Breakfastt-room. 

Francesco  Guardi. — Views  of  Venice. 
Panninl — The  Baths  of  Titus,  and  ruins  of  Rome. 

Billiard -ROOM. 
Claude  Lorraine. — 1.  A  landscape,  which,  however,  has 
become  very  dark  and  unsightly. 

The  antique  torso  of  a  draped  female  figure. 

Gallery. 
Sir  Joshua  Reynolds. — 1.  Elizabeth,  Duchess  of  Buccleuch, 
and  her  daughter,  Lady  Mary  Montague. 

2.  Dowager  Marchioness  of  Queensberry. 

3.  Charles,  Duke  of  Buccleuch. 
ZuRBARAN. — St  Francis  and  St  Augustin. 
Poelemburg. — Nymphs  bathing. 

Claude  Lorraine — 2.  A  landscape  in  sunny  lighting. 

Ruysdael. — A  wooded  landscape. 

Paul  Potter.— Two  cattle-pieces. 

Salvator  Rosa. — A  careful  landscape. 

Joseph  Vbrnet. — A  landscape. 

WouvERMANS. — A  stag-huut 

Wynants. — A  landscape. 


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314  VARIOUS  COLLECTIONS.         Letter  XXVIH. 

Andrea  del  Sarto. — A  meeting  of  the  fathers  of  the  Church. 
Rembrandt. — A  female  portrait 
Canaletto. — 1.  A  view  of  Venice. 

Draw  ino-room. 
Canaletto. — 2-7.  Six  views  of  Venice ;  painted  for  the  Buc- 
clench  family. 

8.  View  of  Whitehall 
Vandyck. — 2.  Henrietta  Maria. 

Queen  Victoria's  Bed-rqom. 
The  Rev.  John  Thomson. — Four  landscapes. 
Bassano. — Landscape,  with  cattle. 


Dunmore  Parky  in  the  neighbourhood  of  Falkirk. 

Qarelochy  villa  belonging  to  Mr.  Napier,  the  great  engineer, 
in  Dumbartonshire. 

CHentyaUy  seat  of  Captain  Stirling,  M.P.,  in  Renfrewshire. — The 
Italian  pictures  belonging  to  this  gentleman  were  collected  under 
the  advice  of  Messrs.  Irvine  and  Colombo,  in  Rome,  and  of  Mr. 
Dyce,  the  admirable  artist  According  to  the  account  I  received 
from  Captain  Stirling,  they  are  by  the  following  masters  : — 

Masaccio. — Nine  monks,  chiaroscuro. 

Fra  Filippo  Lippi,  Sandro  Botticelli,  Luca  Sionorelli, 
Domenico  Ghirlandajo,  Razzi,  Lo  Spagna,  Giovanni  Bel- 
lini, BoNiFAzio,  Tintoretto,  Paul  Veronese,  Zelotti  (ceil- 
ing fiasco-picture),  Giovanni  Battista  Moroni,  Guido  Reni, 
Sassoferrato. 

Of  the  Netherlandish  school  are  pictures  by  Hugo  van  der 
Goes,  Patenier  (a  Crucifixion),  Miereveldt,  Cuyp,  Teniers 
(two  landscapes). 

Of  the  German  school,  Theodorich  of  Prague  (?),  and  Bar- 
tholomew DE  Bruyn  (a  Crucifixion). 

Captain  Stirling  possesses  also  a  small  but  choice  collection  of 
drawings :  one  by  Raphael  for  the  picture  of  the  Preaching  of 
St  John,  at  Bowood,  and  a  cartoon  of  Bernardino  Luini — ^the 
Marriage  of  St  Catherine. 

Oosford  Sovse^  seat  of  Lord  Wemyss,  in  Haddingtonshire. — 
A  Claude. 

KeiTy  near  Stirling,  seat  of  Wm.  Stirling,  Esq.,  author  of  the 
admirable  work  on  Spanish  paintera — A  picture  by  Luca  Siono- 
relli. 

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Letter  XXVIII.         VARIOUS  COLLECTIONS.  315 

KilgrdBton^  seat  of  Mr.  Grant,  not  far  from  Perth. 

Kinfauns  Castle^  seat  of  Lord  Gray,  not  far  from  Perth. 

Lennox  Castle. — A  fine  Snyders. 

Linlathen,  seat  of  Mr.  Erskine,  in  the  neighbourhood  of  Dun- 
dee.— Good  Italian  pictures,  purchased  in  Rome  by  the  advice  of 
M.  Colomba 

Raley^  seat  of  the  Duke  of  Cleveland, — ^Pictures  of  the  Italian 
school,  among  which  are  reported  to  be  a  Titian  and  a  Claude, 
purchased  for  1800Z. 


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316  YORK  CATHEDRAL.  Letter  XXIX. 


LETTER   XXIX. 

YoBK  Cathedral. — Castle  Howard,  seat  of  the  Earl  of  Carlisle :  Collection 
of  pictures  —  Miscellaneous  schools  —  Collection  of  sculpture. — Temple 
Newsam,  seat  of  Mr.  Meynell  Ingram  :  Collection  of  pictures. — Nostall 
Priory,  seat  of  Charles  Wynn,  Esq. :  Collection  of  pictures. — Wentworth 
House,  seat  of  Earl  Fitzwilliam :  Collection  of  pictures. — Wentworth 
Castle :  Pictures. — Collections  in  Yorkshire. 

On  returning  to  England  through  the  county  of  Northumberland, 
I  was  not  aware  that  at  a  place  called  Rock  is  a  large  picture  o 
a  Holy  Family,  attributed  to  Raphael,  and  a  St.  John  with  the 
Lamb,  by  Rubens,  which  is  much  praised.  I  also  regretted  very 
much  to  leave  the  Cathedral  of  Durham,  doubtless  the  finest  spe- 
cimen of  Norman  architecture  in  England,  unvbited ;  but  a  whole 
day  would  have  only  sufficed  for  that,  and  the  period  of  my  leave 
of  absence  from  Berlin  was  coming  to  an  end.  I  less  imwillingly 
relinquished  a  visit  to  Lumley  Castle,  in  the  same  county,  the  seat 
of  the  Earl  of  Scarborough,  since  I  understand  that  the  pictures 
consist  only  in  family  portraits.  I  had  intended  to  have  visited 
Duncombe  Park,  the  seat  of  Lord  Feversham ;  but  as  I  discovered 
that  it  was  sixteen  miles  from  Thirsk,  a  small  place  in  Yorkshire, 
and  was  not  certain  that  his  Lordship  was  at  home,  or  that  I 
should  obtain  admission,  I  thought  it  better  not  to  risk  a  day.  The 
objects  reported  to  me  as  most  worth  seeing  in  the  house  were  a 
fine  antique  marble  of  a  dog,  and  Hogarth's  picture  of  Garrick 
as  Richard  III. 

I  proceed  now  to  the  neighbouring  Cathedral  of  York,  which 
is  considered  the  finest  in  England.  Though  not  to  be  compared 
in  extent  with  the  Cathedral  of  Strasburg,  and  still  less  with  that 
of  Cologne,  it  exceeds  in  dimensions  most  of  the  other  English 
edifices  of  this  class,  and  towers  like  a  giant  above  all  the  other 
buildings  in  the  city.  The  proportions,  too,  are  very  noble  and 
pleasing ;  and  it  has  the  advantage  over  those  German  cathedrals 
externally,  inasmuch  as  the  roof  does  not  rise  high  above  the 
walls,  but  is  kept  lower  than  the  side  wall  On  the  other  hand,  it  is 
far  inferior  as  respects  the  towers  to  the  Strasburg  and  the  Frei- 
burg cathedrals,  for  the  two  towers  on  the  west  front,  and  a  third. 

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Letter  XXIX.  YORK  CATHEDRAL.  317 

which  rises  at  the  centre  of  the  transepts,  crowned  with  battle- 
ments, cannot  be  compared  in  effect  to  those  bold  lofty  spires  in 
which  the  vegetative  principle  of  this  style  of  architecture  is  most 
strikingly  exemplified.  The  profiles  of  the  cornices  and  mullions 
are  bolder  than  in  most  English  churches.  The  decorations  of  the 
arches  and  cornices  are  Norman,  approaching  the  earlier  epoch  of 
the  Gothic ;  accordingly  we  find  that  the  building  was  commenced 
about  the  year  1404,  under  Bishop  Scrope,  whom  King  Henry  IV. 
caused  to  be  beheaded  as  a  traitor.  The  impression  made  by  the 
interior,  with  its  three  aisles,  is  very  fine.  The  great  choir  window 
is  adorned  with  painted  glass  in  the  good  old  fashion ;  so  that 
they  do  not  form  pictures,  properly  speaking,  but  agreeable  archi- 
tectonic patterns.  The  great  west  window  opposite  contains  all 
kinds  of  flowers  and  leaves  in  a  more  natural  taste.  The  tracery 
of  some  of  the  other  windows  has  the  same  elegant  forms  as  in 
the  cathedral  of  Cologne,  but  most  of  them  are  only  repetitions 
of  the  rather  tiresome  pattern  so  conmion  in  England.  The 
form  of  the  arches  recalls  the  slender  proportions  of  the  French 
churches.  Most  of  the  sculptures  which  formerly  adorned  this 
cathedral  are  destroyed :  those  which  remain  are,  however,  much 
ruder  than  in  the  abovementioned  cathedrals  in  Germany.  Those 
parts  of  the  building  which  were  destroyed  by  fire  a  few  years 
ago  are  already  restored,  and,  not  excepting  the  elegantly-carved 
stalls,  precisely  in  their  former  style  The  new  glass  paintings 
in  the  windows  have  indeed  beautiful  colours,  but  cannot  be  called 
happy,  either  in  the  combination,  or  in  the  style  of  the  figures. 
The  octagon  chapter-house,  which,  with  the  slender  arches  of 
the  windows,  is  certainly  one  of  the  most  elegant  in  England, 
groups  picturesquely  with  the  cathedral.  In  the  vicinity  is  the 
residence  of  the  Archbishop  of  York,  a  pretty  house,  in  the 
Anglo-Gothic  style,  with  a  beautiful  private  garden.  A  public 
garden  adjoining  possesses,  in  the  ruins  of  an  old  cloister,  a  very 
picturesque  ornament 

From  York  the  railway  easily  conveys  the  traveller  to  Castle 
Howard,  the  noble  seat  of  the  Earl  of  Carlisle,  which  however  I 
have  not  had  the  advantage  of  seeing  more  lately  than  1835.  On 
entering  the  park  a  lofty  obelisk  is  seen  at  the  end  of  a  steep 
avenue,  which  was  erected  by  Henry  Earl  of  Carlisle  in  honour 
of  the  great  Duke  of  Marlborough.  Two  double  rows  of  ash- 
trees  on   each   side   of  the   drive,   and,  farther  on,   two  large 

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318  CASTLE  HOWARD.  Letter  XXIX. 

meadows  of  a  regular  form,  surrounded  on  three  sides  by  wood, 
have  a  very  imposing  appearance.  The  castle  itself  forcibly  re- 
minded me  of  Blenheim,  and  is  by  the  same  architect,  Vanbrugh ; 
but  it  is  less  broken  up,  and,  though  not  of  equal  extent,  has  a 
grander  and  more  massive  appearance.  In  the  whole  arrange- 
ment of  the  mansion  and  the  garden  the  architect  evidently  had 
Versailles  in  his  mind,  as  the  perfection  of  this  style.  In  the 
grounds  are  colossal  stone  basins,  which  with  flowers  planted  in 
them  have  the  appearance  of  flower-baskets.  The  principal  orna- 
ments, however,  are  numerous  pieces  of  sculpture  copied  from  the 
most  celebrated  antiques,  the  dazzling  whiteness  of  which  is  con- 
trasted with  the  bright  green  of  the  turf  The  more  northern 
climate  has  unfortunately  made  it  necessary  to  paint  them  over 
with  oil  colour :  the  great  antique  Boar  from  Florence  still  stands 
unpainted ;  it  is  a  good  copy  in  the  finest  Carrara  marble. 
On  two  sides  are  pieces  of  water,  over  one  of  which  is  a  large 
stone  bridge.  In  addition  to  these  decorations  there  is  also  a 
quadrangular  building,  with  a  portico  of  four  pillars  of  the  com- 
posite order  on  each  front,  and  an  elegant  mosaic  floor ;  also  a 
pyramid  of  considerable  size  ;  and  lastly,  a.  large  circular  building, 
surrounded  with  pillars,  and  crowned  with  a  cupola,  which  serves 
as  the  family  burial-place,  all  of  which  combined  have  a  rich  and 
truly  princely  appearance.  The  lofty  cupola  with  a  lantern,  which 
strikes  you  immediately  on  entering  the  house,  is  in  the  same  cha- 
racter. According  to  the  tasteless  fashion  of  that  age,  the  cupola 
is  painted  with  the  Fall  of  Phaeton,  by  Antonio  Pellegrini,  one 
of  the  late  mannerists  of  the  Venetian  school ;  so  that  a  person 
standing  beneath  it  feels  as  if  the  four  horses  of  the  sun  were 
going  to  fall  upon  his  head.  The  angles  are  adorned  with  the  four 
elements.  But  the  really  noble  and  important  decorations  of  the 
castle  consist  in  the  works  of  art  of  various  kinds  which  its  spacious 
apartments  contain,  and  which  give  it  the  appearance  of  a  museimL 
A  letter  from  the  Duke  of  Sutherland  to  the  housekeeper,  a  re- 
spectable elderly  person  with  polite  and  pleasing  manners,  had 
happily  insured  me  liberty  to  examine  them  at  leisure. 

It  must  be  remembered  that  the  late  Earl  of  Carlisle  was  one  of 
the  three  chief  purchasers  of  the  Orleans  Gallery.  I  therefore  turn 
first  to  the  paintings  as  the  most  important  portions  of  the  works 
of  art  Of  the  136  enumerated  in  the  printed  catalogue,  I  can 
however  mention  only  the  most  important     I  give  them  in  the 

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Letter  XXIX.    EARL  OF  CARLISLE'S  COLLECTION.  319 

order,  and  with  the  numbers,  of  the  catalogue.  The  chief  strength 
of  the  collection  lies  in  capital  works  of  the  Carracci  and  their 
scholars,  as  well  as  in  Flemish  pictures  of  the  time  of  Rubena 

1.  Gerard  Honthorst. — 1.  The  Finding  of  Moses,  figures  as 
large  as  life,  called  in  the  Orleans  Gallery  a  Velasquez.  Unusu- 
ally noble  in  the  characters,  careful  in  execution,  and  clear  in 
colouring. 

2.  Vandyck. — The  portrait  of  Frans  Snyders  the  painter; 
three-quarter  view,  the  head  leaning  a  little  on  one  side,  in  a  lace 
ruff  and  black  silk  dress ;  his  hands  resting  on  a  chair.  The  back- 
ground a  landscape.  To  the  knees.  4  ft  2  in.  high,  3  ft  1  in. 
wide.  This  picture  was  painted  in  the  Netherlands  shortly  before 
Vandyck  came  to  England.  The  noble  conception,  with  which 
a  slight  trace  of  melancholy  is  blended,  the  admirable  drawing, 
(for  instance,  the  foreshortened  ear),  the  masterly  modelling,  the 
gradation  in  a  warm,  clear,  yellowish  tone,  nearly  akin  to  that 
of  Rubens,  and  the  simplification  of  the  forms,  render  this  not 
only  one  of  the  very  finest  portraits  by  Vandyck,  but  entitle  it 
to  rank  with  the  most  celebrated  portraits  by  Raphael,  Titian, 
or  Holbeia 

3.  Rubens. — ^The  Daughter  of  Herodias,  with  a  female  attend- 
ant, receiving  from  the  executioner  the  head  of  St  John.  This  is 
the  original  of  the  numerous  copies  I  have  seen.  A  very  pow- 
erful work  of  the  later  period  of  the  master,  carefully  executed, 
and  brilliant  in  the  colouring.  From  the  collection  of  Sir  Joshua 
Reynolds. 

4.'  Giovanni  Bellini. — ^The  Circumcision.  A  picture  of  the 
middle  time  of  the  artist  The  original,  inscribed  with  the  artist's 
name,  of  the  many  early  copies  that  exist  The  characters  of  the 
elderly  heads  are  very  severe,  and  of  astonishing  glow  of  colour- 
ing; the  treatment  of  admirable  blending.  From  the  Orleans 
Gallery.     It  is  unfortunately  damaged  in  some  placea 

5.  LoDOvico  Carracci. — The  Entombment ;  figures  the  size  ^ 
of  life.     Very  noble  in  the  composition  and  characters.     Of  the 
women  only  Mary  Magdalen  is  present.    The  too  dark  shadows 
injure  the  keeping.     From  the  Orleans  Gallery. 

6  and  7.  Annibale  Carraccl — 1  and  2.  Two  large  land- 
scapes A  very  poetical  mountainous  country  ;  the  influence  which 
Paul  Brill  had  on  this  master  as  a  landscape-painter  is  here  very 
evident.    The  shadows  are  rather  dark.     The  other,  a  piece  of 

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320  CASTLE  HOWAKD.  Letiter  XXIX. 

water  surrounded  by  mountains,  with  a  boat  in  which  there  are 
rather  large  figures,  is  nearly  akin  to  Annibale's  excellent  land- 
scape in  the  Berlin  Museum,  as  clear  in  the  tone,  and  as  careful 
in  the  executioa     Both  from  the  Orleans  Gallery. 

8.  Tintoretto. — 1.  The  portraits  of  two  Dukes  of  Ferrara, 
still  young,  whole-length  figures,  the  size  of  life,  attended  by  a 
servant  and  a  page  They  are  kneeling  at  prayers  in  a  church. 
The  conception,  as  in  most  of  Tintoretto's  portraits,  is  noble  and 
true.  The  brownish  lights,  and  the  dark  shadows,  produce  a 
deep  and  subdued  harmony.     From  the  Orleans  Gallerj-. 

9.  GiACOMO  Bassano. — Portrait  of  his  wife.  A  direct  contrast 
tO'the  preceding ;  painted  with  vulgar  and  disagreeable  truth,  in  a 
spotted,  light,  yellowish  tone     From  the  Orleans  Gallery. 

10  and  11.  Tintoretto. — 2  and  3.  Two  landscapes ;  one  with 
the  Sacrifice  of  Isaac,  the  other  with  the  Temptation  of  Christ 
Extremely  poetical,  in  the  manner  of  Titian,  only  still  bolder  in 
the  forms  of  the  mountains,  richer  in  the  objects,  and  of  great 
efifect  by  the  warmth  of  light ;  at  the  same  time  very  carefully 
painted,  and  clear  for  him.  From  the  Tresham  collection.  I 
have  here  become  acquainted  with  Tintoretto  in  a  (to  me)  new  and 
very  interesting  light 

13. — 4.  The  Adoration  of  the  Shepherds;  figures  half  life- 
size  In  the  landscape  the  Adoration  of  the  Kings.  Highly 
characteristic  of  the  more  elevated  feeling  of  this  master.  Painted 
with  a  light  spirited  brush,  in  a  glowing  tone,  approaching  Titian. 
From  the  Tresham  collection. 

17.  Joan  Gossaert,  called  Mabuse. — The  Adoration  of  the 
Kinga  A  rich  composition,  in  which  there  are  thirty  important 
figurea  About  6  ft.  high  and  5  ft  wide.  This  picture,  from  the 
Orleans  Gallery,  is  a  most  splendid  confirmation  of  my  conjecture 
that  this  artist,  before  he  went  to  Italy,  must  have  executed  im- 
portant works  in  the  pure  Flemish  style  of  the  school  of  Van  Eyck ; 
whereas  people  are  accustomed  to  judge  of  him  by  the  mannered 
pictures  in  the  Italian  taste  which  he  painted  during  and  after  that 
journey.  In  thb  picture  he  successfully  rivals  the  two  most  cele- 
brated contemporary  painters  in  the  Netherlands,  Roger  Van  der 
Weyden  and  Quentin  Matsys.  In  the  elevation,  refinement^  and 
variety  of  the  characters  he  is  superior,  and  in  depth  and  energy 
equal  to  them.  The  proportions  of  the  figures  are  slender,  the 
hands  delicate,  but  rather  long  and  thia     With  the  flowing  and 

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Lettre  XXIX.    EARL  OP  CARLISLE'S  COLLECTION.  321 

soft  cast  of  the  draperies,  there  are  some  sharper  breaks.  All 
the  parts  are  very  decidedly  modelled ;  the  flesh  is  mostly,  in  the 
shadows,  of  a  deep  brownish, — ^in  the  lights,  of  a  warm  yellowish 
tone,  and  less  dear  than  in  the  two  other  masters.  The  execu- 
tion is,  throughout,  wonderfully  solid  and  conscientious  The 
crowur  of  the  kneeling  king  and  the  lid  of  the  vessel,  on  which 
is  inscribed  lASPAR,  &c.,  is  executed  in  the  old-fashioned 
style,  in  a  golden  yellow.  On  the  other  hand,  the  gold  bro- 
cade of  the  draperies  is  in  his  later  and  less  recommendable 
manner,  the  whole  surface  being  painted  with  a  brown  colour; 
tne  pattern  drawn  with  black,  the  lights  painted  in  with  yellow 
ochre.  The  combination  of  the  colours,  which  are  partially  brokeft, 
has  a  very  harmonious  effect  In  this,  as  in  all  the  principal 
parts,  it  entirely  agrees  with  the  Crucifixion  in  the^Berlin  Museum, 
which  has  hitherto  been  erroneously  ascribed  to  Memling ;  only 
that  the  latter,  by  previous  cleanings,  has  lost  its  warm  tone  and 
its  original  modelling,  whereas  this  picture  at  Castle  Howard  is 
in  as  fine  a  state  of  preservation  as  if  it  had  been  painted  but 
yesterday.  A  small  head  with  a  hat  and  feathers,  at  a  window, 
may  perhaps  be  the  portrait  of  Mabuse.  It  is  erroneously  be- 
lieved that  those  of  Albert  Durer  and  Lucas  Van  Leyden  are  to 
be  distinguished  there.  In  the  middle  distances  are  the  Shepherds 
in  adoratioa  The  architecture  of  the  building  in  which  the 
Kings  are  bringing  their  offerings  is  not  Gothic,  but  already 
shows  the  influence  from  Italy.  This  picture,  which  is  verified  by 
the  inscription  ^^  Jan  Gossaert,"  *  the  name  of  the  painter,  who  is 
only  known  by  that  of  Maubeuge,  his  native  town,  is  not  only  the 
masterpiece  of  this  painter,  but  is  also  one  of  the  most  admirable 
specimens  of  the  whole  early  Netherlandish  school 

18.  Francois  Cloubt,  called  Janet. — 1.  A  collection  of 
eighty-^ight  portraits  of  the  most  eminent  persons  at  the  courts  of 
Henry  IL,  Francis  II.,  Charles  IX.,  and  Henry  IIL,  executed 
with  much  spirit  and  animation  in  black  and  red  chalk,  in  the 
manner  of  Holbein,  lliese  interesting  portraits  carry  the  spec- 
tator back  to  that  age  which  Vitet  has  described  with  such  cha- 
racteristic individuality  in  his  historical  dramas.  The  names  are 
inscribed  by  a  contemporary  hand.  It  is  very  singular  that  the  men 
are  almost  all  handsome,  tiie  women,  with  few  exceptions,  ugly. 

*  This  picture  was  exhibited  in  1S51  in  the  British  Institution,  when  Sir  Charles 
Eastlake  drew  my  attention  to  this  inscription. 

VOL.  III.  Y 

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822  CASTLE  HOWABD.  Letteb  XXIX. 

19. — 2.  Catherine  de  Medicis,  consort  of  Ring  Henry  II., 
with  her  diildren,  afterwards  Rings  Francis  II.,  Charies  IX.,  and 
Henry  III.,  and  the  Princess  Margaret ;  whole-length  figures,  the 
fiize  of  life.  Very  carefully  painted  in  his  pale  colouring,  and 
especially  delicate  in  the  hands.  A  more  important  picture  of 
this,  the  best  French  portrait^painter  of  that  age,  than  any  that 
the  Louvre  possesse& 

20.  Old  Stone.— Charles  I.,  with  his  son  the  Duke  of  Glou- 
cester. Copy  from  Vandyck.  I  mention  this  {ucture  only  to  observe 
that  a  great  part  of  the  numerous  portraits  erroneously  ascribed  to 
Vandyck  may  very  well  be  by  this  able  painter,  who,  except  that 
the  execution  is  not  so  good,  and  the  tone  heavier,  has  caught 
much  of  the  master's  manner. 

Titian. — ^A  butcher's  dog  and  three  cats ;  most  fearfully  ani- 
mated.   I  too  believe,  with  Sir  Joshua  Reynolds,  that  it  may  have 
been  painted  by  Titian,  whose  later  pictures  it  much  resembles  in  the  • 
style  of  execution  and  the  dark  shadowa    From  the  Comaro  Palace. 

31.  Domenico  Fbti. — ^Portrait  of  a  man  ;  and,  as  I  conjecture, 
his  own.  Conceived  with  great  spirit  in  his  naturalistic  manner, 
and  producing  a  striking  effect  by  the  glowing  lights  and  the  dark 
shadows.     To  the  kneea 

32.  Francesco  Primaticcio. — Penelope  relating  to  Ulysses 
what  has  happened  to  her  during  his  absence.  This  is  the  most 
important  work  that  I  have  yet  seen  by  this  master,  who  fills  so 
prominent  a  place  in  the  history  of  painting  in  France,  and  whose 
works,  since  the  ruin  of  the  greater  part  of  his  fresco-paintings  at 
Fontainebleau,  are  so  rarely  seen.  The  characters  are  very  noble, 
the  drawing  and  modelling  of  all  the  parts  correct  and  careful, 
but  the  colouring  feeble.  I  here  convinced  myself  that  the  works 
of  Primaticcio  made  a  great  impression  on  Nicolas  Poussin  in  his 
youth ;  an  impression  which  was  never  efiaced. 

33.  The  portraits  of  two  children  in  elegant  dresses,  said  to  be 
a  young  Duke  of  Parma  and  his  dwar^  and  ascribed  to  Correggio. 
In  my  opinion,  judging  from  conception,  colouring,  and  treatment, 
an  admirable  picture  by  Velasquez. 

36.  Van  Goyen. — A  village  situated  on  a  canal,  in  a  warm 
evening  light.  This  masterpiece  of  the  very  unequal  master  ap- 
proaches Cuyp  in  force  of  effect.  The  brown  ground  is  lefl  in  the 
shadows  ;  in  the  other  parts  the  local  colours  are  lightly  painted 
upon  it. 

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Lettbb  XXIX.    EARL  OF  CARLISLE'S  COLLECTION.  323 

37.  Sir  Joshua  Reynolds.  —  1.  The  portrait  of  Omai,  a 
native  of  Otaheite  who  was  brought  to  England  by  Captain  Cook. 
In  animation  and  conception,  masterly  keeping,  and  solid  execu- 
tion, one  of  the  finest  pictures  of  the  master. 

39. — 2.  Frederick,  Earl  of  Carlisle,  father  of  the  present  Earl, 
when  young.  Also  very  spirited  in  the  head;  the  attitude  is, 
however,  rather  theatrical 

RuBBNS. — ^Thomas  Howard,  Earl  of  Arundel;  a  bust-length 
between  three-quarter  front  and  profile,  with  a  smooth,  fsdling 
collar.  This  portrait,  which  has  been  engraved  by  Houbraken, 
is  one  of  the  finest  that  Rubens  ever  painted.  Nobleness  of  con- 
ception, and  simplified  and  decided  forms,  are  combined  with  a 
breadth  of  careful  execution,  and  a  depth  and  deamess  of  tone, 
which  are  by  no  means  extravagant :  one  is  never  tired  of  looking 
at  it. 

.     42.  Holbein. — 1.  Portrait  of  the  Duke  of  Norfolk.    The  same 
as  in  Windsor  Castle,  and,  like  that,  an  old  copy. 

45.  Federioo  Zucchero. — Portrait  of  Thomas  Howard,  Earl 
of  Norfolk,  whom  Queen  Elizabeth  caused  to  be  beheaded  for  a 
conspiracy  in  favour  of  Mary  Queen  of  Scots.  Animated  in  the 
conception,  and  carefully  executed  in  a  rather  reddish  flesh-tone. 

46.  Holbein. — 2.  Portrait  of  Henry  VIUL  An  old  copy  of 
the  picture  in  Warwick  Castle. 

47.  Sir  Anthony  More. — Queen  Mary,  daughter  of  Henry 
Vin.,  in  a  splendid  dresa  In  the  jewellery  gold  is  used  The 
features  difier  from  other  portraits  of  this  Queen.  The  delicacy 
of  the  execution,  in  a  clear  and  warm  tone,  is  worthy  of  Holbeia 
Half-length. 

59.  Sir  Peter  Lely. — 1.  James,  Duke  of  York,  afterwards 
King  James  IL,  still  yoimg,  and  with  the  hair  in  rich  curls.  A 
good  and  carefully-painted  picture. 

69. — 2.  Jocelyn,  Earl  of  Northumberland,  in  armour.  Un- 
usually spirited,  warm,  and  carefully  executed. 

61. — 3.  The  Duchess  of  Richmond ;  whole-length.  A  rather 
voluptuous,  but  otherwise  capital  picture  of  the  master. 

64.  Canaletto. — ^A  large  view  of  Venice.  In  every  respect 
one  of  the  best  works  of  tins  master,  whose  extraordinary  merit 
can  only  be  justly  appreciated  in  England. 

65.  Pierre  Mignard. — ^The  portrait  of  Descartes ;  half-length ; 
a  circular  picture.     A  very  sensible,  reflecting  countenance,  with  a 

Y  2 

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324  CASTLE  HOWARD.  Letter  XXIX. 

trace  of  melancholy.  More  individual  in  conception;  and  more 
true  in  colouring,  than  is  usual  with  Mignard,  and,  at  the  same 
time,  very  carefully  painted 

Pannini. — 68-70.  Views  of  the  Forum  and  of  the  Colosseum. 
Two  of  his  finest  works. 

71-88.  Pictures  by  Canaletto,  some  of  them  very  excellent. 

107.  Annibale  Carracci. — 3.  The  celebrated  picture  from  the 
Orleans  Gallery  known  by  the  name  of  the  Three  Marya  The 
Vir^n,  in  the  excess  of  her  grief,  has  fainted  with  the  dead  body 
of  Christ  on  her  lap ;  Salome  is  violently  affected,  while  the 
Magdalen  abandons  herself  to  the  expression  of  the  most  pas- 
sionate affliction.  The  figures  about  one-third  as  large  as  life. 
This  picture  is  justly  entitled  to  its  high  reputation  ;  for  the  feel- 
ing is  more  profound,  and  the  pathos  more  noble, than  usually  found 
in  the  master.  The  leading  lines  too  are  happy,  with  the  exception 
of  the  ungracefiil  position  of  the  left  hand  of  Christ  Besides  this,  * 
the  picture  unites  admirable  drawing  with  a  deamess  of  colouring 
nearly  equal  to  Correggio,  the  study  of  whom  is  evident,  particu- 
larly in  the  hands.  The  eclectic  system  of  the  school  is  apparent 
in  this  picture,  the  very  harmonious  arrangement  of  the  colours 
being  taken  obviously  from  Palma  Vecchia  Lastiy,  the  execution 
is  carried  out  c(m  amove  in  every  part. 

108.  DoMENiCHiNO. — St.  John  the  Evangelist  looking  up  in 
rapture.  I  have  not  seen  the  picture,  formerly  in  Stuttgard,  now 
in  the  collection  of  Prince  Narischkin  in  St  Petersburg,  from 
which  Müller  executed  his  well-known  engraving;  but  this  at 
Castle  Howard  is  the  same  which  came  from  the  Orleans  Gallery, 
and  is  one  of  the  most  indisputable  and  admirable  pictures  by 
Domenichino  existing.  It  is  elevated,  refined,  and  intense  in 
feeling,  and  most  delicately  blended,  in  a  warm  and  harmonious 
tone  of  the  greatest  clearness. 

109.  Annibale  Carracci.'^4.  His  own  portrait,  looking  ani- 
matedly round.  Of  manly,  energetic,  and  independent  character, 
and  painted  with  extraordinary  force  and  mastery.  From  the 
Orleans  Gallery. 

110.  Carlo  Saracino,  called  Carlo  Venbziano. — ^The  Death 
of  the  Virgin ;  figures  as  large  as  life.  From  the  Orleans  Gallery  ; 
now  the  altar-piece  of  the  chapel  of  the  mansion.  The  painter 
here  proves  himself  to  be  one  of  the  most  gifted  followers  of  Cor- 
reggio.    He  is  more  dignified  in  general  character  and  in  the 

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Letter  XXIX.    EARL  OP  CARLISLE'S  COLLECTION.  325 

expression  of  the  passions  than  most  of  those  imitators.  Clear  in 
the  warm  colouring,  and  careful  in  the  execution. 

112.  GuBRCiNO.  —  Tancred  and  Erminia  ;  whole-length  figures 
as  large  as  life.  Without  style  in  the  composition,  and  destitute 
of  feeling,  but  carefully  painted  in  a  glowing,  clear,  reddish  tone. 
From  the  collection  of  Count  Lauregais  at  Paris. 

123.  Perino  del  Vag  a. — The  Holy  Family ;  Christ  and  St 
John  kissing  each  other ;  Joseph  with  them.  Without  religious 
feeling,  but  careMly  and  thoroughly  painted  in  a  manner  which 
calls  to  mind  his  master  Raphael,  and  his  native  Florentine  school 
Thus  in  the  Virgin,  as  well  as  in  the  treatment  of  the  shadows, 
there  is  an  a£Bnity  to  Andrea  del  Sarto ;  but  the  lights  are  painted 
in  a  inller  body,  in  a  yellowish  tone. 

125.  Annibale  Carracci. — 5.  A  boy  and  a  ^rl  with  a  cat 
Very  animated  and  humorous. 

134  Sir  Thomas  Lawrence. — ^The  Duke  of  Devonshire. 
Very  like,  but  too  unmeaning  in  the  forms,  and  too  red  in  the 
colouring. 

135.  Velasquez. — 2.  Portrait  of  a  man  with  features  resem- 
bling those  of  a  negro.  Ennobled  by  the  conception,  and  at  the 
same  time  most  strikingly  true  to  nature.  Painted  with  great 
breadth  and  mastery  in  a  cool  reddish  tone  of  the  flesh,  with  bright 
lights. 

Besides  the  above,  the  following  pictures,  not  in  the  catalogue, 
deserve  notice : — 

GiORGiONE. — ^Two  female  heads,  part  of  one  of  which  is  wanting, 
this  being  the  fragment  of  a  larger  picture.  Of  wonderful  charm, 
in  a  deep  golden  tone. 

The  Entombment,  a  small  picture  from  the  composition  by 
Michael  Angela  TTiough  not  without  extravagance  in  some  parts, 
yet  admirably  finished,  and  not  unworthy  of  Daniel  da  Volterra. 

AoosTiNo  Carracci. — ^The  Virgin  and  infant  Christ  presenting 
the  cross  to  St  John.  In  the  head  of  the  Vu-^n  is  a  very  engapng 
expression  of  melancholy.  A  small  picture,  in  a  bright,  warm  tone, 
finished  like  the  most  delicate  miniature. 

Salvator  Rosa. — A  man  holding  in  his  right  hand  a  white 
dove,  and  with  the  left  pointing  downwards.  Half-length.  Sur- 
prisingly noble  in  the  expression,  and  unusually  clear  and  warm  in 
the  colour. 

Frans  Poürbus  the  elder. — A  knight  of  the  order  of  St 


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326  CASTLE  HOWARD.  Lbiteb  XXIX. 

Michael ;  half-length.  In  energy  of  conception  and  power  of  the 
clear  colouring  one  of  his  best  pictures. 

Gerard  Honthorst. — 2.  A  concert  To  the  knees ;  figures 
the  size  of  life.  Very  spirited  and  careful  Erroneously  ascribed 
to  Valentin,  who  never  has  this  clearness  of  tone. 

Ferdinand  Bou — ^The  portrait  of  a  boy  holding  a  goblet 
Very  spirited,  and  carefiilly  executed  in  a  bright  golden  tone. 
The  cover  of  a  table  is  of  a  deep  glowing  red.  Whole-length, 
the  size  of  life. 

Paul  Brill. — ^Vietr  of  the  Campagna,  taken  from  Tivoli.  The 
conception,  as  well  as  the  delicate  gradation  of  the  tone  in  the 
distance,  proves  what  a  high  degree  of  perfection  this  great  master 
had  attained  in  his  latter  period,  and  how  much  even  Claude  may 
have  learned  from  him. 

Lelienberg. — Dead  game.  Inscribed  with  his  name  and 
1657.  This  is  a  masterpiece  of  the  kind,  and  proves  how  art  can 
lend  a  charm  even  to  such  an  uninteresting  subject 

Rubens. — A  pen-drawing  after  Raphael's  Attila  before  Rome 
is  very  masterly,  and  more  faithful  than  might  be  expected.  Hie 
stamp  *^  R.  H."  proves  that  it  came  from  the  collection  of  Richard 
Holditch. 

In  the  chapel  there  are  two  very  good  and  carefully-executed 
paintings  on  glass,  representing  the  beheading  of  John  tiie  Baptist 
and  that  of  St  Catherine. 

To  complete  my  remarks  on  the  paintings  I  proceed  to  notice 
some  painted  Greek  vases. 

By  far  the  most  important  is  one  about  1  ft  10  in.  high,  of  the 
form  which  Panofka  calls  Thericlesian,  with  yellow  figures  on  a 
black  ground.  Judging  from  tiie  ornaments  and  the  style  of  the 
pcdnting,  it  is  of  Apulian  manufacture.  On  the  principal  side  an 
event  in  the  story  of  Alemena  is  represented,  of  which,  as  far  as 
I  know,  no  written  record  has  been  preserved.  Jupiter,  as  we  read, 
took  advantage  of  the  absence  of  Amphitryon  to  assume  his  shape, 
and  to  deceive  Alemena,  who  was  betrothed  to  him ;  the  result  of 
which  was  the  birth  of  Hercules.  The  true  Amphitryon,  when  he 
returned,  being  justly  oflPended,  was,  according  to  the  generally- 
received  account,  pacified  by  the  declaration  of  Tiresias  that  Jupiter 
was  his  rival.  According  to  the  story,  however,  which  the  painter 
of  this  vase  has  followed,  he  carried  his  anger  at  the  infidelity  of  Ale- 
mena to  such  a  height  as  to  sacrifice  her  to  the  flames.    A  woman, 


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Letter  XXIX.  COLLECTION  OF  VASES.  327 

represented  as  very  full  in  form,  who,  seated  on  a  funeral  pile, 
implores  Heaven,  is  recognised  by  the  inscription  AAKMHNH. 
At  the  foot  of  the  pile,  as  appears  by  the  inscriptions  AM<t>ITPYf2N 
and  ANTHNflP,  are  her  husband  and  one  Antenor,  of  whom 
we  have  otherwise  no  knowledge,  employed  with  two  torches  in 
setting  fire  to  the  pile.  The  dress  of  the  three  figures  is  very 
rich,  and  numerous  small  folds  are  indicated.  Above,  however, 
appears  as  a  half-length  figure,  with  a  wreath  and  sceptre,  the 
father  of  gods  and  men,  as  the  inscription  ZEYS  indicates,  and  at 
his  command  two  draped ,  female  ^figures  extinguish  the  fire  by 
pouring  water  on  it  Besides  this,  the  falling  rain  is  indicated  by 
yellow  dots,  within  a  kind  of  border  which  surrounds  Alcmena. 
Opposite  to  Jupiter  is  seen,  also  as  a  half-length  figure,  a  female 
form  with  a  mirror  in  her  hand,  marked  by  the  inscription  AOS  as 
the  rising  sua  This  is  perhaps  merely  intended  to  indicate  the 
time  of  the  day  when  the  event  takes  place,  or  perhaps  to  denote 
those  two  females  pouring  water  on  the  fire  as  the  genii  of  the 
rain,  or  Uyades,  since  the  rising  of  the  constellation  called  the 
Hyades  together  with  the  sun  was,  among  the  ancients,  a  prog- 
nostic of  rain.  The  inscription  nY©f2N  ErPA<t>E  on  the  edge 
shows  us  that  Python  painted  this  vase.  I  conjecture  that  this 
version,  which  is  much  finer  and  more  interesting  than  the  usual 
one,  constituted  the  catastrophe  in  those  pieces  in  which  the  Greek 
tragedians  treated  the  story  of  Alcmena,  though  the  clumsy  forms 
of  Alcmena,  Amphitryon,  and  Antenor  on  this  vase  seem  rather  to 
indicate  the  direct  imitation  of  the  scene  in  a  comedy,  like  the  well- 
known  vase  published  by  Winckelman,  on  which  Jupiter  pays  his 
court  to  Alcmena.  On  the  back  of  the  vase  is  the  youthful  Bacchus, 
with  no  clothing  except  the  chlamys  over  one  arm,  with  the  thyrsus 
in  his  left  hand  ;  and  two  entirely  clothed  Maenades,  in  very  ani- 
mated attitudes,  one  of  whom,  whose  action  is  particularly  grace- 
ful, with  the  thyrsus  and  garland,  may  perhaps  be  meant  for 
Ariadne.  The  edge  of  the  fix)nt  is  adorned  above  with  ivy,  below 
with  the  Greek  Mseander;  that  of  the  back,  above  with  laurel, 
below  with  the  arabesque  of  water.  Below  the  handles  is  the 
common  large  bean-flower.  Neither  the  workmanship  nor  the 
varnish  are  fine  of  their  kind.  All  the  inscriptions  are  made  by 
scratching  ofi^  the  black  ground. 

Of  sixteen  other  vases,  placed  on  four  high  cabinets,  five  are 
distinguished  by  the  beauty  of  the  muiufacture ;  three  of  them 


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328  CASTLE  HOWARD.  Lkttkb  XXIX. 

appear  to  be  from  N0I&  But  the  manner  in  which  they  are  placed 
allows  of  no  detailed  opinion. 

A  dish  of  French  enamel  of  the  16th  century  is  of  very  good 
workmanship.  The  months  of  June,  July,  and  August,  wiüi  their 
gifts  and  occupations,  are  represented  upon  it  On  the  back  is 
the  inscription,  "  Fet  A.  Limoges  Par  P.  C." 

I  now  proceed  to  the  sculptures,  which  are  arranged  in  great 
numbers  under  the  cupola,  in  the  vestibule  and  galleries,  and  in  a 
separate  room.  Some  are  antique,  others  of  the  middle  ages  and 
modem  times,  of  which,  however,  I  can  only  mention  the  most 
important 

Of  the  tranffltion  time,  between  the  old  conventional  and  the 
freer  style,  is  a  tolerably  deep  relief,  about  2^  ft  high,  of  a  Bac- 
chante, holding  in  her  left  hand  the  thyrsus,  and  showing  the  right 
hand  in  profile,  with  the  fingers  spread,  to  a  youth  opposite  her, 
archly  smiling  at  him.  He,  with  the  chlamys  only  on  his  arm,  is 
going  to  drink  out  of  a  dish,  looking  amicably  at  her.  The  pro- 
portions are  slender,  the  attitudes  free,  the  draperies  still  close 
and  regularly  folded,  and  with  pointed  ends.  The  hair,  too,  is 
of  early  style,  with  spiral  locks.  The  workmanship  is  admirable. 
Of  the  Bacchante  the  thmnb  and  little  finger  of  the  right  hand, 
the  right  fore-arm,  the  left  hand ;  and,  in  the  youth,  the  entire 
half,  from  the  waist  downwards,  are  restored. 

A  pleasing  statue  of  Apollo,  about  2  ft;,  high,  with  many  repairs. 

A  beautiftil  vase,  2i^ft.  high,  of  oriental  alabaster,  and  another 
of  granite. 

A  very  well-executed  bust  of  Antoninus  Pius,  with  the  hair 
imitated  in  the  detmls  from  nature.    Of  Carrara  marble. 

In  the  sculpture-room  I  observed — 

The  head  of  Attes,  or  Atys,  priest  of  Cybele  ;  of  a  sofl^  efiemi- 
nate,  but  noble  character,  with  small  horns  and  a  frontlet ;  a  late 
but  very  good  work. 

A  small  sarcophagus,  with  Bacchanalian  genii ;  on  the  lid  a 
sleeping  Silenus.  The  oval  form,  the  lions'  heads,  and  the  work- 
manship, though  not  without  merit,  indicate  a  late  date. 

The  relief  of  a  Victory  in  the  attitude  of  crowning ;  an  elegant 
imitation  of  the  ancient  architectonic  style.  The  trophy,  the  left 
hand,  and  parts  of  the  drapery  are  new. 

A  boy  riding  on  a  goat ;  beautiftil  and  spirited  in  motive,  of 
good  style  and  vigorous  character.     The  head,  the  left  arm,  the 


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Lbttkb  XXIX.       COLLECTION  OP  SCULPTURE.  329 

left,  and  half  of  the  right  foot  of  the  boy,  and  the  legs,  the  ears, 
and  the  horns  of  the  goat,  are  new. 

A  female  bust,  one-third  the  size  of  life,  with  very  delicate  fea- 
tures, and  of  good  workmanship.   The  drapery  of  oriental  alabaster. 

A  bust  of  Jupiter  Serapis. 

The  bust  of  a  bald-headed  man ;  of  very  good  workmanship. 
The  nose  new. 

A  smiling  fäun,  a  bronze  bust,  the  size  of  life,  appears  to  me  to 
be  a  good  work  of  the  Cinquecento  time. 

A  bust  of  Cicero ;  the  nose  restored,  otherwise  of  very  good 
workmanship. 

A  bust  called  Junius  Brutus ;  of  decided  character,  the  beard 
merely  indicated  by  scratches  on  the  marble.  One  ear  entirely, 
the  oilier  half,  new. 

A  bust  of  Geta ;  of  very  good  workmanship.  The  hair  treated 
in  the  manner  of  a  bronze ;  the  state  of  preservation  admirable. 

Minerva ;  a  statue  of  black  marble.  In  the  fix)nt  of  the  helmet 
an  arabesque  mask,  and  on  each  side  a  horseman.  The  refined 
and  noble  head  appeared  to  me  to  correspond  rather  with  the 
character  of  a  Roma. 

Sdpio  Africanus  the  elder ;  a  bust  of  good  workmanship ;  the 
nose  new. 

The  Emperor  Otho  ;  a  bust  larger  than  life.  The  face  very 
full;  the  beard  only  indicated  by  scratches;  the  workmanship 
indifierent. 

Bust  of  a  man  with  a  long  beard,  the  head  crowned  with  vine- 
leaves  and  ivy-berries,  called  Silenus,  certainly  represents  some 
ancient  poet,  and  is  a  spirited,  excellent  work  ;  the  nose  new. 

Marcus  Aurelius ;  a  colossal  bust,  of  very  good  workmanship ; 
the  nose  new. 

A  female  figure,  in  a  graceful  attitude,  but  without  arms, 
appears,  from  the  cast  of  the  drapery,  to  be  a  very  good  work  of 
the  Cinquecento  time. 

A  circular  altar  of  marble  ;  about  2  ft.  8  in.  in  diameter,  in  the 
manner  of  the  larger  Stelae  in  the  British  Museum.  An  English 
inscription  in  three  four-lined  stanzas  states  this  to  be  the  altar  of 
the  temple  of  Apollo  in  Delphos,  and  to  have  been  brought  by 
Nelson  from  that  place  to  England. 

Among  various  large  and  small  marble  cinerary  urns,  one  is 
especially  distinguished  by  a  very  well-executed  ox. 

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330  CASTLE  HOWARD.  Lettbb  XXIX. 

There  are  also  in  this  room  numerous  small  bronzes,  partly  copies 
of  well-known  antiques,  partly  original.  Among  the  latter  I  ob- 
served the  small  statues  of  Jupiter,  Victory,  Telesphorus,  as  valu- 
able ;  of  a  Hercules,  about  2^  ia  high,  as  very  delicate ;  of  an 
Etrurian  warrior,  of  the  well-known  slender  type,  as  interesting ; 
and  of  a  Venus,  about  8  in.  high,  as  at  least  estimable.  A  coarsely- 
gilt  statue  of  Hercules,  about  1  ft.  3  in.  high,  has  a  local  interest, 
having  been  found  on  the  estate  of  the  Earl  of  Carlisle. 

One  of  the  Furies  is  very  remarkable  on  account  of  the  singu- 
larity of  the  design.  She  is  represented  sleeping  with  a  serpent 
in  each  hand,  as  well  as  serpents  in  her  hair.  The  features  are 
expressive  of  sorrow ;  the  design  is  very  noble,  the  workmanship 
good,  but  cannot  be  called  delicate.  This  figure,  about  5  in.  high, 
is  now  placed  on  a  piece  of  wood  painted  black,  in  imitation  of  the 
shape  of  a  rock.  Lastly,  a  small  bronze  of  the  elder  son  of  Lao- 
coon  deserves  high  commendation  for  the  admirable  workmanship. 

Next  to  these  bronzes  are  a  number  of  small  Egyptian  idols. 
Also  a  considerable  quantity  of  various  antique  articles,  such  as 
metallic  mirrors,  astra,  bronze  and  terra-cotta  lampa  Two  pretty 
antique  mosaics  are  repaired  in  many  places. 

Eight  small  cases  are  filled  with  sulphur  impressions  of  en- 
graved gems  in  the  Earl's  possession.  Among  the  antiques  many 
are  beautiful,  especially  those  representing  the  fables  of  Hercules 
and  Bacchus.  Among  those  of  the  Cinquecento  time,  a  portrait  of 
Francis  L  is  of  very  good  workmanship.  Lastly,  a  portrait  of  the 
Emperor  Maximilian  I.  in  marble,  a  bas-relief,  about  2i  in.  high, 
is  extremely  spirited  and  carefully  executed. 

Under  the  cupola  the  following  antique  sculptures  are  placed : — 

The  torso  of  a  Bacchus  of  good  workmanship,  but  much  repaired. 

Adrian ;  a  very  well-executed  bust ;  the  nose  new. 

The  statue  of  Julia  Mammaea,  mother  of  the  Emperor  Alexander 
Severus,  as  Hygeia.     A  good  work,  with  delicate  drapery. 

The  statue  of  another  Empress,  as  Ceres,  is  of  less  importance. 

The  bust  of  Bacchus  crowned  with  grapes  and  ivy-berries. 
Very  noble;  soft  and  delicate  in  the  character,  and  admirably 
executed  in  the  marble  called  Grechetto.     The  nose  new. 

The  statue  of  Marcus  Aurelius,  in  his  youth,  wearing  only  the 
chlamys :  of  good  workmanship. 

The  statue  of  Caius  Augustus  Caesar.  The  head  admirable ; 
the  other  parts  much  repaired. 


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Lbttbb  XXIX.       COLLECTION  OF  SCULPTURE.  331 

The  bust  of  Paris  ;  very  noble  and  refined  in  the  forms,  and  of 
most  excellent  workmanship.  Unhappily  the  nose,  mouth,  and 
chin  are  new. 

In  a  room  adjoining  the  cupola  I  remarked  the  following : — 

A  bust  of  the  youthful  Hercules ;  of  most  noble  character, 
admirably  executed  in  Grechetto.  The  nose,  chin,  ears,  and  neck 
new. 

A  copy  of  the  well-known  Cupid  bending  his  bow ;  of  which  the 
torso  and  the  head,  except  the  nose,  are  antique.  The  workman- 
ship but  moderate. 

Septimius  Severus;  a  very  well-executed  and  admirably-pre- 
served bust 

Commodua     The  same. 

Minerva;  a  statue,  small  life-size,  in  drapery;  and  the  left 
hand,  which  is  wrapped  in  it,  placed  against  her  side.  The  design 
and  workmanship  deserve  commendation,  llie  head  and  the  right 
arm  are  new. 

Two  groups  of  a  lion  tearing  an  ox,  about  one-fourth  the  size 
of  life,  are  estimable  on  account  of  the  very  spirited  design ;  for 
the  workmanship  is  indifferent,  and  many  parts  restored. 

Domitian ;  a  bust  larger  than  life,  of  good  workmanship,  but 
much  broken  and  restored. 

At  the  end  of  a  gallery,  which  is  adorned  with  two  rows  of 
ancient  and  modem  busfs,  among  which  is  the  colossal  marble 
bust  of  the  Duke  of  Devonshire,  by  Campbell,  which  I  saw  in 
London  in  bronze,  is  an  antique  femak  statue  seated,  the  size  of 
life,  of  good  workmanship,  whose  ^^e  features  have  much  the 
character  of  a  Venus.     It  is  unfortunately  much  repaired. 

In  conclusion,  I  took  a  rather  long  walk  in  the  garden,  through 
which  I  reached  a  very  thickly-wooded  spot  on  the  left  of  the 
mansion.  As  the  Earl,  with  his  ftunily,  had  not  then  visited 
Castle  Howard  for  many  years.  Nature,  in  this  rather  remote 
spot,  had  resumed  all  her  righta  The  paths  were  overgrown  with 
the  softest  verdure ;  the  branches  of  the  trees  closely  entwined ; 
and  flocks  of  wood-pigeons,  rooks,  and  other  birds,  which  build 
their  nests  undisturbed  in  the  gloom  of  this  wood,  made  it  resound 
with  their  various  cries,  so  that  I  was  involuntarily  remindtd 
of  Homer's  fine  description  of  the  Cavern  of  Calypso.  I  was 
strangely  siurprised  when,  in  the  midst  of  this  wild  solitude,  I  met 
with  a  copy  of  the  celebrated  statue  of  the  boy  pulling  the  thorn 


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332  TEMPLE  NEWSAM.  Letteb  XXIX; 

fix>m  his  foot,  in  the  Capitol— one  of  the  most  delicate  productions 
of  antique  art 

Unfortunately  I  was  not  able  to  avail  myself  of  an  invitation 
from  Lord  Carlisle  in  1851,  which  would  have  enabled  me  to  enjoy 
all  these  treasures  much  more  at  my  ease  than  was  the  case  in  1835. 


TEMPLE    NEWSAM. 

From  the  large  and  flourishing  manu&cturing  town  of  Leeds  I 
drove  to  Temple  Newsam,  four  miles  ofl^,  the  seat  of  Mr.  Meynell 
Ingram.  The  most  important  pictures  are  united  in  one  of  the 
largest  and  grandest  drawing-rooms  that  I  have  yet  seen  in  Eng- 
land As  it  is,  however,  lighted  on  both  the  long  sides,  many  of 
the  pictures  are  seen  to  great  disadvantage. 

Guido  Reni.  —John  the  Baptist ;  whole-length  figure.  Speak- 
ing in  conception,  and  carefully  executed  in  an  unusually  warm 
tone  for  him. 

Sebastian  Bourdon. — Moses  striking  water  from  the  rock. 
Composed  in  the  taste  of  Nicolas  Poussin,  and  slightly  but  spirit- 
edly treated. 

Rembrandt. — 1.  Christ  with  the  disciples  at  Emmaua  Ap- 
pears to  be  a  picture  of  his  school 

Vandyck. — ^Portrait  of  a  Lord  Holland.  A  good  picture,  but 
too  hard  for  him. 

Rubens. — ^The  Virgin  and  Child,  the  Baptist,  and  Joseph,  in 
a  landscape ;  whole-length  figures,  life-size.  Decidedly  realistic 
in  conception  of  the  heads,  but  painted  in  a  fine  transparent  tone, 
and  very  careful. 

Nicolas  Poussin. — ^The  Vir^n  and  Child,  St  John  the  Bap- 
tist, and  Elizabeth.  Nobly  conceived,  but  too  much  darkened  to 
be  enjoyable. 

Annibale  Carraccl — ^The  Dead  Christ  with  Disciples.  Of 
dignified  conception,  but  very  pale  in  colour. 

William  Van  db  Veldb. — 1.  Two  pictures ;  searpieces,  with 
numerous  vessels,  and  an  overclouded  sky.  Of  great  transparency, 
and  carefully  carried  out. 

PiETRO  Francesco  Mola. — A  landscape,  with  a  hermit  Well 
cimposed,  but  one  of  his  rather  dark  pictures. 

PoELEMBURG. — A  Charity,  with  six  children  and  angels,  be- 
longs in  every  respect  to  his  finest  works.  Here  are  also  several 
less  important  pictures  by  him. 


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Lbttbr  XXIX.        ME.  INGRAM»S  COLLECTION.  333 

MiEREVBLDT. — Mauiice,  Prince  of  Orange ;  whole-length,  life- 
siza  Very  animatedly  conceived,  and  carefully  executed  in  a 
warm  and  clear  colour. 

Sir  Joshua  Reynolds. — 1.  Portrait  of  the  Marchioness  of 
Hertford ;  full-length,  life-size,  with  landscape  background.  Ani- 
mated, clear,  and  careful 

Le  Bourguignon. — 1.  A  skirmish  of  cavalry,  of  considerable 
Aze,     Unusually  clear  and  careful 

Jan  Asselyn. — A  large  and  very  beautiful  picture.  Inscribed 
and  dated  1646.  Of  the  utmost  transparency  and  delicacy  of  sil- 
very tonea 

Rembrandt. — 2.  His  own  portrait  in  elderly  yeara  In  a 
warm,  clear  tone,'treated  with  masterly  but  coarse  breadth. 

In  the  library,  adjoining  the  drawing-room,  is  a  St  Francis  at- 
tributed to  Vandyck.  In  conception,  cool  reddish  lights,  and  dark 
shadows,  however,  it  appears  unlike  Vandyck,  and  rather  by  an 
Italian  hand. 

Sir  Joshua  Reynolds. — 2  and  3.  Viscountess  Irvine  as  a 
shepherdess.  Very  tender,  but  much  faded ;  the  companion  pic- 
ture, Charles  Ingram,  ninth  Viscount  of  Irvine,  a  young  man ;  the 
colours  better  preserved. 

Le  Bourguignon. — 2.  His  own  portrait  Very  animatedly 
conceived  and  carefully  painted,  but  in  a  brick-red  local  tone. 

Guido  Reni. — St.  Margaret  with  the  Dragon.  A  well-designed 
and  carefully  executed  picture,  though  in  his  greenish  flesh-tones. 

William  Van  de  Veldb. — 2.  One  of  Admiral  Tromp's  vic- 
tories. A  very  large  picture,  but  careful,  and  of  transparent 
colouring. 

Albert  Durer. — A  Crucifixion,  most  erroneously  so  ascribed, 
by  a  good  master  of  the  Dutch  school  of  the  latter  half  of  the  15th 
century,  who  shows  much  affinity  with  the  pictures  of.  Gerard  van 
Haarlem  in  the  Belvedere  at  Vienna,  but  is  more  tender  in  colour, 
though  equally  solid  in  execution.  Evidently  the  master  of  that 
painter  whose  pictures  in  the  Gallery  at  Munich,  from  the  Bois- 
seree  Gallery,  wrongly  bear  the  name  of  Lucas  van  Leyden. 
The  ground  is  golden,  the  glitter  of  it  subdued  by  a  glazing  of 
rich  browa 

Jan  Fyt. — ^A  wild-boar  hunt  A  spirited  chef-d'oeuvre  of  this 
excellent  master,  which,  however,  has  lost  somewhat  of  its  keeping 
by  darkening. 


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334  NOSTALL  PRIORY.  Lbtteb  XXIX. 

Gaspar  P0U88IN. — ^A  finely  designed  landscape,  which  how- 
ever belongs  to  his  darkened  works. 

Titian. — Portrait  of  the  Reformer,  Martin  Bucer.  The  fine 
and  delicate  feeling  for  nature,  and  the  tender  and  earnest  execu- 
tion, indicate  the  earlier  time  of  Titian,  when  he  painted  the  Tri- 
bute-money at  Dresden,  with  which  the  light,  transparent  golden 
tone  agrees ;  unquestionably  the  finest  picture  in  the  coUectioiL 

Melchior  Honderoeter. — ^Poultry.  A  rather  large  and 
careful,  but  somewhat  dark  picture. 

Claude  Lorraine. — ^Landscape,  with  ruins  of  a  temple  on 
one  side,  a  tree  on  the  other,  a  stream  in  the  centre;  in  the 
foreground  a  shepherd  blowing  a  horn,  and  two  goats  butting. 
The  deep,  full  green  of  the  trees  contrasts  exquiütely  with  the 
silvery  tones  predominant  in  the  picture,  which  belongs  to  the 
master's  middle  time. 

Holbein. — ^A  male  portrait  Too  hard  in  the  forms  and  too 
heavy  in  colour  for  him. 

Sir  Joshua  Reynolds. — 4.  A  shepherd  boy.  Of  singular 
charm. 

Le  Bourouignon. — 3.  Landscape,  and  sea-piece.  Not  only 
finely  but  grandly  composed,  though  somewhat  decorative  in 
execution. 

Matthew  van  Helmont. — A  market.  A  happy  imitation  of 
his  master  Teniers,  though  immeasurably  heavier  in  tone. 

A  man,  a  woman,  and  a  child,  recalls  Van  den  Eckhout,  but 
hangs  too  high  for  a  positive  opinioa 

A  portrait  of  the  Emperor  Maximilian  I.,  with  a  pink  in  his 
hand.  A  careful  and  clear  picture  by  some  contemporary  Nether- 
landish painter. 

The  housekeeper  assured  me  that  there  were  more  pictures  in 
other  rooms  of  the  house  ;  but  as  these  apartments  were  "  engaged," 
and  I  had  not  been  able  to  obtain  any  letter  of  introduction  to 
Mr.  Ingram,  I  was  obliged  to  relinquish  the  hope  of  seeing  them. 


NOSTALL    PRIORY. 


The  next  day  I  drove  from  the  railway  station,  Normanton, 
three  miles,  to  Nostall  Priory,  the  seat  of  Charles  Wynn,  Esq. 
My  chief  object  was  to  see  Holbein's  largest  and  most  celebrated 
picture.  Sir  Thomas  More  and  his  family.     This  is  supposed  to 


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Letter  XXIX.  MR.  WYNN'S  COLLECTION.  335 

be  the  picture  which  came  into  the  possession  of  Andreas  Van  Loo 
soon  after  Holbein's  time,  and  at  his  death  was  purchased  by  Mr. 
Koper,  grandson  of  Sir  Thomas  More,  with  whose  descendants  it 
has  since  remained.  Afl;er  a  most  careful  examination  of  this 
stately  picture,  which  contains  eleven  figures  the  size  of  life,  and 
a  small  figure  in  the  background,  and  is  about  11  ft.  wide  by 
9  ft  high,  I  came  unwillingly  to  the  conclusion  that  this  is  nothing 
more  than  an  early  copy.  As  it  is  however  good  in  itself,  and  a 
worthy  exponent  of  the  original,  which  has  probably  been  de- 
stroyed,* I  give  a  description  of  it,  which  will  also  aflbrd  me  the 
opportunity  of  saying  why  I  am  compelled  to  believe  it  a  copy. 
When  the  difficulty  of  arranging  a  family  picture  of  so  many  per- 
sons is  considered,  the  spectator  will  not  hesitate  to  admire  that 
mode  of  arrangement  chosen  here.  In  the  centre  is  Sir  Thomas 
More,  seated,  50  years  of  age,  in  a  furred  coat,  and  with  the 
Chancellor's  chain.  His  features  indicate  a  cultivated  man  of  de- 
cided character.  Next  him  is  seated,  more  simply  dressed,  his 
father,  John  More,  76  years  of  age.  Between  them  appears,  but 
only  to  the  bust,  Anna  Grisaria,  15  years  of  age,  betrothed  to  Sir 
Thomas  More's  only  son,  19  years  old,  who  stands,  reading  a 
book,  on  the  left  of  his  father.  Next  this  last  is  Henry  Paterson, 
40  years  of  age,  Sir  Thomas  More's  fool,  who,  however,  has  a  very 
earnest  expression.  To  him  succeed,  seated  on  the  floor  in  front, 
the  two  daughters  of  Sir  Thomas  More,  Cedlia  Heronica,  aged  20, 
turning  to  Margaretha,  the  wife  of  Roper,  aged  22  ;  behind  them 
Alicia,  the  wife  of  Sir  Thomas,  aged  57,  who  is  kneeling,  and 
praying,  with  a  book.  On  the  other  side  of  the  picture,  on  the  right 
hand  of  the  old  father,  standing,  speaking  to  him,  is  Margaretha 
Giga,  a  relation,  wife  of  Clement,  and  aged  22  ;  and,  finally,  also 
standing,  and  seen  in  profile,  Elizabeth  Dama,  wife  of  Francis 
More.  Most  of  the  heads  are  highly  truthful  and  animated ;  those 
of  the  women  have  the  yellowish  fl^-tones,  those  of  the  men  the 
reddish  flesh-tones,  peculiar  to  Holbein  at  the  period  he  painted 
this  picture,  1530.  The  hands  are  of  full  forms,  delicately  drawn, 
and  of  good  action.     The  head  of  John  More,  the  son,  is  particu- 

*  If  M.  Passavant  hms  expressed  an  opinion  in  his  *  Art  in  England '  tiiat  this 
picture  was  only  made  op  by  another  hand  Arom  single  drawings  by  Holbein,  ( 
cannot  agree  with  him.  The  picture  agrees  in  all  essential  respects  with  Holbein's 
original  drawing  at  Basle,  engraved  in  outline  by  Christian  von  Meohel  in  1787. 
Two  dogs  and  a  few  accessories  only  are  added  in  the  picture,  and  on  both,  oyer  every 
figure,  are  inscribed,  in  Holbein's  own  hand,  name  and  age,  such  as  I  have  given  in 
my  description  above. 


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336  NOSTALL  PRIORY.  Lkttkb  XXIX. 

larly  fine  in  feeling ;  on  the  other  hand,  that  of  the  older  John  More 
is  80  feeble  as  to  be  quite  unworthy  of  Holbein.  The  colours  of 
most  of  the  dresses  are  opaque  and  heavy,  and  a  monkey  and  two 
dogs  so  coarse  and  bungling  that  the  idea  of  Holbein  having  exe- 
cuted them  cannot  be  admitted.  It  is  well  known  also  that  Horace 
Walpole  did  not  consider  this  picture  to  be  the  original 

In  a  room  next  the  apartment  in  which  this  large  picture  is 
placed  alone,  and  seen  to  great  advantage,  I  found  the  following 
pictures: — 

William  Van  db  Velde. — ^A  fine  sea-piece,  with  a  sunbeam 
spreading  over  the  surfiice  of  the  water,  and  forming  a  fine  contrast 
with  the  dark  stormy  clouds  of  the  sky. 

An  admirable  picture  of  dead  game,  in  the  manner  of  William 
Van  Aelst,  is  ascribed  to  a  painter  of  the  name  of  Theodor,  un- 
known to  me. 

Jacob  Rutsdael. — A  canal,  with  houses  and  trees.  A  careful 
picture,  resembling  Hobbema  in  the  deamess  of  sky,  but  otherwise 
dark. 

Robert  Van  der  Hoeck. — A  combat  of  horsemen.  Of  great 
delicacy.  The  pictures  of  this  artist,  well-known  to  the  connois- 
seur by  bis  spirited  etchings,  are  very  rara 

Jan  Miel. — ^A  peasant  party  in  the  open  air ;  one  couple  danc- 
ing.    Full  of  life,  and  of  careful  execution. 

Hobbema. — Houses  among  stiff  trees ;  the  picture  hangs  too 
high  for  an  opinion,  but  I  doubt  its  originality. 

Carel  Dujardin. — ^Large  landscape  with  cattle,  and  a  view 
through  the  arch  of  a  bridge.  Although  too  high  for  decision, 
and  more  broadly  treated  than  usual,  and  rather  dark  in  the  fore- 
ground, yet  it  appears  genuine. 

GuERCiNO. — ^A  sibyl.  Carefully  executed  in  his  brownish 
colouring. 

Dirk  van  Delen. — ^Interior  of  a  church.  Very  clear,  and  pro- 
bably by  this  master,  but  placed  too  high  for  an  accurate  opinion. 

Vandyck. — ^The  infiemt  Bacchus  pressing  the  juice  of  the  grape 
into  the  jaws  of  a  tiger  ;  two  other  tigers,  and  a  boy  with  a  bunch 
of  grapes.  Far  too  high,  unfortunately,  for  a  dose  inspection,  but 
the  animals  and  children  are  of  good  invention  and  painting,  while 
the  landscape  appears  of  a  somewhat  later  character. 

Orizzontr — ^To  this  master  I  attribute  a  fine  landscape ;  pro- 
bably ascribed  to  his  model,  Gaspar  Poussin. 


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Letter  XXIX.  WENTWORTH  HOUSE.  337 

Gerritz  van  Herp. — A  cow-stall.  Of  unusual  power  of 
colouring  for  him. 

Jan  Wynants. — ^A  fine  landscape ;  which  belongs  to  the  few  in 
which  he  approaches  Ruysdael,  both  in  composition  and  in  the  more 
forcible  green  of  the  trees. 

Bernardo  Bellotto. — An  architectural  piece,  of  unusual 
power  for  him,  called  a  Canaletto. 

William  van  Mieris. — Angelica  and  Medoro,  from  Ariosto. 
One  of  his  late,  cold,  and  little  attractive  works. 

Evert  van  Aelst. — Dead  game.     Good. 

F.  Dicker. — ^An  old  house  surrounded  with  trees.  Very  true, 
warm,  and  powerful. 

Swaneveldt. — ^To  this  painter  I  attribute  a  fine  though  some- 
what dark  landscape,  with  the  Flight  into  Egypt. 

A.  VAN  Boom. — Landscape  with  ruins,  in  a  warm  evening  light 
An  inscribed  picture,  finely  composed  and  carefully  executed. 
This  master  sometimes  emulates  the  best  landscape-painters. 

Other  pictures  of  value  were,  I  understood,  in  rooms  occupied 
by  the  family ;  but  as  I  had  no  letter  of  introduction  to  Mr.  Wynn, 
I  was  but  too  glad  that  I  had  been  admitted  to  see  the  above. 


WENTWORTH  HOUSE. 
On  the  following  day  I  drove  from  the  station,  Masbro,  to 
Wentworth  House,  the  truly  princely  seat  of  Earl  FitzwiUiam. 
This  palatial  building,  which  is  in  the  French  taste,  and  with  a 
portico  of  six  pillars,  is  of  great  extent  The  entrance-hall,  adorned 
with  columns  in  imitation  of  giallo  antico,  is  very  large  and  lofty, 
and  has  an  imposing  effect.  It  contains  various  copies  in  marble 
from  well-known  antique  sculptures ;  among  them  the  Venus  de' 
Medici.  I  had  reckoned  on  a  leisurely  inspection  of  all  objects 
of  art,  as  Lord  Lansdowne,  at  my  request,  had  kindly  promised 
to  recommend  my  wishes  to  Lord  Fitzwilliam.  I  was  therefore 
unpleasantly  surprised  on  hearing  that  his  Lordship  was  absent 
at  his  Irish  estates,  and  had  left  no  orders  with  the  housekeeper 
respecting  me.  I  was  therefore  obliged  to  content  myself  with  a 
very  superficial  view,  while  a  sight  of  the  garden,  of  which  I  had 
heard  much,  was  not  to  be  thought  of  My  account  of  the  pic- 
tures, therefore,  of  which  the  Vandycks  are  by  far  the  most  im- 
portant, and  of  the  sculptures,  which  I  give  in  the  order  they 
occupy,  is  less  circumstantial  than  I  could  have  wished. 

VOL.  III.  z 

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338  WENTWORTH  HOUSE.  Lettbb  XXIX. 

First  Room. 

Vandyck. — 1.  Portrait  of  the  three  children  of  the  xinfortunate 
Earl  of  StraflTord — ^William,  afterwards  Earl  of  Strafford,  Lady 
Anne,  and  Lady  Arabella,  in  rich  dresses ;  all  three  standing.  Very 
tastefiilly  arranged,  and  with  all  the  elegance  of  his  later  time. 

Sir  Joshua  Reynolds. — 1.  Charles,  Marquis  of  Rockingham. 
Whole-length  figure.  Serious  and  dignified  in  conception,  of 
admirable  keeping,  and  carefully  carried  out. 

Library. 

Vandyck.— 2.  Lord  Strafford,  seated,  in  deep  reflection,  in  a 
black  silk  dress ;  a  letter  in  his  left  hand,  while  his  secretary.  Sir 
John  Mainwaring,  in  a  red  silk  dress,  with  a  pen  in  his  hand,  is 
awaiting  the  dictation  of  the  Earl.  This  picture  far  excels  the 
usual  works  of  the  master.  We  are  distinctly  shown  a  moment 
of  that  ominous  period.  In  these  serious  features  we  read  all 
the  energy  of  a  character  devoted  to  the  seryice  of  his  sovereign, 
at  the  same  time  they  have  something  tragical  in  expression. 
With  the  high  moral  feeling  is  combined  a  masterly  drawing — 
the  hands  are  among  the  finest  belonging  to  Vandyck — and  a  sp- 
rited  and  careful  execution  in  a  light  golden  local  flesh-tone.  To 
the  knees.  About  3  fL  4  in.  high,  4  fit.  6  in.  wide.  Formerly  in 
the  possession  of  the  Marquis  of  Rockingham. 

Sir  Peter  Lely. — 1.  Lady  Anne  and  Lady  Arabella  Went- 
worth.  A  fine  and  careful  picture,  in  which  he  has  successfully 
emulated  Vandyck. 

Gallery. 

Sir  Peter  Lely. — 2.  Portraits  of  two  children ;  very  animated, 
warm,  and  careful,  and  with  the  same  aim. 

Vandyck. — 3.  Henrietta  Maria,  with  a  gold  neck-chain,  to 
which  is  suspended  a  large  pearl,  in  a  blue  silk  dress ;  seated ; 
4fl.  2  in.  high,  3  ft.  4  in.  wide.  This  picture  appears  to  be  fine, 
but  is  hung  too  unfavourably  between  two  windows  to  admit  of  a 
proper  judgment. 

4.  Rinaldo  and  Armida.  This  picture,  which  is  carefully  exe- 
cuted in  a  brownish  tone,  is  perhaps  the  same  that  was  sold  in 
1713,  in  the  Van  Loo  collection. 

Salvator  Rosa. — 1.  Jason  giving  the  dragon  the  sleeping 
charm ;  etched  by  himself.  A  small  picture,  and  become  very 
dark  from  the  effects  of  the  bole  ground. 


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Letter  XXIX.    EARL  FITZWILLIAM'S  COLLECTION.  339 

2.  A  rocky  sea-coast ;  a  large  picture  with  red  figure  and  a 
dark  tone  ;  altogether  not  very  attractive. 

Tenibrs. — A  rocky  landscape,  with  some  peasants. 

Vandyck. — 5.  Lord  StraflTord  in  armour,  his  right  hand  on  his 
helmet ;  to  the  knees.  Notwithstanding  the  other  good  qualities 
of  the  picture,  the  very  gloomy  and  heavy  tone  raises  some  douhts 
in  my  mind  as  to  its  originality. 

Raphael. — ^This  name  is  given  to  a  Virgin  and  Child  which 
in  point  of  motive  is  unquestionably  taken  from  the  picture  of  the 
Virgin  with  the  canopy  in  the  Pitti  Palace.  The  picture  is  warm 
in  colouring  and  careful  in  execution,  and  is  probably  by  the  hand 
of  Iknocenzo  da  Imola. 

Titian. — 1.  A  Holy  Family.  This  I  can  only  consider  a  work 
of  his  school 

Palma  Vecchio. — ^The  Virgin  with  the  Child  holding  the 
globe ;  the  Baptist  pointing  to  the  Child,  and  a  nobly-ccmceived 
St  Catherine.     A  beautifid  picture,  executed  in  his  warmest  tones. 

Adrian  van  Ostade. — A  peasant  wedding ;  unusually  large 
and  rich,  but  so  sunk,  and  the  colouring  become  so  heavy  and 
feeble,  as  no  longer  to  give  the  impression  of  an  original 

Claude  Lorraine. — Landscape,  with  a  very  reddened  sky  ;  so 
sunk  that  no  opinion  of  its  merits  is  possible. 

Sir  Joshua  Reynoldä — 2.  Portrait  of  the  Countess  of  Fitz- 
william,  mother  of  the  present  Earl,  a  good  but  somewhat  faded 
picture,  with  a  pleasing  landscape  background. 

A  portrait  of  Shakspeare,  a  copy  made  by  Sir  Godfrey 
Kneller,  and  by  him  presented  to  Dryden,  is  only  so  far  inter- 
esting as  showing  the  same  features  as  those  in  the  Chandos  pic- 
ture in  the  Bridgewater  Gallery,  thus  corroborating  the  truth 
of  that 

Yellow-damask  Room. 

Hogarth. — ^The  family  of  the  Earl  of  Rockingham ;  a  rich 
picture,  but  hung  too  high  for  any  accurate  opinion. 

Drawimo-room. 
Sir  Joshua  Reynolds. — 3.  The  present  Earl  Fitzwilliam,  four 
years  of  age ;  ori^nally  very  attractive,  but  now  faded. 

Sir  Thomas  Lawrence. — Portrait  of  the  father  of  the  present 
Earl ;  an  unfinished  picture  of  very  animated  conception. 
Stubbs. — A  brown  horse,  size  of  life  ;  of  great  animation. 

z  2 

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340  WENTWOBTH  HOUSE.  Lbttkr  XXIX. 

Vandyck  Room. 

Vandyck. — 6.  The  Earl  of  Strafford  in  armour,  the  baton  in 
his  right  hand,  the  left  hand  on  the  head  of  a  large  white  dog ; 
whole-length  standing  figure,  life-size.  While  the  painter  has 
depicted  this  nobleman  in  the  other  picture  as  a  statesman,  he 
represents  him  here  with  the  stem,  commanding  expression  of  a 
general,  with  sunburnt  fece.  Drawing,  keeping,  and  painting  are 
all  equally  masterly  here,  and  very  like  the  picture  already  de- 
scribed at  Petworth.  This  picture  is  also  essentially  the  model  for 
the  other  portrait  of  the  Earl  in  armour  above  mentioned. 

7.  William  Laud,  Archbishop  of  Canterbury ;  to  the  knees ;  an 
oval  picture.  This  friend  and  fellow-sufferer  of  the  Earl  of  Straf- 
ford is  of  masterly  execution  in  a  clear  reddish  tona 

Sir  Peter  Lely. — 3.  The  Duke  of  Gloucester,  son  of  Charles 
L  ;  very  animated  and  careful ;  of  oval  form. 

Vandyck. — 8.  Henrietta  Maria,  in  a  blue  silk  dress,  with  a 
black  broad-bordered  hat  and  feathers;  whole-length,  life-size. 
She  is  patting  with  her  right  hand  a  monkey,  which  is  held  by 
Jeflery  Hudson  the  dwarf;  a  beautiful  pictiure,  carefully  executed 
in  the  warmer  tones  of  the  earlier  part  of  his  residence  in  England. 
6  ft.  8  in.  high,  4  ft.  wide. 

9.  Arabella,  second  Countess  of  Lord  Strafford,  in  a  blue  silk 
dress,  in  the  act  of  drawing  a  curtain  with  her  right  hand  :  a  very 
elegant  picture  of  his  somewhat  later  time.  6  ft.  10  in.  high,  4  ft. 
3  in.  wida 

The  portrait  of  Lord  Baltimore  is  by  some  skilful  painter  of  the 

school  of  Vandyck. 

Anteroom. 

Guido  Renl — Cupid  sleeping ;  above  the  size  of  life,  with 
landscape  backgroimd  ;  a  pleasing  and  very  careful  picture. 

Sir  Peter  Lely. — 4.  Prince  Rupert ;  one  of  the  warm,  care- 
fully-treated pictures  of  his  best  time. 

Sir  Joshua  Reynolds. — 4.  The  infent  Hercules  strangling  the 
serpents;  far  more  clearly  coloured  than  the  picture  in  Hadzor 
House,  though  very  mannered  in  composition. 

5.  Studies  for  the  great  window  in  New  College,  Oxford — the 
two  shepherds,  one  of  them  his  own  portrait,  and  a  shepherd 
boy ;  attractive,  warm,  and  carefiiL 

Jacob  Jordaens. — A  very  pretty  girl  with  a  parrot,  and  an 
old  man  ;  animated,  brilliant,  and  transparent. 

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Letter  XXIX,  WENTWORTH  CASTLE.  '  341 

Paul  Veronesr — The  Tribute-money;  unusually  dark  for 
him. 

Titian. — 2.  An  example  of  the  oft-recurring  Magdalen,  which 
I  can  only  consider  a  picture  of  his  school. 

Annibale  Carraccl — Christ  crowned  with  thorns ;  unusually 
noble  in  conception,  but  of  dark  colour. 

Finally,  one  room  contains  a  number  of  works  by  modem  sculp- 
tors, among  which  I  recognised  with  great  pleasure  the  fine 
statue  of  the  Fisher  Boy,  by  the  late  Richabd  Wyatt,  which  had 
formed  one  of  the  ornaments  of  the  Exhibition. 

About  a  mile  from  the  house  is  the  mausoleum  of  Lord' Rock- 
ingham, the  minister,  with  his  statue.  As  however  I  could  obtain 
no  information  as  to  the  artist  who  executed  it,  and  therefore 
could  form  no  conjecture  as  to  its  value,  I  was  unwilling  to 
devote  any  time  to  visiting  it. 


WENTWORTH  CASTLE. 

Unfortunately  I  was  not  aware  that  Wentworth  Castle,  the  seat 
of  W.  V.  Wentworth,  Esq.,  was  far  nearer  to  Bamsley  station 
than  to  Masbro,  whence  I  visited  it  next  morning.  I  therefore 
lost  much  time  from  this  mistake,  which  I  regretted  the  more,  as 
the  visit  little  repaid  the  trouble.  The  house  is  a  stately  building 
in  the  French  style,  and  contains  a  considerable  number  of  pic- 
tures ;  they  are,  however,  arranged  with  an  irregularity  such  as  I 
had  never  before  met  with  in  England.  Of  the  number  bearing 
false  names — ^leaving  out  those  which  are  obviously  copies  or 
valueless — ^I  only  mention  such  as  I  can  assign  to  other  masters  of 
some  note. 

Gallery. 

Tintoretto. — ^Portrait  of  a  monk ;  very  animated  and  broadly 
executed  in  his  cool  reddish  flesh-tones ;  called  a  Holbein. 

Lorenzo  Lotto. — A  male  portrait,  half-length;  animatedly 
conceived  and  admirably  executed  ;  the  hands  imfortunately  in- 
jured. On  a  tree  are  armorial  bearings  and  a  motto.  Liscribed 
"  An.  XLIL  1537."  This  date  alone  is  sufficient  to  overturn  all 
pretensions  to  the  name  of  Giorgione,  who  died  1511 — ^pretensions 
which  are  untenable  also  in  every  other  respect 

Lucas  Van  Uden. — ^A  large  and  fine  landscape,  with  some 
figures  by  Teniers  ;  called  a  Rubens. 

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342  WENTWORTH  CASTLE.  Letter  XXIX. 

Walker. — ^I  am  inclined  to  ascribe  to  this  master  an  animated 
portrait  of  Cromwell,  of  very  broad  treatment ;  here  attributed  to 
Sir  Peter  Lely. 

Anteboom. 

Bartholobiew  db  Bruyn. — A  good  though  rather  late  speci- 
men of  this  Cologne  master — a  burgomaster  of  Cologne — ^here 
called  *'  unknown." 

Holbein. — ^Portrait  of  CEcolampadius  the  Reformer,  in  profile, 
with  a  long  inscription.  I  am  inclined  to  ascribe  this  to  Holbein. 
The  conception  is  animated  ;  the  drawing,  especially  of  the  hands, 
delicate ;  the  flesh-tones  yellowish.     Here  marked  "  unknown." 

Bed-boom. 

Lucas  de  Heere. — Portrait  of  Eleanor  Brandon,  dated  1550 ; 
in  rich  dress,  and  with  armorial  bearings ;  of  very  careful  execu- 
tion, but  faded  in  the  flesh-tones. 

ALBANa — ^The  Flight  into  Egypt;  hangs  over  a  door,  but 
appears  genuine  and  of  good  colouring. 

A  portrait  of  Sir  Philip  Sidney,  whole-length,  life-size,  called  a 
Velasquez,  is  a  good,  warmly-coloured  picture  by  a  master  of  the 
Netherlandish  school 

Billiard-room. 

RuBENa — Portrait  of  a  general,  with  a  baton ;  in  animated 
conception  and  admirable  tone  this  appears  to  me  a  well- 
painted  picture  by  this  master.  I  know  not  to  whom  it  is  here 
attributed. 

Federigo  Zucchero. — ^The  Earl  of  Essex ;  of  clear  and  deli- 
cate painting,  but  the  costume  most  tasteless  and  stiff 

Sir  Peter  Lely. — A  female  portrait,  in  yellow  silk  dress. 
This  appears  to  me  a  careful  picture  in  the  taste  of  VandycL 

Vandyck. — ^The  Earl  of  Strafibrd ;  older,  and  with  a  bald 
head;  in  splendid  armour.  As  far  as  the  very  dirty  condition 
allows  me  to  judge,  this  appears  to  be  by  the  master. 

Library. 
One  of  the  portraits  of  Vandyck,  with  the  broad-bordered  hat 
and  feather,  hung  quite  in  the  dark,  but  is  apparently  a  good  pic- 
ture of  his  school 


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Letter  XXIX.        COLLECTIONS  IN  YORKSHIRE.  343 

My  time  did  not  aUow  me  to  visit  the  following  country  seats 
in  Yorkshire : — 

Harewood  House,  the  seat  of  Earl  Harewood,  the  park  of 
which  is  so  highly  extolled  by  the  "  German  Prince,"  with  a  few 
pictures. 

Newby  Hall,  near  Ripon,  the  seat  of  Lord  Grantham,  with  a 
number  of  antique  sculptures. 

Sprotborough  Hall,  the  seat  of  Sir  Joseph  Copely,  Bart,  with 
pictiu*es  of  the  Italian  school. 

Cottingham  Castle,  the  seat  of  Mr.  Coulson,  near  Hull. 


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344  CHATSWORTH.  Lettkb  XXX. 


LETTER  XXX. 

Cbatswortb,  seat  of  Duke  of  Devonshire :  Collection  of  pictures,  dravnngs, 
MSS.  with  miniatures,  and  sculpture  —  Beauties  of  gardens,  conservato- 
ries, and  grounds. — Wooton  Hall,  seat  of  Mr.  Davenport  Bromley :  Col- 
lection of  pictures — Early  masters. 

CHATSWOBTH. 

I  NOW  entered  the  picturesque  and  beautiful  county  of  Derby, 
and  lost  no  time  in  yisiting  Chatsworth,  the  princely  seat  of  the 
Duke  of  Devonshire,  of  which  I  had  retmned  the  most  agreeable 
recollection.  Meanwhile  I  had  heard  the  most  favourable  reports 
of  the  various  new  improvements  and  acquisitions  of  works  of  art 
made  by  the  Duke.  I  was  pleased  when  my  driver,  seeing  a  flag 
waving  upon  a  tower,  told  me  that  thb  was  a  certain  sign  that 
the  Duke  himself  was  at  Chatsworth. 

On  my  arrival  I  was  sorry  to  learn  that  his  Grace  was  confined 
to  his  bed  by  a  violent  cold,  and  therefore  could  not  see  me.  He 
however  sent  me  a  friendly  welcome,  and  ordered  me  to  be  shown 
into  a  room,  which  combined  in  a  high  degree  elegance  witli 
comfort.  The  mansion,  which  is  in  the  Italian  style  of  architec- 
ture, is  grandly  situated,  and  has  a  very  noble  i^pearance;  it 
has  been  considerably  enlarged  by  the  present  Duke,  who  has 
added  a  whole  wing,  and  three  grand  entrances  in  the  form  of  a 
Roman  triumphal  arch  ;  many  other  improvements  are  also  going 
on.  A  very  compact  sandstone,  of  a  beautiful  yellowish  colour, 
which  is  found  in  Derbyshire,  a  county  abounding  in  stone  and 
marble,  afibrds  an  equally  solid  and  handsome  material  The 
spacious  staircase  has  rather  a  gloomy  appearance  from  the  old 
darkened  oil  paintings  which  hang  on  the  walls.  The  apartments, 
therefore,  strike  you  the  more  agreeably,  being  extremely  light 
and  of  fine  proportions,  furnished  with  the  most  refined  splendour 
and  elegance,  and  adorned  with  fine  works  of  art, — paintings,  sculp- 
tures, and  drawings.  I  had  just  ended  a  general  survey  of  the 
whole  when  a  servant  brought  me  word  that  luncheon  was  ready. 

After  this  meal  was  over,  which  difiered  from  dinner  in  nothing 
but  name,  the  servant  showed  me  into  the  library,  and  told  me  the 


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-Lettkr  XXX.    DUKE  OF  DEVONSHIRE'S  COLLECTION.  345 

Duke  would  soon  join  me.  This  fine  apartment  contains  in  elegant 
bookcases  the  rarest  literary  treasures  in  the  choicest  bindings. 
In  early  editions  it  is  exceeded  by  none  in  England,  except  by  the 
celebrated  library  at  Althorp,  To  the  ample  store  of  volumes 
which  the  present  Duke  inherited  have  been  added  the  greatest 
rarities  from  the  renowned  library  of  the  Duke  of  Roxburgh, 
the  library  of  the  Bishop  of  Ely,  purchased  for  10,000^.,  and  a 
large  library  which  he  has  inherited  from  his  uncle,  Lord  Cavendish. 
The  Duke,  who  entered,  and  appeared  to  be  very  much  indisposed, 
addressed  me  in  the  most  friendly  manner,  inviting  me  to  remain 
at  Chatsworth  as  long  as  it  shoidd  be  agreeable  to  me,  and  then 
proceeded  to  show  me  the  greatest  curiosities.  It  was  with  pecu- 
liar pleasure  that  I  examined,  among  others,  the  oldest  Floren- 
tine edition  of  Homer.  Printed  on  the  finest  white  parchment 
with  the  most  elegant  type,  the  initials  painted  in  miniature, 
it  offers  a  most  beautiful  object  to  the  eye.  The  recollection  that 
after  about  1000  years'  oblivion  this  edition  had  again  furnished 
many  with  the  means  of  drinking  at  this  ancient  fountain  of  poetry 
gave  it  in  my  eyes  an  additional  charm.  Here  too  I  saw  some  of 
the  rarest  impressions  by  Caxton,  the  first  who  practised  the  art 
of  printing  in  England.  On  leaving  me  the  Duke  gave  me  the 
keys  to  all  these  treasures,  telling  me  I  need  not  return  them  till 
my  departure.  Being  thus  enabled  to  arrange  my  studies  in  the 
order  I  pleased,  I  first  proceeded  to  examine  the  pictures,  which 
are  distributed  in  several  apartments  and  in  the  dining-room.  Since 
1835  the  Duke  has  removed  a  number  of  his  pictures  from  Devon- 
shire House  and  Chiswick  to  Chatsworth,  so  that  not  only  a  greater 
number  of  apartments  here  are  now  decorated  with  pictures,  but  a 
corridor  and  a  picture-gallery  have  been  added. 

I  describe  first  the  pictures  which  are  in  the  apartments  on  the 
first  floor,  including  also  other  interesting  works  of  art  in  the 
same  rooms. 

First  Room. 

LucA  Giordano. — Acb  and  Galatea  An  attractive  picture ; 
careftiUy  executed  in  a  powerful  transparent  colour. 

Lorenzo  Lotto. — ^To  this  master  I  attribute  a  male  portrait 
of  fine  conception,  called  a  Giorgione,  formerly  in  Devonshire 
Housa 

Solomon  Koninoil — The  portrait  of  a  Rabbi  in  a  chair,  treated 
with  great  reality,  executed  with  the  greatest  care  in  every  part, 

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346  CHATSWORTH.  Leti'eb  XXX. 

and  of  masterly  chiaroscuro.  Notwithstanding  all  these  excel- 
lences, I  neither  recognise  the  touch  of  Rembrandt,  to  whom  it  is 
ascribed,  nor  the  transparency  of  tone  which  is  peculiar  to  him 
at  all  times.  I  should  therefore  be  inclined  rather  to  take  it  for  a 
capital  work  by  Solomon  Koningk,  who  frequently  painted  this 
picture  with  slight  variations.  One  example  is  in  Genoa,  another 
in  the  possession  of  Mr.  Van  Sewa  at  the  Hague,  a  third  in  the 
Museum  at  Berlia 

MuRiLLo. — 1.  The  blind  Belisarius  receiving  alms.  I  formerly 
saw  this  picture  at  Chiswick  under  the  name  of  Vandyck.  At 
all  events,  the  conception,  the  silvery  tone,  and  the  dark  shadows 
agree  more  with  Murillo. 

In  the  centre  of  a  circular  ottoman  is  a  pretty  little  group  of 
three  sleeping  Cupids,  each  serving  as  the  pillow  to  the  other. 

Second  Room. 

Tintoretto. — 1.  Portrait  of  the  Admiral  Nicola  Capello. 
Whole-length,  life-size.  The  head  of  a  glowing  tone,  and  of  great 
energy.  The  very  broad  treatment  and  the  dark  shadows  indicate 
the  later  time  of  the  master. 

CoRNELis  Jansen. — Qiarles  I.  as  a  young  man.  Whole- 
length,  life-size,  a  spaniel  next  him.  A  picture  of  particularly 
clear  and  delicate  colour  for  him. 

Tintoretto. — 2.  Portrait  of  the  Archbishop  of  Spalatro  in  an 
arm-chsur,  behind  him  an  open  folio.  Of  grand  and  elevated  con- 
ception, and  most  harmoniously  and  powerfully  executed  in  a  sub- 
dued tone,  allied  to  Moroni. 

Titian. — 1.  Portrait  of  Philip  II.,  King  of  Spain,  in  his 
younger  years,  in  splendid  armour ;  helmet  and  gloves  on  a  table. 
This  picture  is  very  carefully  executed,  especially  the  head,  which 
is  in  a  clear,  bright,  golden  tone.  The  hands  are  unfortunately 
much  injured. 

Portrait  of  the  Duke  of  Albemarle — full-length,  life-size — by  a 
painter  unknown  to  me.  Of  some  merit,  but  far  inferior  to  those 
already  mentioned  in  this  room. 

The  portrait  of  Henry  VIII.,  whole-length,  the  size  of  life,  said 
to  be  by  Holbein.  The  head  is  too  tame,  the  treatment  too 
mechanical,  and  the  tone  of  the  colour  too  dull  for  him ;  I  believe 
it,  therefore,  to  be  an  old,  probably  contemporary,  and  very  good 
copy. 

ZuccuERO. — Portrait  of  Mary  Queen  of  Scots.     Full-length, 

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Lbtteb  XXX.    DüKE  OP  DEVONSHIRE'S  COLLECTION.  347 

life-size,  in  a  rich  dress.     A  very  pleasing,  though,  properly  speak- 
ing, not  a  beautiful  face ;  painted  with  great  care. 

The  centre  of  a  round  ottoman  is  here  ornamented  with  a  careful 
copy  of  the  Venus  de'  Medici  in  marble. 

Gallery. 

The  light  here  on  many  a  picture  himg  opposite  to  the  win- 
dows is  very  unfavourable. 

Teniers. — 1.  Temptation  of  St.  Anthony.  Conceived  as  a 
landscape,  and  coloured  in  his  somewhat  heavy  brownish  tones. 

Holbein. — 1.  Head  of  an  old  man.  An  excellent  picture,  but 
it  appears  somewhat  later  than  this  master. 

Claude  Lorraine. — Landscape,  with  view  of  a  seaport ;  Mer- 
cury and  Argus  in  the  foreground.  A  good  picture,  somewhat 
darkened  in  the  foreground,  but,  judging  from  the  insipid  tone  of 
the  green  and  from  the  treatment,  of  his  later  time.  Liber  Veri- 
tatis,  No.  159. 

Paul  Brill. — ^A  fine  landscape,  with  figures,  from  the  same 
fable  as  the  foregoing,  by  Adam  Elzheimer.     Here  the  Mer- . 
cury  is  in  the  air. 

William  Van  de  Velde. — 1.  A  calm  sea,  with  ships,  one  of 
them  firing  a  gun.     Of  great  tenderness. 

Poelemburg. — ^A  Repose.     Of  the  most  delicate  finish. 

William  Van  de  Velde. — 2.  A  heavy  storm ;  one  vessel  and 
a  wave  are  lighted  with  a  warm  sunbeam.  Very  poetic  in  effect, 
but  hung  too  high. 

Titian. — 2.  A  rich  poetical  landscape.  The  grand  forms  of 
the  mountains  call  to  mind  Friuli,  Titian's  native  country.  The 
figures  representing  St.  John  preaching  are  sketchily  treated. 

Palamedes. — ^Male  portrait;  full-length.  Animated  and 
delicate  in  execution. 

Berqhem. — 1.  A  seaport ;  in  the  foregroimd  a  gentleman  and 
lady  on  horseback^  with  falcons,  in  elegance  of  form  approaching 
Wouvermans.  Admirably  painted,  and  of  brilliant  effect  1  ft.  6  ia 
high,  1ft.  11  in.  wida  A  duplicate  of  this  picture  is  in  the  col- 
lection of  Mr.  Steengracht,  at  the  Hague. 

Nicolas  Poussin. — A  Holy  Family,  with  numerous  angels,  one 
of  them  bringing  flowers.  One  of  the  picti^es  of  this  master  in  which 
the  vacant  countenance,  with  the  wide  staring  eyes,  gives  as  little 
satisfaction  as  the  glaring  colour  of  the  blue  and  brick-red  drapery 
of  the  Virgin.     The  beautiful  landscape  alone  merits  attentioa 

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348  CHAT8W0RTH.  Lkitkb  XXX. 

Sir  Peter  Lely. — The  Rape  of  Europa.  Quite  in  the  style 
of  the  earlier  warmly-treated  works  by  Lairesse,  but  more  realistic 
in  the  forms  and  heads,  and  clearer  in  the  colour. 

LoDOVico  Carracci. — ^The  Crucifixion.  A  rich  and  tctj 
noble  composition,  with  that  refined  feeling  in  the  heads  which 
distinguishes  so  many  of  his  smaller  pictures.  Not  so  lively  in 
the  colouring,  nor  so  careful  in  the  execution,  as  his  pictures  fre- 
quently are. 

A  LB  A  NO. — A  Holy  Family  and  two  angels,  one  of  them  giving 
firuit  to  the  Child.     Pleasingly  painted  in  his  reddish  tones. 

Mabuse. — St.  Ursula  about  to  enter  a  vessel,  taking  leave  of 
her  parents,  the  King  and  Queen  of  England.  An  inferior  work 
of  his  earlier,  Netherlandish  manner. 

Giovanni  Pedrini. — To  this  scholar  of  Leonardo  da  Vind, 
who  has  been  occasionally  mentioned,  I  attribute  unquestionably 
a  Christ,  as  a  boy,  with  the  globe,  here  ascribed  to  Leonardo 
da  Vinci. 

Gaspar  P0Ü88IN. — ^This  picture,  which  is  of  a  very  long  and 
narrow  shape,  is  entitled,  by  the  highly  poetical  feeling  for  the 
charms  of  nature,  the  beauty  of  the  tones,  the  warmth  of  the  light 
on  the  horizon,  the  careful  execution,  and  the  great  clearness  in 
all  the  parts,  to  rank  not  only  among  the  most  beautiinl  works  of 
the  master,  but  among  the  finest  landscapes  in  the  world.  Four 
small  circular  pictures  by  him  are  also  admirable,  especially  a  view 
of  Tivoli,  in  which  the  sun  shines  directly  on  the  waterfall  seen  in 
front     This  view  by  him  is  fi-equently  met  with. 

Ascribed  to  Jan  van  Eyck.— The  Presentation  of  the  Virgin 
in  the  Temple.  A  very  rich  and  peculiar  composition.  On 
canvas,  about  4  ft.  high,  3  ft.  wide.  In  a  Gothic  chiuxih  are  Anna 
and  Joachim  in  the  foreground ;  in  the  background  priests  before 
the  altar  preparing  to  receive  the  Virgin,  above  whom  are  two 
angels  with  a  crown.  Maidens  in  the  costume  of  the  age  approach 
on  both  sides  from  the  choir  of  the  church  behind  the  altar.  In 
the  middle,  on  the  right  hand,  are  five  men  and  women  kneeling ; 
behind  them  five  canons  in  their  stalls  ;  and  on  the  left  hand  ten 
canons  in  two  rows.  The  heads  have  the  appearance  of  portraits 
of  great  character.  The  execution  and  colouring  are  extremely 
fine.  In  the  whole,  particularly  in  the  architecture,  a  bright,  dear 
tone  predominates.  The  strange  form  of  the  organ,  the  treatment 
of  the  gold;  the  greenish  blue  of  many  of  the  draperies,  strongly 


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Letter  XXX.    DUKE  OF  DEVONSHIRE'S  COLLECTION.  349 

call  to  mind  Lancelot  Blondebl,  a  pmnter  of  Bruges,  whose 
works  approach  the  manner  of  Bernhard  van  Orley.  This  remark- 
able picture  has  unfortunately  sustained  no  inconsiderable  damage 
in  several  parts ;  for  instance,  in  many  of  the  hands,  and  in  the 
dress  of  St  Anna 

Jan  van  Eyck. — ^The  Consecration  of  Thomas  a  Becket  as  Arch- 
bishop of  Canterbury ;  a  composition  of  seventeen  figures.  On  panel, 
about  4  ft.  high,  2  ft.  6  in.  wida  In  a  church  of  the  latest  form  of  the 
Norman  style  is  seen  Becket  standing  in  the  foreground  under  a 
scarlet  canopy,  with  the  Holy  Ghost  hovering  above.  Above  the 
Holy  Ghost  hangs  a  splendid  crown,  in  which  the  figure  of  the 
risen  Christ,  in  a  fine  action,  is  introduced ;  above  it  is  a  circle 
with  the  Virgin  and  Child.  Three  bishops  are  engaged  in  placing 
on  the  head  of  the  Saint  the  archiepiscopal  mitre,  while  a  priest, 
kneeling,  holds  an  open  book  before  him.  On  the  right  side  of  the 
picture  are  the  clergy,  and  on  the  left  the  laity,  with  King  Henry 
II.  at  their  head.  The  proportions  of  the  figures  are  rather  more 
slender  than  in  other  pictures  by  Jan  van  Eyck.  Some  fine  heads 
bear  a  strong  resemblance  to  the  pilgrims  on  the  wing  of  the  altar- 
piece  of  Ghent,  which  is  in  the  Berlin  Museum.  Upon  the  whole, 
however,  the  heads  are  more  monotonous  and  less  understood  than 
in  the  other  works  of  the  master,  showing  that  it  was  a  picture  of 
his  earlier  tima  In  the  warm  brownish  tone  of  the  flesh,  which  is 
rather  heavy  in  the  shadows,  there  is  more  resemblance  to  the 
angels  ringing,  and  to  the  soldiers  of  Christ  {Christi  Milites),  on 
two  other  wings,  also  in  the  Berlin  Museum,  from  the  same  Ghent 
altarpiece.  All  the  other  colours  are  of  a  deep,  ftdl  tone,  especially 
the  robe  of  the  bishop  on  the  right  hand,  which  is  of  the  most  glow- 
ing dark  red,  with  a  golden  pattern,  skilftdly  painted.  This  picture 
is  mentioned  by  Walpole,  who,  however,  does  not  give  the  following 
inscription,  which  is  on  the  border,  painted  in  the  semblance  of  a 
stone  frame,  by  the  artist  himself — "  Jqhes  db  Eyck  fecit  ano 
M**.cccczi.  30**  OcTOBRis."  This  inscription  is  important,  not  only 
as  authenticating  the  picture,  but  because  1421  is  the  oldest  known 
date  on  a  picture  by  Jan  van  Eyck.  The  picture,  which  I  first  closely 
examined  in  1850,  may  be  sidd  to  be  in  a  good  state  of  preservation. 

JuDOCus  DE  MoMPER. — A  pootic  landscape,  with  figures  by 
Jan  Breughel. 

William  Van  de  Velde. — 3.  A  storm  with  a  clear  sky  and 
sunny  lighting;  very  excellent. 

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350  CHATSWORTH.  Lettbr  XXX. 

Titian. — 3.  St.  Jerome,  in  a  landscape  ;  a  small  but  beautiful 
picture,  of  extraordinary  depth  of  warm  brown  tone. 

Francois  Milet. — ^A  beautiful  landscape,  with  three  shep- 
herds ;  in  the  taste  of  Gaspar  Poussia 

Berqhem. — 2.  A  river  flowing  at  the  foot  of  mountains  of 
pleasing  forms.  Among  the  numerous  figures,  men  and  cattle, 
which  adorn  the  picture,  the  most  striking  are  two  gentlemen  on 
horseback,  and  a  girl  on.  an  ass.  The  setting  sim  produces  very 
defined  lights  and  shades.  The  design  is  remarkably  rich  and 
poetical;  the  impasto  admirable:  the  ^adows  have  become  dark. 
2ft.  high,  3  ft;.  7  in.  wide. 

Tbniers. — 2.  Gold-changera  The  woman  is  occupied  weighing 
the  money ;  the  man  holds  a  bag ;  carefully  executed  in  a  fine 
silvery  tone. 

Leonardo  da  Vinci. — Bust-picture  of  a  youth;  the  hand 
much  rubbed  out ;  in  a  splendid  frame,  set  in  agate.  Of  singular 
delicacy  in  the  forms  of  the  beautiful  features,  and  so  like  the 
tone  of  colouring  of  the  Holy  Family  at  the  seat  of  Lady  War- 
wick, that  1  am  inclined  to  consider  it  a  work  of  the  earliest  time 
of  his  residence  at  Milan.  It  may  perhaps  be  the  portrait  of  his 
scholar,  the  young  Boltraffio,  as  I  am  inclined  to  infer  ftt>m  a  C 
and  a  B  on  the  border  of  the  garment  It  is  true  the  Christian 
name  of  that  individual  was  Giovanni,  but  it  is  easy  to  conceive 
that  the  C  may  have  been  originally  a  G. 

Sassoferrato. — ^A  real  original  of  the  often  repeated  Ma- 
donna ;  of  extraordinary  force  of  colour  and  careful  execution. 

PARMiGiANiNa — A  male  portwdt,  hanging  in  too  high  and 
dark  a  place  for  an  opinion,  but  apparently  so  excellent  a 
picture  of  the  German  school,  that  I  feel  it  right  to  draw  atten- 
tion to  it 

Philip  Woüvermanä — A  scene  with  a  horse  being  shod  ap- 
pears to  be  a  good  picture,  but  hangs  too  high. 

Salvator  Rosa. — 1.  David  about  to  strike  ofi^  the  head  of 
Goliah;  spirited  in  motive,  but  very  brown  in  the  local  flesh- 
tones. 

2.  Jacob  wrestling  with  the  angel ;  a  companion  to  the  fore- 
going, and  of  the  same  character. 

Lucas  van  Uden. — A  pretty  landscape,  with  figures  by 
Teniers. 

Tintoretto. — 3.    Christ   and  the  Woman  of  Samaria;   an 


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attractive  picture.    The  woman  especially  has  a  pleasing  head,  and 
is  delicately  coloured 

Berohem. — 3.  Landscape,  with  lofty  hills  covered  with  clouds ; 
in  the  foreground  a  rider  and  drove  of  cattle.  A  tolerably  large 
picture  of  his  later  dark-toned  time. 
^  MuRiLLO. — 2.  The  Virgin  gazing  at  the  sleeping  Child,  with 
Joseph;  four  angels  in  the  air — figures  about  15  inches  high. 
Though  decidedly  realistic  in  the  heads,  yet  they  are  of  lovely  cha- 
racter, and  the  execution  in  a  cool  reddish  flesh-tone  is  excellent. 

Granet. — A  good  and  very  effective  example  of  his  often  treated 
subject,  Franciscans  at  matins  in  the  choir  of  their  church. 

Lucas  van  Leyden. — ^A  doctor  drawing  a  countryman's 
tooth.  Exactly  corresponding  with  the  well-known  engraving  of 
this  master,  and  of  the  same  size  ;  one  of  his  few  genuine  works. 

Salvator  Rosa. — 3.  A  knight  and  a  woman.  Very  spirited ; 
conceived  quite  in  the  style  of  his  etched  plates. 

Holbein. — 2.  The  Wheel  of  Fortune.  A  popular  subject  of 
the  middle  ages  ;  very  finely  executed  in  body  colours.  The  four 
male  figures  on  the  wheel — one  climbing,  the  second  at  the  top  of 
it,  a  third  falling,  and  a  fourth  on  the  ground,  with  appropriate 
German  inscriptions — are  very  ftdl  of  expression.  Inscribed  with 
the  double  H  of  the  master ;  also  with  the  notification  of  its  being 
executed  in  Basle,  and  with  the  date  1533. 

Dirk  van  Delen. — An  architectural  piece,  with  a  man  kneel- 
ing in  the  foreground.  A  good  picture  of  the  master;  here 
marked  as  unknown. 

Paris  Bordone. — A  family  picture,  said  to  be  by  Titian. 
The  mother,  a  beautifiil  woman,  stands  on  the  left  hand  of  the 
father,  who  is  seated.  A  little  daughter,  standing  on  the  right 
hand,  next  the  father,  gives  him  with  one  hand  something  which 
is  not  seen,  and  with  the  other  presents  a  fruit  to  her  mother. 
Judging  from  the  conception,  the  tone,  and  the  shape  of  the  hands, 
I  should  say  it  is  a  capital  work  by  Paris  Bordone,  who  in  his  por- 
traits sometimes  closely  approaches  Titian ;  so  that  they  are  often 
ascribed  to  that  master. 

Carlo  Cignani. — Joseph  and  Potiphar's  Wife.  On  the  whole, 
resembling  the  composition  in  the  Dresden  Gallery,  but  with  many 
variations  in  the  details.  Less  clear,  but  more  powerful  in  the  tone. 

BiLLIARD-BOOM. 

Sir  Edwin  Landseer. — Bolton  Abbey  ;  an  ecclesiastic  receiv- 

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352  CHATSWORTH.  Letter  XXX. 

ing  game  from  his  vassals.  A  picture  universally  known  from  the 
admirable  engraving.  The  utmost  truth  of  nature  is  here  com- 
bined with  a  fine  keeping  in  a  clear  light,  and  a  masterly  treatment 

Sir  Joshua  Reynolds. — ^The  charming  portrait  of  a  lady ; 
I  believe  Geor^ana  Duchess  of  Devonshire. 

Portrait  of  the  Duke  of  Devonshire,  in  youthftd  years,  by  a 
painter  unknown  to  me,  which  must  have  been  very  like. 

Collins. — Children  playing  by  some  palings.  Truthful,  ani- 
mated, and  warm. 

Newton. — A  scene  from  *  Gil  Bias.'     Of  great  efiect. 
Second  Story. — State  Booms.     First  Room. 

The  ceiling  is  painted  in  this  room,  as  in  all  the  rest,  in  the  same 
style  as  those  of  the  conservatories ;  the  walls  are  entirely  panelled. 
The  following  modem  busts  in  marble  are  here  : — 

The  spirited  and  highly  resembling  bust  of  the  Emperor  Nicho- 
las of  Russia,  by  Rauch. 

A  bust  of  the  Empress  of  Russia  is  taken  from  one  by  the  same 
artist,  and  is  not  so  successful 

Busts  of  William  Duke  of  Devonshire,  Lord  George  Henry 
Cavendish,  Francis  Duke  of  Bedford  (father  of  the  present  Duke), 
Charles  James  Fox ;  all  by  Nollekens,  and  good  specimens  of 
this  inferior  sculptor. 

George  Canning.     A  masterly  work  by  Chantrey. 

Also  two  female  busts,  unknown  to  me. 

A  table  and  a  clock  in  malachite ;  on  the  latter,  Peter  the  Great 
steering  a  boat,  in  bronze.  From  the  well-known  picture  by  Steu- 
ben. Both  presented  by  the  Emperor  Nicholas  to  the  Duke  in 
1844.  Some  malachite  vases.  Two  cabinets  and  a  press  with 
many  curiosities  in  buhl.     Also  a  small  rich  casket 

Second  Room. 

An  old  leather  hanging,  with  a  large  gilt  design  upon  the  un- 
coloured  leather,  with  occasional  blue  compartments,  has  a  very 
rich  and  peculiar  effect  Above  the  chimney-piece,  a  copy  of 
the  mosaic  of  the  three  doves ;  the  cornice  is  rich  carved  work. 

Four  busts — two  in  bronze ;  the  drapery  of  the  one  with  the 
long  perruque,  in  jasper,  somewhat  like  Louis  XV. 

This  room  also  contains  two  very  rich  state  chairs,  and  four 
caskets  of  great  beauty,  two  of  which  are  Chinese. 

Third  Room. 

The  hangings  of  the  walls  are  the  same  as  in  the  last  room. 


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Letter  XXX.         COLLECTION  OF  DRAWINGS.  353 

Beneath  a  large  canopy  of  black  velvet  richly  adorned  with  old 
embroidery  in  deep  relief,  containing  in  the  centre  the  Cavendish 
arms,  with  the  motto  "  Cavendo  tutus,"  is  a  richly  decorated  chair 
in  the  same  taste.  An  old  garderobe  in  this  room  is  one  of  the 
largest  I  have  ever  seen. 

Cabinet. 

The  walls  are  entirely  panelled.  In  a  case  are  seventeen  poi^ 
traits  in  enamel,  among  which  that  of  Cromwell  appears  very  ani- 
mated and  successful. 

Another  room  contains  three  tapestries  from  the  cartoons  at 
Hampton  Court — Feed  my  Sheep ;  the  Sacrifice  at  Lystra ;  the 
subject  of  the  third  has  escaped  my  memory.  The  heads,  how- 
ever, are  far  more  conventional  and  more  rudely  treated,  and  the 
whole  workmanship  greatly  inferior  to  the  tapestries  from  the  same 
cartoons  in  the  Vatican  and  in  the  Berlin  Museum. 


COLLECTION  OF  DRAWINGS. 

This  collection  was  in  great  measure  formed  in  the  first  half  of 
the  18th  century.  The  collection  of  M.  Flink,  of  Rotterdam, 
piu*chased  by  the  then  Duke  of  Devonshire,  forms  an  essential  part 
of  it.  The  examination  of  these  treasures  was  the  chief  motive 
for  my  visit  to  Chatsworth  in  1850 ;  as,  owing  to  some  alterations 
in  the  house,  they  were  not  to  be  seen  in  1835.  The  greater  part 
of  them  are  now  framed,  and  placed  in  two  galleries  well  lighted 
from  above,  though  without  the  slightest  attention  to  schools  and 
periods.  In  the  hope  that  such  a  desirable  arrangement  may 
ensue  in  time,  I  have  adopted  it  in  some  measure  in  the  following 
remarks  on  some  of  the  drawings. 

Tuscan  School. 

LüCA  SiGNORELLi. — Four  saiuts ;  study  for  one  side  of  an  altar- 
picture,  the  centre  of  which  is  the  Virgin  enthroned.  Of  great 
grandeur  and  earnestness  of  character. 

Leonardo  da  Vinci. — ^The  head  of  the  Virgin,  with  flowing 
hair,  almost  in  front,  and  the  head  of  a  child ;  admirably  modelled 
and  shaded  in  black  chalk,  with  the  most  delicate  hatchings, 
heightened  with  white ;  and  eleven  drawings,  with  his  well-known 
fantastic  heads,  of  which  only  a  few  appear  to  me  genuine. 

Michael  Angelo. — ^A  female  figure  with  a  child  behind  her 
stretching  out  its  arm. 

Here  are  also  a  study  for  the  ceiling  of  the  Sistine  Chapel ;  a 

VOL.  III.  2   \ 

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354  CHATSWORTH.  Lättkr  XXX. 

pen-drawing,  of  masterly,  broad,  and  slight  treatment ;  erroneously 
ascribed  to  Ammanati. 

Another  female  figure,  for  the  ISstine  Chapel  ceihng,  a  pen- 
drawing  also,  mentioned  by  Passayant,  was  dot  here. 

Study  for  a  male  figure,  for  the  Sistin^  Qiapel,  in  red  chalk ; 
of  soft  and  masterly  modelling. 

The  Virgin  with  the  standing  Child;  alight,  but  rery  fine; 
black  chalk. 

Baldassare  Perüzzi. — The  architectural  frame^work  for  an 
altar,  in  the  choice  and  rich  taste  of  the  dinquecteto  period ;  pen 
and  sepia ;  a  masterly  drawing« 

Andrea  del  Sarto.— A  young  man ;  of  beautiful  motiye,  rery 
carefully  drawn  in  black  chalk«  Erroneously  ascribed  to  Sanso* 
rino.  Six  saints ;  aboTO,  the  Trinity ;  somewhat  injured  ;  dialk 
drawing,  broad  and  masterly,  of  his  later  time. 

Baccio  Bandinelli. — ^The  Murder  of  the  Innocents  ;  a  rich 
composition,  arranged  in  the  same  manner  as  the  Martyrdom  of 
St  Lawrence,  as  seen  in  the  Marc  Antonio  engraving.    Exagge- 
rated in  motives,  but  of  masterly  drawing. 
Roman  School. 

Lo  Spagna. — A  Vir^  with  the  Child  standing  between  St 
Sebastian  and  St  Roch,  with  another  old  sidnt,  is  thus  ri^tly 
termed  by  Passavant  It  here  bears  the  name  of  Raphael.  Ot 
delicate  feeling,  and  finely  drawn  with  the  pen. 

Raphael. — ^By  far  the  most  important  drawing  by  this  great 
master  here  is  one  for  the  jncture  by  Pinturicchio,  in  the  room 
where  the  choir-books  are  preserved  in  the  cathedral  at  Siena^ 
representing  -^neas  Silvius  kissing  the  foot  of  Pope  Eugenius  IV. 
at  the  Council  of  Basle.  In  the  background  are  seen  other  events 
from  the  life  of  the  same  individual ;  for  instance,  his  consecration 
as  bishop.  It  is  interesting  to  remark  how  much  some  of  the 
heads  bear  the  school  type  of  Perugino^  while  others  already  show 
the  study  of  nature.  The  ten  figures  at  the  side  of  the  Pope 
are  especially  beautiful  in  motives  and  in  heads.  This  forms  the 
third  drawing  we  possess  executed  by  Raphael  for  the  pictures  by 
Pinturicchio  at  Siena.  Being  executed  with  the  pen  and  bistre 
and  heightened  with  white,  it  agrees  with  the  drawing  in  the  col« 
lection  of  the  Grand  Duke  of  Tuscany,  and  with  that  in  the  Casa 
Baldeschi  at  Perugia,  and  is  also  about  the  same  size,  24  in.  high 
and  13  in.  wide. 

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Lbtteb  XXX.         COLLECTION  OP  DRAWINGS.  355 

The  figure  of  St  Paul,  for  the  cartoon  of  the  Sacrifice  at  Lystra. 
Slight,  but  very  spiritedly  drawn  with  the  point,  and  heightened 
with  white.     The  head  is  here  more  youthful  than  in  the  cartoon. 

First  sketch  for  the  picture  of  St  Catherine  in  the  National 
Gallery  ;  but  here  the  figure  is  whole-length.  In  the  centre  is  a 
stooping  female  figure  emptying  a  vessel ;  below,  a  child  carrying 
two  vessels ;  above,  on  the  right,  the  upper  part  of  a  female  figure. 
In  this  slight  pen-drawing  the  head  of  St  Catherine  is  particularly 
fine.     Formerly  in  Sir  Peter  Lely's  collection. 

Sketch  for  the  kneeling  Vupgin,  with  two  children ;  also  of  three 
children.  The  character  of  the  heads,  and  the  style  of  line,  assign 
this  beautiful  pen-drawing  to  the  latter  part  of  the  Florentine 
epoch.    The  child  above  is  particularly  fine. 

ITie  Virgin  and  Child,  who  is  reading  in  a  book ;  half-length 
figure ;  her  head,  which  is  of  a  noble  melancholy  expression,  as 
well  as  the  character  of  the  whole,  indicate  his  first  Peruginesque 
epoch. 

A  child's  head  in  profile ;  study  from  nature,  two-thirds  the  si^e 
of  life ;  of  extraordinary  delicacy  of  feeling ;  in  black  chalk. 

Joseph  discovering  himself  to  his  brethren  ;  design  for  the  work 
in  the  Log^e ;  slight,  but  very  free ;  Indian-ink,  heightened  with 
white  on  dark  paper. 

The  following  drawings,  attributed  to  Raphael,  and  described 
by  Passavant  as  here,  were  not  among  those  placed : — 

A  seated  woman  in  profile,  reading  in  a  book  and  clasping  her 
child  ;*  drawn  with  the  point  and  heightened  with  white. 

The  Rape  of  Helena ;  a  composition  of  about  twenty  figures, 
slightly  sketched  with  the  pen ;  stamped  with  a  B. 

A  Roman  emperor ;  pen-drawing  from  the  antique. 

The  Resiurection  of  Christ,  which,  however,  as  well  as  Joseph 
discovering  himself  to  hb  brethren,  Passavant  does  not  consider  to 
be  original. 

GiULio  Romano. — ^A  woman  with  a  satyr  and  three  amorini ; 
other  amorini  fishing,  gathering  firuit,  and  wrestling  with  each 
other.  This  subject,  in  which  the  master  is  quite  in  his  element, 
breathes  a  healthy  fi-eshness  of  life,  and  is  very  spiritedly  drawn 
with  the  pen. 

The  Adoration  of  the  Kings ;  very  characteristic  of  the  master 
in  the  profaneness  of  the  feeling  and  the  exaggerated  dramatic 
character  of  the  motives. 

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356  CHATSWORTH.  Letter  XXX 

A  youth  and  four  horses ;  most  spiritedly  drawn  with  pen  and 
Indian  ink. 

The  Circumcision ;  a  very  rich  composition,  recalling  in  many 
reacts  the  picture  in  the  Louvre ;  highly  finished  with  pen, 
bistre,  and  white. 

Psyche  with  the  dragon  and  the  eagle ;  a  fantastically  conceived 
drawing  in  pen,  bistre,  and  sepia. 

Neptune  threatening  the  Winds  (Quos  ego) ;  of  astonishing  fire 
of  composition,  but  too  highly  placed  for  any  opinion. 

The  Gorybantes  clashing  with  their  weapons  in  order  to  over- 
power the  crying  of  the  infant  Jupiter  ;  a  spirited  drawing  for  the 
picture  belonging  to  Lord  Northwick. 

The  Combat  of  the  Horatii  and  Curatii ;  spiritedly  conceived 
and  softly  and  careAilly  executed  in  sepia. 

PoLiDORO  DA  Caravaggio. — ^Thc  Adoratiou  of  the  Kings ; 
spiritedly  executed  in  Indian  ink,  heightened  with  white,  on  green 
paper.  Various  other  drawings  by  him  are  here,  which,  however, 
did  not  appear  to  me  of  sufficient  importance  for  separate  notice. 

Perino  del  Vaga. — Of  the  genuine  and  good  drawings  by 
this  master  I  may  particularize  tiiat  of  Christ  washing  the  feet 
of  the  Aposties,  as  spirited  in  the  very  dramatic  conception,  and 
drawn  in  a  masterly  manner  with  the  pen  in  sepia  and  bistre. 

Taddeo  Zucchero. — ^Among  the  numerous  drawings  by  him, 
the  birth  of  the  Virgin  particularly  struck  me  for  the  grace  of  the 
motives ;  pen-drawing,  heightened  with  white. 

Federigo  Zucchero. — ^A  company  of  princely  personages,  in 
the  costume  of  his  own  time ;  judiciously  arranged,  of  animated 
heads  and  motives,  and  admirably  treated  in  sepia. 

Claude  Lorraine. — A  number  of  most  admirable  drawings — 
worthy  continuations  of  the  Liber  Veritatis. 
Lombard  School. 

Andrea  Mantegna. — Judith  putting  the  head  of  Holofemes 
into  a  bag,  and  looking  up  with  a  proud  gesture  of  triumph. 
Inscribed,  **  Andreas  Mantinia,  mcccclxxii.  iv.  l"  The  last 
three  letters  probably  indicate  the  1st  of  April.  The  angle  folds 
of  the  drapery  have  still  the  puffiness  of  hb  middle  period.  The 
execution  in  pen  and  sepia  is  admirable. 

The  same  subject,  with  Judith  looking  sidewards  with  an  ex- 
pression of  remorse  and  compassion.  On  the  sword  is  inscribed, 
**  Andrea  Mantinia,   mcccclxxxii."     Here  the  folds  are  more 

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Letter  XXX.         COLLECTION  OF  DRAWINGS.  357 

delicate  and  sharp.  The  execution,  in  crimson  colour  with  the 
point  of  the  brush,  is  highly  precise  and  masterly.  Both  of  these 
drawings  are  called  Giulio  Romano,  which  shows  how  thought- 
lessly many  a  title  is  given. 

A  spirited  broad  pen-drawing  for  one  of  the  fights  of  the  Tri- 
tons ;  engraved  by  himself  (Bartsch,  No.  18)* 

The  Virgin  fainting,  supported  by  two  women ;  an  excellent 
and  very  careful  pen-drawing  for  a  group  in  an  Entombment; 
engraved  by  himself  (Bartsch,  No.  2). 

Portrait  of  a  man  with  a  head-dress  such  as  occurs  in.  the  por- 
traits of  Philip  the  Good  of  Burgundy.  Of  the  finest  time  of  the 
master ;  noble  and  true  to  nature  in  conception,  and  of  masterly 
drawing  with  the  silver  point. 

CoRREGOia — Three  children,  two  seated  ;  of  singular  breadth 
and  softness ;  red  chalk. 

Two  children  embracing ;  soft  and  tender ;  pen  and  Indian-ink. 

A  third  similar  drawing. 

Parmiqianino. — ^Among  the  large  number  of  drawings  by  this 
master  I  must  content  myself  with  notidng  two.  A  sketch  for  his 
picture  known  by  the  name  of  the  Madonna  della  Rosa,  which  is 
often  repeated,  and  the  original  of  which  is  most  probably  that  in 
the  Dresden  Gallery ;  lightly  and  delicately  thrown  on  the  paper ; 
red  chalk. 

The  Marriage  of  the  Virgin ;  a  very  rich  and  spirited  drawing» 
of  masterly  execution  with  the  pen,  sepia,  and  white. 
Venftian  School. 

GiORQioNE. — ^Christ  with  the  Woman  of  Samaria  at  the  WelL 
Judging  from  the  character  of  the  heads,  the  peculiar  grace  of  the 
motives,  and  the  taste  of  the  landscape,  I  consider  this  admirable 
drawing,  here  most  erroneously  given  to  Giulio  Bomano,  to  be  the 
work  of  Giorgione. 

The  Death  of  Peter  Martyr ;  quite  conceived  in  the  master's 
spirit,  and  carefully  executed  in  red  chalk. 

The  beheading  of  a  samt,  very  finely  drawn  in  sepia  Two 
women,  one  of  them  in  profile,  and  very  beautiful ;  between  them 
a  man  ;  half-length  figures  ;  a  composition  often  carried  out  as  a 
picture  by  other  Venetsan  masters,  an  example  of  which  is  in  the 
Museum  at  Berlin.     Admirably  drawn  in  bistre. 

A  sermon  in  the  open  air;  a  rich  composition  of  excellent 
arrangement  and  very  speaking   motives.      Slightly  but  very 

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358  CHATSWORTH.  Letter  XXX. 

spiritedly  thrown  on  the  pap^.     A  recumbent  figure  in  the  fore- 
ground, another  in  the  background.     Chalk  drawing. 

Titian. — Hi«  own  portrait ;  a  small,  but  very  finished  dracwing, 
which,  however,  hangs  too  high. 

A  landscape  with  water,  in  whidi  a  horse  is  introduced,  and 
another  with  a  herdsman  and  drove  of  pigs,  are  poetical  in  concep- 
tion, and  very  ^iritedly  drawn  with  the  pen. 

An  ecclesiastic  giving  a  mitre  to  another  ecdeaastic ;  a  rich 
composition,  of  excellent  motives  and  beads,  and  of  masterly  exe- 
cution in  blad[  chalk. 

Christ  with  the  Woman  of  Samaria,  a  fine  pen-drawing,  here 
called  a  Giulio  Romano,  I  consider  to  be  of  the  early  period  of 
Titian. 

Giulio  Cabcpagnola. — ^This  master  displays  far  more  origin- 
ality and  significance  in  the  various  drawings  by  him  here  than 
in  the  pictures  by  him  known  to  me.  In  one  of  tiiem  e^>ecially 
he  shows  a  feeling  for  lines  and  a  grace  unusual  to  the  masters 
of  the  Venetian  schooL  Passavant  also  remarks  that  some  draw- 
ings of  children  playing  recall  Raphael.  It  is  true  they  are  inoom- 
paraWy  less  refined,  both  in  form  and  treatment 

GiROLAJfo  MuziANc— Landscape,  with  St  Jorome :  allied  to 
Titian  in  style  of  composition,  but  far  less  sjnrited  in  treatment 

Paul  Veronese.— An  historical  event  with  which  I  am  un- 
acquainted, with  a  Pope  and  a  Doge  as  chief  personages ;  a  sin- 
gularly rich  composition,  of  masterly  execution  in  Indian  ink  and 
white,  on  green  paper. 

BOLOGNESE   ScHOOIm 

AooOTiNo  Carracci.— Drawing  for  his  best-known  picture, 
the  Commumon  of  St  Jerome,  m  the  Gallery  at  Bologna.  Of 
d^and  ooble  feeling  in  the  heads,  with  every  part  wS  mider- 

AnNIBALE  Carra^^»         "Tk- 

tion  of  the  ViTfna  L  aI";^^'"^ ^°' *^*  pictoreof  «he  Assump- 
matic  action,^  rf  '^  ^«°  Gallery.     Of  exaggerated  dra- 

bistre,  aod  white.         ^**        ®*^      Admirably  drawn  with  pen. 

Some  very  spirited  1»  ;i 
into  Egypt,  another  with  *****  ®^P^**^y  ««e  with  the  Flight 

Cupid,  caUed  BaBDOHE    *  ****^  «sting,  and  one  with  a  deeping 

Guido  ^«»1.— Dr^Jj" 

^^  for  the  beautiful  picture  of  Bacchu» 


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Letteb  XXX.  COLLECTION  OF  DRAWINGS.  359 

and  Ariadne  in  the  island  of  Naxos,  in  the  collection  of  Lord 
Ashburnham,  but  with  certain  deviations ;  finely  drawn  with  pen, 
sepia,  and  bistre. 

DoMENicHiNa--^Some  very  fine  landscapes. 

GuBRCiNO. — Four  bacchanalian  childrea  uncommonly  deli- 
cate and  graceful^  and  very  softly  treated  in  black  and  red  chalk 
with  the  stumpi 

GsBMAii  School. 

Hoi«)ifiiN. — ^A  frame  containing  six  drawings  in  as  many  small 
circles  of  about  2|  ia  m  diameter ;  the  outlines  drawn  with  the 
pen,  the  shadows  lightly  rendered  in  sejHa,  with  partial  indications 
of  the  flesh^tintei  These  are  among  the  most  delicate  spedmens 
of  the  master  I  know,  and  have  an  especial  affinity  with  the  mag- 
nificent drawing  of  a  dagger-sheath  in  the  collection  of  the  Ge- 
heimrath  Beuth,  in  Berlin.  The  separate  subjects  are :  1.  The 
Fall  of  Phaeton.  2.  The  Last  Judgment.  3.  A  coat  of  arms» 
with  Cupid  bound  and  blindfolded,  three  beehives  and  the  motto 
<<  Nocet  empta  dolore  voluptas ;"  the  design  of  this  border  is  also 
very  beautiful  4.  Hagar  and  Ishmael.  5.  Diana  and  Actseon. 
6.  A  knight  looking  at  a  clock,  on  which  is  a  boy  about  to  strike 
the  hour  with  a  hammer,  with  the  motto  ^*  Aspetto  lahora."  This 
frame  also  contains  a  slight  but  ^irited  sketch,  in  the  sam^  style, 
of  a  vase  with  the  Rape  of  Helea  It  would  be  most  desirable 
for  all  lovers  of  art  if  fac-similes  of  these  drawings  could  be  made, 
and  I  know  no  one  in  England  more  qualified  &r  such  a  task  than 
the  admirable  draughtsman  Mr.  George  Scharf  jun. 

Knights,  lovers,  and  a  fool,  in  a  landscape,  with  buildings  in 
the  taste  of  the  Renaissance ;  above,  in  a  loggia,  musicians.  Full 
of  spirit  and  humour ;  slightly  drawn  with  the  pen,  with  indications 
of  shadows  in  Indian  ink,  and  dated  1534. 

A  female  figure,  with  an  armorial  shield ;  pen  and  Indian  ink ; 
a  charming  work  of  his  earlier  time. 

A  male  portrait  much  resembling  that  of  Archbishop  Albrecht 
of  Mayence.  Very  refined,  and  of  masterly  execution,  chiefly  in 
Indian  ink,  and  inscribed  "  H.  H." 

Portrait  of  a  knight ;  very  animated :  broadly  and  freely  drawn 
with  black  chalk. 

Albert  Durer. — Figures  of  old  and  young  women  in  a  bath- 
ing-room, with  two  attendants.  Very  spiritedly  and  s%htly 
drawn  with  die  pen,  and  dated  1516. 


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SOO  CHATSWORTH.  '  Letter  XXX. 

The  Virgin  seated,  giving  the  Child  a  pink ;  the  Baptist  look- 
ing up  to  him  with  the  Cross  :  of  his  later  time.  A  broad  and 
skilful  pen-drawing.     Inscribed  with  his  monogram. 

A  male  portrait;  highly  animated  and  broad:  black  chalk; 
dated  mdxviil 

Lucas  Cranach. — A  combat     Slight  pen-drawing. 

Finally  I  must  mention  a  considerable  number  of  water-colour  * 
drawings,  of  great  truth  of  nature  and  very  careful,  representing 
animals,  chiefly  birds,  together  with  a  monkey,  a  serpent,  a  panther, 
and  some  fruits.  One  of  the  drawings  is  dated  1540.  They  greatly 
recall  the  manner  in  which  Albert  Durer  treated  such  subjects, 
and  are,  without  doubt,  the  work  of  some  capital  artist  of  the 
Nuremberg  school 

Netherlandish  School. 

Lucas  van  Leydbn. — Above,  a  peasant ;  below,  a  landscape, 
and  an  executioner  wielding  a  sword.  Very  delicately  drawn  with 
the  silver  point ;  without  name  hera 

RuBENa — ^A  cripple ;  the  lower  half  of  the  figure  an  admirable 
original ;  the  upper  haK  a  copy. 

A  study  from  nature  of  cows  appeared  to  me  in  his  manner,  but 
was  placed  too  high  for  me  to  judge. 

Some  heads,  slightly  drawn  with  the  pen,  but  full  of  spirit, 
called  Vandyck.  Those  in  chalk  I  consider  to  be  by  another 
hand. 

Rembrandt. — ^The  Holy  Family,  in  homely  domestic  life. 
The  Virgin  kissing  the  Child ;  Joseph  carpentering ;  a  kettle  upon 
the  fire.  Of  true  feeling,  broadly  and  sketchily  executed  in  bistre 
with  white. 

Figures  of  various  men  ;  the  subject  unknown  to  me.  Of  strong 
effect  of  light,  and  very  beautifujly  executed  in  pen  and  Indian  ink. 

A  landscape  with  tiiree  persons  seated  in  the  foreground; 
slightly  treated  with  pen  and  sepia.     Not  named  here, 

Jan  Miel. — ^A  rural  meal ;  slightiy  coloured,  full  of  life. 

William  Van  de  Velde. — ^A  slightiy  agitated  sea,  of  ad- 
mirable arrangement  of  light ;  in  Lidian  ink     Liscribed. 

An  almost  calm  sea  of  great  beauty  ;  Lidian  ink.    Inscribed. 

A  calm  sea  with  various  large  and  small  vessels :  masterly. 


I  next  proceed  to  examine  the  manuscripts  with  miniatures  con- 
tained in  the  library. 


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Lettbe  XXX.  MSS.  WITH  MINIATURES.  361 

By  far  the  most  important  is  a  Benedictionale,  which  informs 
us,  in  Latin  verses,  written  in  gold  capitals,  that  it  was  executed 
for  Ethelwold,  Bishop  of  Winchester,  by  one  Godemann.  As 
this  Ethelwold  filled  the  see  from  970  to  984,  the  time  of  its 
origin  is  very  decidedly  fixed.  This  manuscript,  a  small  folio 
volume,  consisting  of  118  leaves  of  parchment,  surpasses,  in  the 
number  and  splendour  of  the  pictures,  as  well  as  in  the  rich  orna- 
ments of  the  borders,  all  the  other  Anglo-Saxon  manuscripts  of 
that  time  that  I  have  yet  seen  in  England,  and  diflers  advan- 
tageously from  most  of  them  in  some  essential  particidars.  It  is 
true  we  find  in  it  the  same  imartistic,  unmeaning  heads,  the  long 
meagre  limbs,  and  the  fluttering  draperies,  which  I  mentioned  in  a 
former  letter  as  characteristic  of  this  epoch ;  but,  on  the  other 
hand,  the  drawings  have  not  quite  such  a  barbarous  look.  In  the 
solid  opaque  body-colours  they  are  like  the  contemporary  paintings 
of  the  Frankish  school ;  in  the  insertion  of  the  lights  and  half- 
tints,  and  in  the  light  scale  of  the  broken  colours,  there  are,  as 
in  those,  traces  of  antique  reminiscences.  The  treatment,  though 
mechanical,  has,  notwithstanding,  a  degree  of  precision  and  neat- 
ness. ITie  last  picture,  which  is  only  drawn  in,  shows  the 
whole  of  the  mechanical  process.  The  outlines,  it  appears,  were 
first  drawn  on  the  parchment  with  red  colour,  then  so  filled  up  with 
opaque  colours  as  to  be  hidden  by  them,  the  outiines  being  finally 
re-inserted  on  those  opaque  colours  with  the  local  tints ;  in  the  nude 
portions,  which,  as  in  the  contemporary  Frankish  miniatures,  are 
of  a  cold  reddish  colour,  red  was  used ;  in  the  darkest  shadows 
of  the  drapery,  black ;  in  the  lights,  white.  Solne  of  the  designs 
appear  to  be  taken  from  representations  belonging  to  the  most 
ancient  period  of  Christian  art.  Thus,  in  the  Baptism  of  Christ 
(p.  25  a),  the  Jordan  still  appears  as  a  half-naked  river-god, 
the  two  black  horns  with  which  he  appears  having  doubtless  been 
gradually  derived  from  the  lobster-claws  on  the  heads  of  antique 
marine  deities.  The  very  thick  forms  of  the  limbs  also,  which 
are  as  badly  drawn  as  the  meagre  ones  in  the  other  pictures, 
indicate  the  imitation  of  an  earlier  type.  The  apostles  and  angels 
still  appear  in  the  antique  costume,  and  barefooted.  Some  other 
parts  prove  a  special  influence  of  the  Byzantine  style.  The  Na- 
tivity is  evidently  imitated  from  a  Byzantine  picture,  as  is  apparent 
in  the  Virgin  (p.  90  b),  a  dignified  figure,  in  a  golden  dress  and 
veil,  and  with  a  short  red  mantle,  of  a  good  antique  motive,  holding 

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362  CHATSWORTH.  Lbtteb  XXX. 

in  her  right  hand  a  book,  and  in  her  left  a  golden  lily.  The  infant 
Christ  is  dressed  entirely  in  the  Byzantine  fashion  (p.  24  a).  The 
same  influence  appears  in  the  frequent  use  of  gold  in  the  hems  of 
the  draperies,  in  the  outlines  of  the  architecture,  in  the  glory,  and 
in  the  beading  of  the  decorations,  gold  being,  in  general,  very 
rarely  and  sparingly  used  in  English  MSS»  of  that  age.  As  an 
instance  of  wholly  barbarous  design  of  the  time  of  this  MS.  may 
be  mentioned  the  group  of  the  Stoning  of  St  Stephen  (p.  17  b), 
where  the  figures  have  black  shoes  on  their  very  small  feet  In 
youthful  countenances  occurs  the  full  oval  usual  in  the  11th  and  12th 
centuries :  for  instance,  in  the  Incredulity  of  St  Thomas  (p.  56  b), 
and  in  several  in  p.  57  b.  This  very  mixed  character  is  seen  also 
in  the  figures  of  Christ,  who,  in  the  Stoning  of  St  Stephen,  appears, 
according  to  the  most  ancient  type,  without  a  beard ;  in  p.  71  a, 
as  the  enthroned  Deity,  bearded  according  to  the  mosaic  type ; 
while  in  the  Resurrection  (p.  9  b)  he  is  barbarously  represented, 
with  enormous  mustachios  and  pointed  beard.  The  backgrounds 
are  sometimes  of  one  colour ;  occasionally,  also,  the  earth  is  green 
and  the  sky  blue ;  but  they  more  usually  consist  of  several  bands 
of  colours,  bluish,  reddish,  and  greenish,  in  which  the  clouds  are 
painted  like  flying  ribbons,  or  with  that  ornament  by  which  the 
ancients  expressed  water.  The  ornaments  of  the  borders  of  the 
pictures  and  of  the  pages  at  the  beginning  of  the  chapters  are  in 
the  taste  of  the  richer  Romanesque  architecture,  in  which  varieties 
of  the  antique  acanthus  form  the  principal  feature.  There  is  no 
trace  of  the  figures  of  dragons  otherwise  so  much  in  vogue.  Silver, 
too,  is  here  and  there  employed,  but,  as  usual,  has  become  black. 
This  MS.  is  of  the  highest  importance  in  the  history  of  English 
art,  proving  that  some  works  were  produced  in  that  age,  which,  in 
most  particulars,  are  not  inferior  to  the  contemporary  specimens  of 
France,  the  Netherlands,  and  Germany. 

Next  in  interest  to  this  MS.  is  a  Missal  of  King  Henry  VH  of 
England,  large  octavo,  with  186  leaves.  A  notice  on  the  first 
page  informs  us  that  that  sovereign  gave  it  to  his  daughter,  Mar- 
garet Queen  of  Scotland,  mother  of  Margaret  Douglas,  which  last 
individual  presented  it  to  the  Archbishop  of  St.  Andrewa  Next 
follows  the  calendar,  on  12  pages,  ornamented  on  the  borders  with 
fruit  and  flowers,  but  otherwise  with  rather  poor  pictures.  The 
fourteenth  page  contains  the  autograph  note  of  the  king  to  Ins 
daughter.  On  the  reverse  of  the  fifteenth  page  is  Christ,  half- 
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LjgpüER  XXX.  MSS.  WITH  MINIATURES.  363 

length,  perfectly  similar  to  the  figures  by  Jan  Van  Eyck  in  the 
Berlin  Museum,  and  of  Mending  in  the  Royal  Gallery  at  Munich, 
bestowing  the  benediction  with  his  right  hand,  and  holding  in  his 
left  a  crystal  globe  with  a  cross.  The  style  of  the  excellent  execu- 
tion, and  the  warm  colouring,  also  indicate  the  Flemish  origin  of 
this  and  the  other  numerous  pictures  with  which  the  book  is 
adorned.  Before  each  division  there  is  one  which  fills  the  whole 
page,  and  the  reverse  of  which  is  always  left  white.  Among  them 
the  Martyrdom  of  St.  Thomas  k  Becket  (p.  29  b)  and  St  George 
(p.  31  b)  are  distinguished  for  composition  and  expression,  A 
number  of  initials  also  occur  as  vignettes,  with  small  pictures  on  the 
border.  The  work  of  two  difierent  painters  may  be  very  clearly 
distinguished  here ;  one  of  them,  who  is  warmer  in  the  tone,  and, 
on  the  whole,  more  delicate,  executed  the  miniatures  up  to  p. 
33,  abo  pp.  43  b  and  46  b ;  the  other,  cold  in  the  colouring 
and  less  skilful,  all  the  rest.  At  the  same  time,  taken  altogether, 
they  cannot  be  said  to  belong  to  the  best  specimens  produced 
in  the  Netherlands  at  this  period  (1485-1509).  The  borders  of 
the  larger  pictures  and  the  opposite  pages  are  very  beautifully 
adorned  with  elegant  flowers  and  firuits ;  but  these  are  also  ex- 
celled, in  delicacy  at  least,  by  other  miniatures.  On  p.  32  there  is 
a  second  autograph  of  the  king. 

I  had  scarcely  finished  my  observations  when  the  Duke  entered 
and  invited  me  to  take  a  view  of  the  house  and  grounds 

A  small  room  contains  a  collection  of  fossils  found  in  Derby- 
shire, a  county  rich  in  these  productions.  I  had  never  before 
seen  specimens  of  these  varieties,  especially  of  the  celebrated  fluor 
and  calcareous  spar,  of  such  astonishing  size  and  splendour ;  nor 
is  this  surprising,  the  jDuke  being  the  owner  of  the  mines  from 
which  these  minerals  come.  But  what  excited  my  admiration  in 
the  highest  degree  was  an  emerald  which  the  Duke  purchased  of 
Don  Pedro,  Emperor  of  Brazil,  and  which,  in  size,  purity  of  form, 
and  uniform  depth  of  colour,  far  surpassed  all  that  I  have  hitherto 
seen  in  the  most  celebrated  cabinets. 

His  Grace  had  the  kindness  to  show  me,  also,  the  newly-built 
kitchen,  which  is,  indeed,  worth  a  visit.  It  is  of  the  size  of  a 
large  hall ;  a  lofty  stone  arched  roof  makes  it  very  airy,  and  the 
large  windows  render  it  cheerful  and  light  Nothing  but  wood  is 
burnt  in  it,  a  circumstance  very  rare  in  England.  As  I  could  not 
perceive  any  contrivance  by  which  some  joints  of  meat  that  were 

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364  CHATßWORTH.  Letteb  XXX. 

before  the  fire  were  turning,  the  Duke  showed  me  a  hydraulic 
apparatus  by  which  the  spits  were  put  in  motioa 

The  dining-room,  with  a  table  for  fifty  persons,  has  a  very 
pleasing  effect  by  its  simple  but  noble  ornaments.  Two  large 
chimney-pieces  of  Carrara  marble  are  adorned  with  figures  by 
Sir  Richard  Westmacott,  who,  in  reference  to  the  destination 
of  the  apartment,  are  bringing  the  gifts  of  Ceres,  Bacchus,  and 
Pomona. 

The  following  portraits,  all  whole-lengths  the  size  of  life,  are 
judiciously  arranged  on  the  walls. 

Vandyck. — 1.  The  Earl  of  Devonshire,  a  young  man  with  a 
handsome  countenance,  dark,  curly  hair,  in  a  black  silk  dress  with 
a  broad  falling  collar.  In  his  left  hand,  which  rests  on  the  hip,  he 
holds  his  hat,  and  in  his  right,  which  is  hanging  down,  his  handker- 
chief The  position  of  the  legs  is  not  happy  ;  nevertheless,  this  is 
a  picture  of  a  rather  warm  tone,  and  of  much  delicacy  and  elegance. 

2.  The  companion  picture :  the  Countess  of  Devonshire,  with 
delicate  features,  her  dark-brown  hair  in  light  ringlets ;  dressed 
in  dark-green  silk,  the  neck  and  breast  richly  adorned  with  pearls 
and  precious  stones.  The  attitude  of  walking  gives  the  figure 
much  animation.     An  extremely  pleasing  picture. 

3.  Lady  Wharton,  daughter  of  Arthur  Goodwia  The  face  a  fine 
ovaL  She  is  dressed  in  green  nlk,  in  the  same  attitude  as  the  fore- 
going. The  lightness  of  the  tone  and  the  delicacy  of  the  treatment 
^ve  a  great  charm  to  this  picture.     From  the  Houghton  Gallery. 

4.  Johanna  of  Blois,  afterwards  Lady  %ch,  in  a  black  silk 
dress,  and  a  lace  ruff,  very  richly  adorned  with  peark  She  has  her 
right  hand  raised  to  her  breast,  and  her  left,  which  hangs  down, 
holds  a  pocket-handkerchief.     Uncommonly  fine  in  the  drawing. 

5.  Arthur  Goodwin,  taken  almost  in  ft'ont,  in  a  brown  silk 
dress  and  falling  collar.  The  countenance  is  very  pleasing,  the 
execution  very  true  to  nature,  the  colouring  less  forcible  than 
usual,  but  of  a  delicate  warm  tona  Inscribed  with  the  date  1639. 
From  the  Houghton  Gallery. 

Gerard  Honthgrst. — A  mother  with  two  sons,  and  a  rather 
older  daughter.  Compared  with  Vandyck,  the  arrangement  is 
rather  too  inartistic,  and  the  space  not  sufficiently  filled ;  other- 
wise it  is  very  spirited  and  carefully  painted,  and  the  colouring  is 
fine  and  clear. 

Sir  Godfrey  Kneller. — Portrait  of  a  gentleman  in  a  flowing 

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Letter  XXX.       COLLECTION  OF  SCULPTURE.  365 

wig ;  painted  with  uncommon  caxe,  yet,  compared  with  the  others, 
flat  and  theatrical 

I  now  repaired  to  the  large  gallery,  lighted  by  three  skylights, 
which  has  been  built  for  the  sculptures.  The  closely-joined 
blocks  of  fine  sandstone  being  left  unstuccoed  give  a  very  agree- 
able impression  of  solidity,  and,  at  the  same  time,  their  warm 
yellow  tone  relieves  the  white  marbles.  The  architrave  of  the 
doors  at  the  ends  of  the  hall  is  of  a  beautiful  grey  marble,  with 
shells  in  it,  found  in  Derbyshire,  and  is  supported  by  two  columns 
of  Afirican  marble,  £ind  two  of  giallo  antico.  The  sculptures,  about 
forty  in  number,  are  placed  upon  pedestals  and  pillars,  most  of 
which  are  of  costly  materials — porphyry,  granite,  cipollino,  fior  di 
Persico,  and  the  rarest  breccia.  In  others,  which  are  executed  in 
Derbyshire  stone,  tablets  of  valuable  marbles  are  let  ia  I  proceed 
to  consider  the  principal  scidptures  themselves. 

A  colossal  antique  bust  of  Alexander  the  Great,  with  rich  flow- 
ing hair  disposed  like  that  of  Jupiter,  and  very  noble  features,  is 
of  an  idealised  character,  but  agrees  very  well  in  the  main  features 
with  the  celebrated  portrait-bust  in  the  Louvre.  Half  the  nose, 
and  all  from  the  throat  downwards,  is  new. 

The  Duke,  like  most  Englishmen  who  are  fond  of  the  arts,  is 
a  great  admirer  of  Canova,  some  of  whose  well-known  works  are 
in  this  collection. 

Canova. — ^The  Sleeping  Endymion  with  his  dog  by  his  side. 
The  representation  of  a  figure  in  profound  repose  was  peculiarly 
adapted  to  this  sculptor's  talent,  who  produced  accordingly  a  work 
of  the  utmost  softness  and  of  the  highest  finish  of  surface  ;  the  over- 
polish,  however,  strikes  the  eye  disagreeably,  and  is  quite  at  vari- 
ance with  the  appearance  of  flesh. 

The  statue  of  Madame  Letitia,  the  mother  of  Napoleon,  seated. 
The  whole  conception  is  far  more  simple  and  easy  than  in  most  of 
Canova's  works.  The  head,  which  is  of  a  very  natural  character, 
and  with  a  good-natured  and  sensible  expression,  is,  like  every 
other  part,  finished  with  the  greatest  care,  so  that  I  rank  this 
among  his  best  works.  This  one  Greek  word,  At/aa^icrroxeia,  bor- 
rowed from  Homer,  which  is  inscribed  under  it,  expresses  that  she 
is  the  unhappy  mother  of  the  greatest  son. 

The  colossal  bust  of  Napoleon.  Very  animated  and  highly 
finished.  It  served  as  the  original  for  the  head  of  the  statue  in 
Apsley  House. 


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366  CHATSWORTH.  Lkttbb  XXX. 

A  repetition  of  the  well-known  statue  of  Hebe,  which  so  far 
diflTers  from  the  first,  and  probably  the  original,  in  the  Berlin  Mu- 
seum, that  here,  instead  of  the  marble  clouds  on  which  she  floats, 
an  ordinary  support  (puntello)  is  employed,  and  the  clouds  only 
imitated.  In  delicacy  of  workmanship  it  is  far  inferior  to  the 
original 

Canova's  own  bust,  larger  than  life,  has  very  noble  features, 
with  a  rather  sentimental  6xpresaon. 

The  colossal  bust  of  the  Duke  of  Devonshire. 

Two  female  heads,  one  adorned  with  grapes,  the  other  with  a 
veil,  have,  like  two  others  copied  from  them,  the  monotonous,  weak, 
insipid  character,  which,  especially  in  Canova's  later  period,  dege- 
nerated so  much  into  mannerism. 

Finally,  on  each  side  of  the  entrance-door  are  copies  in  marble 
of  portions  of  Canova's  monument  to  Pope  Bezzonico  in  St.  Peter's, 
Bome* 

Besides  these,  the  works  of  the  following  sculptors  are  worthy  of 
notice : — 

Thorwalbsen. — ^The  well-known  statue  of  Venus  with  the 
apple.  The  graceful  action  peculiar  to  this  artist,  the  natural 
beauty  and  healthy  fulness  of  the  forms,  make  this  work  very 
pleasing.  Round  the  right  wrist  is  a  golden  armlet,  with  the  most 
delicate  ornament  in  niello,  and  the  inscription,  ''  Roma,  1824." 

The  bust  of  Cardinal  Gonsalvi.  The  fine  sensible  features  are 
given  with  great  spirit,  and  the  workmanship  is  more  finished  than 
in  many  of  Thorwaldsen's  busts. 

Besides  these,  there  are  the  following  reliefe  by  him  inserted  in 
the  wall :  Day  and  Night ;  the  Anger  of  Achilles  at  the  loss  of 
Briseis ;  Priam  entreating  Achilles  for  the  body  of  Hector ;  Castor 
and  Pollux  carrying  off  the  I«eucippides ;  and  the  same  fighting 
with  Idas  and  Lynceus,  with  Castor  killed  by  Lynceua  The  two 
last,  which  are  little  known,  are  of  great  animation. 

Rudolph  Schadow. — ^A  very  good  repetition  of  his  well-known 
elegant  statue  of  a  female  spinning. 

Kessels,  the  celebrated  Belgian  sculptor. — A  Discobolus. 
Very  spirited,  and  carefully  executed  in  all  the  parts,  from  nature. 

Teneranl — Cupid  drawing  a  thorn  from  the  foot  of  Venus. 
Executed  with  great  care  and  much  skill  in  the  treatment  of  the 
marble,  but  of  little  meaning. 

The  bust  of  Pio  Nono ;  companion  to  the  one  of  Gonsalvi :  as 

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Letteb  XXX.         COLLECTION  OF  SCULPTURE.  367 

true  and  elevated  in  conception,  as  it  is  soft  and  masterly  in 
execution. 

Taddolini. — Ganymede  caressing  the  Eagle ;  a  pleasing  and 
well-executed  work. 

Gibson. — ^Mars  and  Cupid.  The  proportion  of  these  figures, 
which  are  carefully  executed,  is  not  happy.  Mars  seems  much 
too  clumsy  for  a  god ;  Cupid,  on  the  other  hand,  too  affected 

Albacini. — ^Achilles  wounded  in  the  heel,  lying  on  the  ground. 
A  well-executed  work,  but  neither  the  character  nor  the  excessive 
expression  of  pain  is  suited  for  an  Achilles. 

Richard  Westmacott,  jun. — ^A  young  satyr  seated,  striking 
the  cymbals :  animated  and  graceful  in  motive,  and  of  very  careful 
execution ;  only  not  bacchanalian  enough  in  the  character  of  the 
head.  A  seated  Yenus^  on  the  other  hand,  has  a  pleasing  head 
quite  corresponding  with  the  character ;  the  itiotive  of  the  deli*- 
cate  figure  is  also  original  and  graceful. 

Thomas  CAMPBELL.--Statue  of  Pauline  Borghese,  seated, 
and  holding  the  portrait  of  Napoleon  on  a  medallion ;  companion 
to  Madame  Letitia ;  of  good  motive,  but  too  little  carried  out  in 
single  parts,  espedally  in  the  arms  and  hands. 

GoTT.— A  greyhound  and  two  boys:  in  point  of  truth  and 
careful  execution  one  of  his  best  works  of  this  class. 

An  antique  bronze ;  two  greyhounds  licking  each  other :  admir- 
able in  expression  and  motive,  but  of  inferior  execution  in  details. 

A  copy  in  marble  of  the  well-known  bust  of  Lucius  Verus  in 
the  Louvre.    Very  careful. 

A  medallion  in  marble,  Philip  II.  of  Spain,  in  profile,  must  not 
be  omitted.  Very  characteristic  and  careful ;  and,  without  doubt, 
a  work  contemporary  with  the  subject. 

Some  splendid  vases,  pillars,  and  slabs,  of  the  rarest  and  most 
beautiful  marbles  and  stones,  increase  the  rich  and  noble  effect  of 
the  whole.  The  most  remarkable  objects  are  a  large  granite 
basin,  by  Cantian  of  Berlin,  who  is  justiy  celebrated  for  works  of 
this  kind ;  some  very  considerable  basins  of  Fior  di  Persico,  and 
a  large  vessel  of  Oriental  alabaster.  A  table  with  a  very  large 
slab  of  Labrador  marble,  bordered  witii  porphyry,  is  also  very 
fine.  The  same  may  be  said  of  the  companion  to  it— a  table  witii 
a  slab  consisting  in  the  centre  of  four  large  pieces  of  smaragdito ; 
the  border,  of  other  marbles.  Another  table,  with  a  slab  of  black 
marble,  with  red  and  white  roses,  pinks,  tulips,  passion-flowers, 

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368  CHATSWORTH.  Letter  XXX. 

and  other  beautiful  flowers,  in  pietra-dura,  has  a  most  charming 
eflfect  A  basin  of  Derbyshire  spar  is  the  most  beautiiul  I  have 
seen. 

In  a  small  room,  uniting  the  gallery  of  antiques  with  the 
dining-room,  are  various  Indian  idols  of  marble,  of  inferior  work- 
manship. Among  them  is  a  statue  of  Buddha,  with  folded  legs ; 
about  3^-  ft.  high,  with  a  very  rich  gilt  head-dress,  and  gilt  orna- 
ments on  the  chest,  legs,  and  arms.  I  mention  this  on  account  of 
the  beauty  of  the  material,  which  is  of  an  almost  white  nephrite — 
the  Djad  of  the  Orientals — ^for  the  execution,  especially  of  the 
hands,  is  extremely  rude. 

A  walk  through  the  conservatories  also  showed  me  some  re- 
markable objects  of  art ;  for  instance,  considerable  fragments  of 
sculpture — ^among  the  rest,  one  of  a  mediaeval  statue,  which, 
from  the  cast  of  the  drapery,  may  belong  to  about  the  11th  cen- 
tury ;  tasteful  Roman  cinerary  urns ;  a  careful  copy  of  Canova's 
Magdalen  in  bronze,  and  some  large  wooden  chests  of  good  work- 
manship, in  which  the  Italian  brides  of  the  16th  century  kept 
their  marriage  outfit. 

In  a  conservatory  attached  to  the  house,  containing  beautiiul 
plants,  and  which,  when  lighted  for  company,  must  have  a  very 
fine  effect,  is  a  careful  copy  by  Bartolini  of  the  Medici  vase. 

After  spending  my  time  much  to  my  satisfaction,  I  was  again 
joined  by  his  Grace,  who  invited  me  to  take  a  drive  to  some  distance 
with  him.  He  told  me,  to  my  surprise,  that  the  many  very  beau- 
tiful kinds  of  marble,  of  which  a  large  slab  was  composed,  are  all 
found  in  Derbyshire.  I  was  most  pleased  with  one  of  them,  the 
deep  red  of  which  quite  resembles  many  of  the  painted  walls  in 
Pompeii.  His  Grace  pointed  out  to  me  two  very  elegant  bowls 
which  he  had  caused  to  be  made  of  this  marble  in  Italy.  A 
marble  of  the  purest,  deepest  black,  is  found  in  such  large  blocks, 
that  the  Duke  has  had  a  copy  of  the  statue  of  Isis,  nearly  the  size 
of  life,  made  of  it  A  pedestal  of  very  beautiful  porphyry,  and  a 
large  vase  of  serpentine,  are,  as  his  Grace  told  me,  presents  from 
the  Emperor  of  Russia. 

A  light  and  elegant  droschky,  with  two  chestnut  ponies,  beauti- 
fully matched,  and  of  the  largest  and  finest  race,  were  standing  at 
the  door.  On  one  of  them  sat  a  handsome  slender  postilion  in  a 
light-blue  velvet  jacket  trimmed  with  silver.  An  outrider  opened 
the  gates  on  the  road,  and  thus  we  proceeded  rapidly  and  plea» 

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Letter  XXX.    DUKE  OF  DEVONSHIRE'S  COLLECTION.  369 

santly  along.  We  went  first  to  the  extensive  kitchen-gardens, 
where  every  kind  of  vegetable  and  herb  are  cultivated  in  the 
highest  perfection.  We  next  visited  a  number  of  hot-houses.  In 
one  of  them  tropical  plants  of  the  rarest  species  were  collected  in 
greater  numbers  than  in  the  one  nearer  the  mansion.  In  others, 
innumerable  pine-apples,  some  of  them  of  enormous  size,  raised 
their  golden  heads,  and  filled  the  air  with  an  almost  overpowering 
fragrance.  In  others  again,  hundreds  of  magnificent  bunches  of 
black  grapes  hung  down,  looking  very  tempting.  On  my  observing  ^ 
to  the  Duke  that  his  table  was  indeed  very  completely  furnished, 
he  suddenly  opened  a  door  and  desired  me  to  look  in.  There, 
in  a  dark,  damp,  and  hot  place,  the  rarest  and  most  delicate 
species  of  mushrooms  were  thriving  luxuriantly.  The  park  itself, 
through  which  we  then  drove,  having  the  advantage  of  very  con- 
siderable and  beautifully-wooded  eminences,  affords  extremely  pic- 
turesque views,  which  are  agreeably  animated  by  numerous  herds 
of  deer.  In  order  to  reach  some  points  from  which  the  mandon 
has  a  fine  effect,  and  groups  very  happily  with  the  hills,  we  turned 
out  of  the  beaten  road,  and  rolled  rapidly  over  the  soft  verdant 
turf,  which,  like  all  the  rest,  is  kept  in  the  highest  order.  Several 
young  plantations  manifest  the  Duke's  taste  for  the  picturesqua 
He  told  me  he  wished  to  show  me  Haddon  Hall,  an  old  castle 
now  belonging  to  the  Duke  of  Rutland ;  we  therefore  drove  along 
a  charming  valley  enclosed  by  beautifully-wooded  hills,  in  winch 
this  castle,  with  its  tower,  has  a  very  romantic  effect.  It  is  of  but 
small  extent,  and  is  an  instance  of  the  moderate  pretensions  of 
noblemen  in  the  middle  ages. 

At  dinner,  besides  the  Duke,  I  met  Lord  Cavendish,  a  near 
relation,  with  his  young  consort,  a  lady  of  that  elegant  and  slender 
form  which  is  rarely  met  with  except  in  England;  and  an  old 
gentleman.  During  the  time  that  the  hospitable  Duke  passes  at 
Chatsworth,  the  number  of  his  guests  sometimes  amounts  to  fifty. 

My  first  visit  to  Chatsworth  was,  as  I  have  already  mentioned, 
in  1835 — my  second  in  1850,  on  which  occasion  the  Duke  was 
absent,  being  at  that  time  on  his  Irish  estates.  The  lapse  of  years, 
however,  had  not  diminished  his  coiurteous  kindness  towards  me, 
and  I  received  from  his  Grace  a  card  which  not  only  procured 
me  the  most  humane  treatment  from  the  housekeeper,  and  the 
undisturbed  inspection  of  all  the  above-mentioned  treasures  of 
art»  but  also  allowed  me  to  view  the  magnificent  grounds,  and 

VOL.  III.  2    B 

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370  CHATSWORTH.  Letteb  XXX. 

all  the  many  improyements  in  the  gardens  made  by  the  Duke 
since  1835. 

Although  the  gentleman  since  become  so  well  known  to  the 
world  as  Sir  Joseph  Paxton,  to  whom  my  card  was  also  addressed, 
was  absent  at  the  time,  his  secretary  was  most  obliging  in  supply- 
ing his  place.  With  a  correct  feeling  for  what  is  necessary  in  a 
transition  from  the  sole  supremacy  of  art  as  seen  in  buildings,  to 
the  realms  of  garden  and  park,  where  she  may  be  said  to  rule  con- 
jointly with  nature,  the  great  terrace  which  joins  on  to  the  back  part 
of  the  edifice,  and  which  now  lay  before  me  sparkling  in  the  morn- 
ing sun,  is  of  strict  symmetrical  arrangement,  and  richly  adorned 
at  stated  distances  with  copies  in  marble  from  well-known  antique 
sculptures.  The  effect  is  that  of  great  splendour  and  grandeur ; 
this  was  enhanced  when  the  "  Emperor,"  the  loftiest  fountain  in 
existence,  sent  forth  its  silver  beam  260  ft.  in  height  from  the 
basin  of  ^tons  that  receives  its  airy  shower,  while  on  the  left,  in 
happy  contrast,  a  fine  mass  of  water  poured  down  in  various 
stages  like  a  liquid  veil ;  two  waterfalls  added  their  rushing  sound, 
and  in  far  distance  smaller  jets  dUeau  rose  like  lines  of  light 
among  the  trees  of  the  gardea  I  now  proceeded,  to  my  great 
delight,  and  under  all  the  advantages  of  the  finest  weather,  to 
the  different  portions  of  the  magnificent  grounds,  in  which  art,  no 
longer  restricted  by  the  rules  of  architecture,  appears  under  the 
most  picturesque  forms.  Every  beauty  has  been  called  into  exist- 
ence in  Chatsworth  that  a  finely  undulating  ground,  a  magnificent 
vegetation,  the  rarest  variety  of  native  and  foreign  trees  and 
plants,  all  improved  by  the  finest  taste  and  the  amplest  means,  can 
combine.  Finally,  a  gigantic  conservatory,  100  fl:  long,  300  ft. 
wide,  and  60  ft:,  high,  erected  by  Sir  Joseph  Paxton,  with  as  mudi 
glass  and  as  little  wood  and  iron  as  may  be,  receives  you  into  the 
realms  of  the  tropics.  In  this  light  and  airy  space  the  most 
various  sorts  of  palms  and  other  kinds  of  plants  grow  together  as 
in  a  natural  wilderness,  while  the  visitor  may  view  all  this  luxu- 
riance from  a  lofty  gallery  running  round  the  interior  of  the 
building.  I  may  remark  that  I  here  for  the  first  time  saw  the 
Victoria  regia,  with  her  gigantic  and  marvellously  strong  leaves. 

With  a  mind  quite  engrossed  with  the  splendours  which  art, 
nature,  and  science  have  united  in  Chatsworth,  I  left  tins 
princely  residence  with  no  little  admiration  for  the  elevation  of 
mind  and  fine  moral  cultivation  of  the  nobleman  who  has  called 
all  this  into  existence. 

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Letter  XXX.  WOOTON  HALL.  371 

On  leaving  Chatsworth  I  proceeded  to  Ashbourne,  a  small 
town  in  Derbyshire.  This  county  is  certainly  one  of  the  most 
beautiful  in  England,  for  the  way  to  Ashbourne  also  passed  through 
the  most  cheerfid  and  richly-wooded  mountain  valleys,  which  shone 
with  increased  splendour  in  the  full  light  of  the  sun.  Not  that 
the  scenery  is  by  any  means  of  a  sublime  character,  or  calculated 
to  excite  any  feeling  of  solemnity,  but  there  is  something  in  it 
extremely  grateful  to  the  mind,  while  here  and  there  are  seen 
such  sweetly  retired  spots,  that  the  traveller  feels  almost  inclined 
to  envy  those  whose  lot  is  cast  among  them. 


WOOTON  HALL. 
When  in  London,  visiting  at  the  hospitable  mansion  of  Mr. 
Davenport  Bromley,  in  Grosvenor  Street,  I  had  received  a  kind 
invitation  from  that  gentleman  to  spend  a  few  days  at  his  seat 
near  Ashbourne.  Accordingly,  I  now  proceeded  to  Wooton 
Hall,  and  was  much  gratified  with  my  reception.  The  house, 
which  is  built  in  the  Italian  taste,  stands  high,  and  commands  a 
fine  view ;  it  is  surrounded  on  two  sides  with  beautiful  gardens, 
and  has  every  appliance  that  can  promote  beauty  and  comfort, 
while  the  park  itself,  with  its  groups  of  rocks  starting  from  the 
mossy  ground  and  crowned  with  trees,  ofiers  scenery  of  the  most 
attractive  kind.  It  was  here  that  Jean  Jacques  Rousseau  was 
hospitably  entertained  for  some  time,  and  I  can  imagine  the 
pleasure  he  must  have  taken  in  this  romantic  spot.  Mr.  Daven- 
port Bromley  is  an  ardent  admirer  of  all  such  pictures,  be  they 
of  the  13th  or  16th  century,  in  which  an  unaffected  and  genuine 
feeling  is  expressed.  I  found,  accordingly,  in  his  house  a  number 
of  works,  chiefly  altar-pictures,  illustrating  the  Italian  schools 
from  their  first  rise  in  the  13th  century  to  their  highest  develop- 
ment in  the  16th,  such  as  I  have  not  met  with,  especially  as 
regards  the  earlier  schools,  in  any  other  gallery  in  England.  This 
collection  has  been  made  by  Mr.  Davenport  Bromley  himself  during 
his  travels,  and  also  by  means  of  fortunate  purchases  in  England. 

Haul. 

Giotto. — 1.  The  Coronation  of  the  Virgin  in  a  pediment. 

Above  is  the  First  Person  of  the  Trinity  in  the  bearded  type  of 

Christ,  of  very  serious  and  dignified  expression,  with  an  open  book 

in  which  are  inscribed  A  and  ß ;   there  are  also  four  adoring 

2  B  2 

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372  WOOTON  HALL.  Letter  XXX. 

angela  This  work  agrees  in  every  respect  so  entirely  with 
Giotto's  well-known  picture  in  S.  Croce  in  Florence,  that  it  may 
very  possibly  be  by  him,  and,  at  all  events,  approaches  very  near 
to  him  in  style  and  period. 

Bernardo  Orcagna. — A  large  altar-decoration,  the  divisions 
in  very  pure  forms  for  Italian  Gothic ;  the  centre  consisting  of  the 
Crucifixion  in  a  rich  composition ;  the  wings  containing  eight 
figures  of  apostles  and  saints,  with  the  following  inscription  : 
"Anno  Domini  mccclviii  Bemardus  pinxit  me  quem  Florentia 
finsit."  This  is  probably  the  work  of  Bernardo,  who  is  supposed 
to  be  an  elder  brother  of  Andrea  Orcagna.  The  picture  shows 
such  analogy  in  forms  with  Taddeo  Gaddi,  that  Bernardo  Orcagna 
might  be  taken  for  his  pupil.  The  cold  leaden  tone  of  the  flesh 
is  characteristic  of  Taddeo  Gaddi. 

School  of  Andrea  Orcagna. — An  altar-piece  of  Gothic  form. 
In  the  centre  is  the  Coronation  of  the  Virgin,  quite  according  to 
the  conception  of  Giotto,  but  the  heads  are  of  more  individuality 
and  beauty  of  expression.  Below  are  five  angels  singing  and 
playing  on  musical  instruments,  some  of  them  beautiful  On  one 
side  SS.  Stephen  and  Lawrence,  on  the  other  St.  John  the  Baptist 
and  St  John  the  Evangelist,  the  last  represented  old  and  very 
dignified.  Above  each  an  adoring  angel.  On  the  comer  pillars 
St  Bartholomew,  St  Francis,  a  bishop  with  a  dragon,  to  which 
he  is  pointing,  St.  Anthony  the  Hermit,  St  Domenic,  and  St 
Augustin.  The  motives  generally  admirable,  even  as  regards  the 
smaller  saints.  The  draperies  are  conformable  to  style  in  arrange- 
ment, and  carefully  modelled.  The  execution  is  also  very  careful 
in  the  other  portions.  Inscribed  mcccviii.  This  picture,  which  is 
in  admirable  preservation,  was  purchased  from  a  church  about  12 
miles  from  Florence,  and  shows  throughout  the  state  of  art  which 
Andrea  Orcagna  had  developed  in  Florence. 

CosiMo  RossELLi. — ^Au  altar-piccc  :  the  Virgin  enthroned ; 
the  Child,  of  an  exaggerated  full  form,  on  her  lap  blessing ;  next 
to  them  two  nobly-conceived  and  admirably-modelled  angels; 
further  at  the  sides,  in  four  niches,  SS.  Andrew,  John  the  Bap- 
tist, Bartholomew,  and  Zenobio ;  below  are  the  names  of  these 
saints,  and  "  mcccc^xxxxiii  Die  xxviii  Novembris."  A  genuine 
picture  of  the  earlier  and  better  time  of  this  master,  and,  with  the 
exception  of  a  few  retouches  in  the  saints,  well  preserved. 

Bramantino. — The  Adoration  of  the  KLings :  a  large  altar- 
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Lbtter  XXX.    MR.  DAVENPORT  BROMLEY'S  COLLECTION.    373 

piece.  Authentic  easel  pictures  by  this  master  are  scarcely  known 
to  exist,  but  there  is  no  doubt  that  this  is  the  work  of  some  known 
and  original  painter ;  it  approaches  nearer  to  Pietro  della  Fran- 
cesca  than  to  any  master  I  know.  The  rich  composition  is  well 
arranged.  The  eldest  king  is  about  to  kiss  the  foot  of  the  Child ; 
the  youngest  is  represented  as  a  Moor.  An  elevated  and  earnest 
feeling  is  expressed  in  the  heads ;  the  motives  are  true,  and,  in 
the  case  of  the  pages,  two  of  whom  are  on  horses — well  drawn 
for  the  time — are  very  animated.  The  costumes  are  partially 
those  belonging  to  the  period ;  the  robes  of  the  two  above-men- 
tioned kings  are  gilt,  with  the  lights  scratched  out.  Some  por- 
tions of  the  dress,  the  crowns,  and  the  vessels  project  like  golden 
reliefe,  and  are  decorated  with  jewels  in  various-coloured  varnishes. 
Traces  of  the  influence  of  the  school  of  Van  Eyck  are  seen  in  the 
realistic  tendency  of  the  whole,  in  the  landscape  and  in  a  part  of 
the  retinue,  in  the  town  surrounded  with  numerous  walls,  repre- 
senting Bethlehem,  and  in  the  natural  weeds  in  the  foreground. 

Simone  Martini,  called  Memmi. — St.  Catherine ;  whole- 
length  figure,  three-quarters  size:  one  of  the  most  beautiful 
works  by  this  great  painter  preserved  to  us.  The  proportions  are 
slender,  the  refined  and  noble  features  indicate  an  unusual  feeling 
for  beauty,  and  the  purest  religious  feeling.  In  the  right  hand, 
in  reference  doubtless  to  her  double  martyrdom,  she  holds  two 
palms.  The  tunic,  according  to  the  style  of  the  school  of  Siena 
at  that  period,  consists  of  a  richly-patterned  gold  stuff:  the 
mantle,  the  folds  of  which  are  disposed  with  much  originality  and 
purity  of  style,  is  of  a  cool  blue,  with  a  lining  of  broken  violet, 
which  renders  the  general  effect  much  more  harmonious  than  in 
most  pictures  of  this  time,  and  particularly  so  as  compared  with 
the  companion  picture,  a  youthful  saint,  with  sword,  palm,  and 
olive-branch,  whose  blue  and  red  drapery  is  far  more  gaudy,  while 
at  the  same  time  the  head  is  much  less  beautiful  and  significant. 

Marco  Palmezzano. — An  altar-piece  :  the  Virgin  enthroned, 
holding  the  Child,  who  stands  on  her  lap  in  the  act  of  blessing. 
On  the  right  is  St.  John  the  Baptist  looking  at  the  spectator  and 
pointing  to  the  Child ;  on  the  left  St.  Lucy.  Below  the  throne  an 
angel  singing  to  a  lute,  of  beautifiil  composition.  Upon  the 
throne  a  triumphal  procession  in  chiaroscuro,  showing  the  influence 
of  Mantegna ;  the  architecture  rich  and  gaily  ornamented.  With 
the  exception  of  the  angels,  the  heads  are  of  realistic  and  very 

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374  WOOTON  HALL.  Letter  XXX. 

circular  forms  ;  the  good  motives  of  the  drapery  are  disfigured  by 
over-sharp  breaks.  The  colouring  is  of  unusual  power  for  this 
master.      Inscribed    "Marcus  Palmezzanus  pictor  Foroliviensis 

MDVin." 

Sandro  Botticelll — 1.  The  whole-length  figure  of  Venus, 
only  lightly  draped  with  a  blue  garment  A  somewhat  slighter 
repetition  of  the  picture  in  the  Berlin  Museum,  with  a  few  alter- 
ations.    Not  free  from  retouchings,  and  very  dirty. 

The  taking  of  a  town.  A  picture  in  the  form  of  a  high  altar- 
predella,  throughout  displaying  the  forms,  costumes,  weapons,  &c, 
of  the  15th  century.  This  is  not  a  remarkable  work  in  an  artistic 
sense,  though  well  worth  attention  as  a  complete  representation  of 
such  a  scene  at  that  period. 

School  of  Sandro  Botticelli. — David  coming  to  Samuel, 
who  is  crowning  him.  Full  of  lively  motives  in  the  taste  of  Sandro 
Botticelli,  as  for  instance  a  kicking  horse  and  some  beautiful  heads. 

Fra  FiLippo  Lippi. — ^To  this  master  I  am  inclined  to  attribute 
two  pictm*es  in  the  form  of  a  very  long  altar-piece,  in  which  the 
fable  of  Cupid  and  Psyche  is  treated  with  great  naivete  in  the 
costume  and  manners  of  his  time.  The  beauty  of  the  heads  and 
animation  of  the  motives  are  such  as  to  give  the  highest  enjoyment 
to  any  one  sufficiently  imbued  with  the  feeling  of  the  period  not  to 
be  disturbed  by  the  painter's  mode  of  conception. 

A  SMALL  Room. 

Ugolino  da  Siena. — ^Two  saints,  half-length  figures,  from  the 
often-mentioned  altar-decoration  formerly  in  Mr.  Ottley's  posses- 
sion. Those  beautiftd  inventions  of  Greek  painters  of  the  earliest 
ages  of  Christian  art  which  expressed  the  new  and  fresh  religious 
feeling  of  Christianity  by  means  of  the  admirable  forms  of  antique 
art,  and  which  were  obscured  and  impeded  by  the  dry  and  sense- 
less types  of  the  later  Byzantine  painters,  are  most  successfully 
recalled  to  life  here.  One  of  the  figures,  namely,  with  crimson 
drapery,  the  right  hand  raised,  and  the  left  holding  a  roll  of 
manuscript,  has  a  dignity  of  expression,  a  solemnity  of  action,  and 
an  arrangement  of  drapery  which  give  the  impression  of  an  antique 
picture ;  the  gold-patterned  tunic  alone  betrays  a  Byzantine  model. 

Giotto. — 2.  The  Death  of  the  Vir^n :  a  rich  compodtion,  ter- 
minating above  in  the  form  of  a  blunt-cornered  Gothic  pediment. 
This  picture  not  only  agrees  ftiUy  in  forms  with  the  authentic 
works  of  the  master,  but  is  also  so  spirited  and  original  in  repre- 

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Lettbb  XXX.    MR.  DAVENPORT  BROMLEY'S  COLLECTION.    375 

sentation  as  to  be  quite  worthy  of  him.  It  is  a  beautiful  thought 
that  the  soul  of  the  Virgin,  which,  as  usual,  is  represented  as  a 
little  child,  is  stretching  its  hands  towards  Christ  An  angel  hold- 
ing the  grave-clothes  is  very  beautiful,  but  it  is  more  than  rivalled 
by  another  seen  in  profile,  and  holding  a  candle.  The  expression 
of  grief  in  the  face  of  the  Apostle  with  the  red  garment  is  touch- 
ing and  noble.  Excepting  Üie  gold  ground,  which  is  restored,  the 
picture  is  in  good  preservation. 

SiENESE  School,  14th  Century.  —  St  Peter,  St  Paul 
writing,  and  St  Catherine.  The  style  of  the  dignified  and 
elevated  conception  recalls  vividly  that  great  pcdnter  Ambrogio 
Lorenzetti.  The  warmth  and  power  of  colour  are,  however, 
foreign  to  him.  The  St.  Catherine  has  that  woeful  expression 
which  first  proceeded  from  this  school. 

Pesello  Peselli. — ^Most  glad  was  I  to  recognise  here,  from 
Mr.  Ottley's  collection,  the  centre  picture  of  the  still  existing 
masterpiece  of  this  admirable  and  little-known  master,  which, 
according  to  Vasari,  he  executed  for  the  church  of  S.  Jacobo  in 
Pistoja.  The  Almighty  is  holding  Christ  on  the  cross,  which  is 
standing  in  water.  Both  are  surrounded  by  an  almond-shaped 
glory  formed  of  cherubim  and  seraphim.  The  grandeur  of  con- 
ception, dignity  of  heads,  and  drawing  of  the  nude  are  quite  sur- 
prising when  we  consider  that  this  master  died  in  1457 ;  but  the 
tone  of  colour  is  rather  dark. 

I  cannot  pass  over  an  episcopal  saint  on  gold  groimd,  though  I 
can  neither  assign  the  master,  nor,  with  certainty,  the  Italian 
school  to  which  this  picture  belongs.  The  figure,  dressed  in  gold 
brocade,  is  pointing  to  two  prostrate  figures  of  uncommon  anima- 
tion, on  which  he  is  standing.  The  execution  is  masterly  and 
surprisingly  minute. 

The  name  of  Verrocchio  is  given,  I  think  erroneously,  to  a  St 
John  blessing  the  chalice.  A  delicate  melancholy  pervades  the 
noble  features,  and  the  slender  and  beautiful  figure  is  excellently 
drawn,  especially  in  the  hands  and  feet.  The  tender  blueish 
under  garment  with  golden  pattern,  and  the  red  mantle  with 
coarse  hatchings,  display  in  the  folds  an  admirable  taste.  A 
large  landscape  forms  the  background.  The  painter  of  this  beau- 
tiful picture  is  unknown  to  me. 

School  of  Perugino. —  A  high  predella  picture  with  the  Cru- 
cifixion.    A  rich  composition  of  very  speaking  motives. 


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376  WOOTON  HALL.  Letter  XXX. 

Sebastian  del  Piombo. — Fragments  of  pictures*  by  this 
master,  who  so  rarely  painted  historical  pictures ;  formerly  in  the 
Fesch  gallery.  The  two  largest  portions  contain  the  upper  parts 
of  the  figures  of  a  Visitation,  larger  than  life,  which  is  seen  in  a 
complete  state  in  a  miniature  in  the  possession  of  Professor 
Johnson  at  Oxford.  On  the  one  portion  are  seen  the  Virgin  and 
Elizabeth,  of  rare  grandeur  of  form,  and  very  noble  and  earnest 
expression ;  on  the  other,  three  women,  one  of  them  holding  a 
basin,  with  a  portion  of  a  foiurth  head.  Two  figures,  about  two- 
thirds  the  size  of  life,  occupy  the  other  fragment ;  one  of  which, 
of  noble  character  and  fine  motive,  appears  to  be  St.  Peter  de- 
nying the  Lord.  The  very  dark  and  unsightly  colouring  proves 
that  this  work  belongs  to  the  later  times  of  the  master. 

Sandro  Botticelli. — 2,  The  Virgin  adoring  the  Child,  who  is 

in  animated  action,  and  supported  by  two  angels ;  the  back  part 

of  the  head  of  the  Child  is  too  small.     The  Virgin  has  great 

earnestness,  and  the  colouring  a  warmth  and  brilliancy  seldom  seen 

in  the  works  of  this  master ;  the  execution  is  very  careful.     Of 

circular  form. 

Another  small  Room. 

Sandro  Botticelli. — 3.  The  Virgin  and  Child,  who  is  hold- 
ing the  pomegranate,  considered  in  the  middle  ages  as  the  apple 
of  life,  adored  by  four  angels  of  very  peculiar  conception  and 
motive.  Far  better  drawn  than  the  foregoing,  but  also  much 
harder  in  the  outlines,  and  of  a  dark  and  heavy  tone  of  colour. 

Giovanni  Bellini. — Christ  on  the  Mount  of  Olives,  in  a 
very  poetic  landscape,  with  the  warm  glow  of  dawn.  Although 
this  picture,  which  is  of  his  earlier  time,  and  of  very  solid  execu- 
tion, displays,  upon  the  whole,  especially  in  the  true  and  admir- 
ably coloured  figures  of  the  Apostles,  his  realistic  tendency,  yet 
I  have  never  seen  a  picture  by  this  master  which  in  many  respects, 
such  as  the  taste  of  the  drapery  in  the  Judas,  who  is  in  Roman 
costume,  and  in  the  guards,  shows  so  decidedly  the  influence  of 
his  brother-in-law  Andrea  Mantegna. 

Innocenzo  da  Imola. — An  altar-picture.  Above,  in  the  sky, 
is  the  Virgin  kneeling,  of  beautiful  expression,  surrounded  by  six 
rather  rudely  treated  angels.  Below  are  two  seated  figures  of 
bishops,  discussing  the  immaculate  conception.  The  background 
is  a  transparent  landscape  in  the  taste  of  Francia.  Of  a  most 
imusual  glow  of  colour  for  this  master. 

♦  Now  in  the  poisossion  of  the  Duke  of  Northumberland. 

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Letter  XXX.    MU.  DAVENPORT  BROMLEY'S  COLLECTION.    377 

Leonardo  da  Vinci.  —  The  Vir^n,  with  very  delicate 
features,  holding  the  Child  in  her  arms,  who  is  looking  upwards 
with  great  animation,  and  holds  a  violet  in  his  right  hand.  A 
delicate  veil  is  about  the  body.  This  very  beautiful  picture,  which 
was  purchased  by  the  present  possessor  from  the  Fesch  gallery, 
under  the  name  of  a  Bernardino  Luini,  belongs,  I  am  quite  per- 
suaded, to  the  early  part  of  Leonardo's  residence  in  Milan.  It 
shows,  in  every  respe,ct^  a  great  affinity  with  the  picture  at  Gatton 
Park,  but  may  be  somewhat  earlier  in  date.  It  has  the  same 
degree  of  modelling,  a  similar  tone  of  flesh,  the  same  kind  of  red 
and  blue  in  the  draperies,  the  same  arrangement  in  the  folds,  and, 
finally,  the  same  very  careful  execution,  which  is  most  remark- 
able, especially  in  the  hair.  In  the  drawing  of  the  figure  of 
the  Child  the  closest  knowledge  of  nature  is  evident.  The  chiar- 
oscuro on  the  shadowed  side  of  the  Virgin's  head  is  of  particular 
delicacy,  and  the  blending  of  the  flesh-tones  of  great  tenderness. 
The  beautiful  landscape  on  each  side  the  curtain  behind  the 
Virgin  shows  the  impression  which  the  Lake  of  Como,  with  the 
snowy  Alps,  made  on  the  master. 

Drawing-boom. 

Ambrooio  Lorenzetti. — ^To  this  master  I  attribute  five  pic- 
tures with  pointed  pediments ;  the  middle  picture  containing 
Christ,  with  two  angels  of  very  beautiful  motive ;  the  others  St. 
Peter  and  St.  Francis,  St.  Paul  and  St.  James.  The  stem,  dig- 
nified, and  Byzantine-like  characters,  the  pure  style  of  the 
drapery,  the  very  dark  shadows,  the  arrangement  of  the  colours, 
and  the  style  of  the  very  careful  execution  agree  with  the  au- 
thentic works  of  this  master.     Here  assigned  to  Giotto. 

Taddeo  Gaddi. — The  Virgin  enthroned,  holding  the  standing 
and  draped  Child.  Below  are  two  angels  presenting  vessels  with 
liliea  A  pretty  picture,  with  pleasing  heads,  especially  that  of 
one  of  the  angels ;  but,  in  my  opinion,  not  expressive  enough  for 
the  master  himself,  though  probably  of  his  school. 

Jacobello  del  Fiore. — St.  James  the  Elder,  SS.  George, 
Domenic,  and  Nicholas,  on  four  panels,  with  beautifully  patterned 
gold  ground.  The  head  of  the  St  George  is  the  most  successful. 
The  peculiar  hardness  of  this  painter  is  seen  in  the  flesh  and  in 
the  hair ;  but  the  colouring  is  warm,  and  the  execution  careful. 
The  armour  of  St  George,  and  the  episcopal  dress  of  St.  Nicholas, 
are  conspicuous  for  their  rich  and  fantastic  ornaments. 

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378  WOOTON  HALL.  Letter  XYY 

PiETRO  Alemano. — By  this  old  and  rare  painter  of  Ascoli  is 
a  Virgin  with  the  Child  on  her  lap,  with  folded  hands ;  two  angels 
of  beautiful  motives  adoring  at  the  side.  It  is  inscribed  '^  Opus 
Petri  Alamani  discipulus  Maestri  Karoli  Crivelli  Veneti  1488." 
Nor  is  this  inscription  needed  to  indicate  the  school  of  Crivelli, 
Lanzi  having  come  to  that  conclusion  from  a  picture  by  this 
master  in  a  church  at  Ascoli,  dated  1489. 

GiuLio  DE  Amendola. — ^The  Virgin  and  Child  between  SS. 
Peter  and  Paul ;  an  angel  in  the  air  above  each.  Inscribed  *'  In 
Capiti  Castri  Julius  de  Amendola  pinxit."  This  painter,  who  is 
totally  unknown  to  me,  appears  as  a  subordinate  artist,  with  short 
figures,  in  the  form  of  art  which  prevailed  towards  the  end  of  the 
15th  century. 

Baonacavallo. — An  altar-picture  ;  the  Visitation :  a  rich 
composition  of  the  later  and  less  skilful  time  of  the  master,  in 
which  he  became  more  superficial  in  meaning,  feebler  in  colouring, 
and  slighter  in  execution. 

PoRDENONE.  —  Two  portraits  of  men  and  two  of  women,  half- 
length  figures,  all  dressed  in  gold  stufis.  I  am  inclined  to  attri- 
bute this  picture  to  his  earlier  time.  The  conception  is  true  and 
noble,  the  woman  in  profile  very  beautiful ;  the  colouring  of  great 
transparency  and  depth  of  warm  tone. 

Paris  Bordone. — ^Portrait  of  a  man  in  a  chair ;  a  letter  in  his 
hand :  to  the  knees.  The  conception  true,  the  colouring  warm 
and  transparent,  and  the  details  rich. 

Sir  Anthony  More. — ^Isabella,  Queen  of  Philip  II.  of  Spmn, 
a  French  princess :  to  the  knees.  In  a  red  dress,  richly  adorned 
with  pearls  and  jewels ;  carefully  painted  on  canvas :  the  scHuewhat 
cold  tones  of  the  shadows  show  the  later  time  of  the  painter. 
Inscribed  in  Dutch, — ''Königina  von  Hyspanieu  Isabella  Ko- 
ning  Francessi  aust  Frankryek  dochter  stirbt  Anno  1569."  The 
ground  dark.  This  inscription,  however,  contains  an  error,  as 
the  Princess  was  not  the  daughter  of  Francis  I.,  but  of  his  son 
Henry  II. 

School  of  Raphael. — Portrait  of  a  man  in  black  dress ;  his 
right  hand  on  g.  death's  head.  Nobly  conceived,  and  admirably 
executed,  with  a  delicate  sfumato  in  the  shadows. 

Sir  Peter  Lely. — Portrait  of  the  Duke  of  Gloucester,  son  of 
Charles  I.     With  the  monogram  of  the  painter. 


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Letter  XXX.    MR.  DAVENPORT  RROMLEY»S  COLLECTION.     379 

DiNIMG-ROOM. 

GiROLAMo  DA  CoTioNOLA. — A  large  altar-piece.  Above,  the 
Almighty,  conceived  as  an  old  man,  with  a  scroll,  on  which  are 
the  words,  "  Non  enim  pro  te,  sed  pro  omnibus  hec  lex  consti- 
tuta  est"  Nimierous  cherubim  aroimd,  and  on  each  side  two 
angels  playing  on  musical  instruments.  Below,  the  Virgin  in 
glory,  standing  on  clouds,  and  looking  upwards.  The  head  of 
the  Virgin  expresses  a  pure  and  elevated  feeling;  though  the 
pcdnter  has  retained  the  features  of  his  model,  which  by  no  means 
correspond  with  the  idea  of  the  subject.  The  hands,  the  figure, 
and  the  drapery  are  very  successful.  Below,  on  the  one  side, 
kneeling,  is  St  Catherine,  of  the  same  features  as  the  Virgin,  but 
of  more  ardent  expression ;  next  her,  standing,  is  an  episcopal 
saint,  of  portrait-like  but  dignified  conception,  with  a  scroll,  on 
which  are  the  words,  "Non  puto  verum  esse  amatorem  virginis 
qui  respuit  celebrare  festum  suae  conceptionis."  On  the  other 
side  another  kneeling  saint,  with  a  child  kneeling  in  the  centre, 
obviously  a  portrait,  whose  attention  she  b  directing  to  the 
Virgin.  Behind  her,  standing,  is  St.  Jerome,  a  noble-looking, 
inspired  old  man,  with  the  cross,  and  the  stone  with  which,  in 
doing  penance,  he  struck  himself.  The  legs  of  the  figure  are, 
however,  not  successful  The  background  consists  of  a  rocky 
landscape.  On  the  wheel  of  St.  Catherine  is  inscribed,  "  Jeroni- 
mus  («V)  Cottignol ;"  below  the  picture,  "  Junipera  Sfortia  patrisB 
a  marito  recepta  ex  voto,  p.  mcx^ccc.xiii."  Both  this  date  and 
the  whole  style  of  this  in  every  respect  remarkable  picture  show 
that  the  master  executed  it  before- he  went  to  Rome,  where  he 
became  a  scholar  of  Raphael.  In  the  meaning  of  the  picture  we 
see  the  influence  of  his  first  teacher,  Francesco  Francia ;  in  the 
realistic  character  of  the  heads,  and  still  more  in  the  powerful  and 
brilliant  colouring,  and  delicate  blending  of  the  execution,  that  of 
the  school  of  Giovanni  Bellini,  and  particularly  of  Cima  da  Coneg- 
liano ;  so  that  I  am  convinced  that  he  must  have  passed  some  time 
in  Venice. 

ViNCENZo  Paoani. — ^Au  altar-piece :  the  Annunciation  men- 
tioned by  Lanzi  as  in  the  collegiate  church  at  Monte  Rubiano. 
The  subject  lies  within  an  elaborate  architecture,  in  the  cinque- 
cento  taste,  on  which  the  painter  laid  too  much  stress.  Alto- 
gether this  picture  is  of  a  thorough  provincial  character.  The 
general  style,  the  motive,  the  clear  colouring,  and  the  solid  techni- 


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380  WOOTON  HALL.  Letter  XXX. 

cal  process  are  very  attractive,  but  at  the  same  time  are  the  com- 
mon characteristics  of  the  school  of  Raphael  What  may  be  said 
to  belong  to  the  painter  himself,  such  as  the  figure  of  the  Almighty 
and  the  portrait  of  the  patroness  and  her  child,  is  very  feeble  and 
mediocre;  the  natural  conception  in  no  way  agreeing  with  the 
emptiness  of  the  forms.  Inscribed  "  Vincentius  Paganus,  de 
Monte  Robiano,  1532." 

Gaspar  Poussin.— 1  and  2.  Two  tall  landscapes  from  the  Me- 
thuen  collection ;  very  spirited,  but  somewhat  slight  pictures,  which, 
owing  to  the  sunk  state  of  the  colours,  are  hardly  enjoyabla 

Since  I  visited  Wooton  Hall,  Mr.  Davenport  Bromley  has  ac- 
quired some  Spanish  pictures  from  the  Louis  Philippe  and  Standish 
collections,  of  which,  having  known  them  formerly  in  Paris,  I  give 
a  short  account. 

Velasquez. — ^The  Annunciation  to  the  Shepherds.  Boldly 
realistic  in  heads  and  forms,  and  the  contrast  between  the  garish 
lights  and  black  shadows  very  strong,  but  admirably  pcdnted  in  a 
solid  impasto. — (Standish.) 

Luis  de  Vargas.— The  Virgin  and  Child  in  glory,  with  the 
Archangel  Michael  subduing  the  devil.  Below,  the  patron  in 
adoration.  This  master  here  appears  as  a  very  skilful  follower  of 
Raphael,  from  whose  large  picture  in  the  Louvre  he  has  freely 
borrowed  the  St.  Michael.  The  heads  and  proportions  of  the 
figures  vividly  recall  Innocenzo  da  Imola.  At  the  same  time  he 
is  incomparably  softer  in  the  outlines  and  much  warmer  in  colour, 
while  the  portraits  are  very  animated. 

Pedro  de  Villegas  de  Mormoleja — 1  and  2.  St.  Francis 
with  the  Stigmata.  The  ecstatic  expression  of  the  saint  is  well  con- 
ceived, the  hands  well  drawn  and  in  good  action.  The  companion 
picture,  St.  Sebastian,  shows  in  feeling  an  affinity  with  Le  Bour- 
guignon.  The  proportions  are  slender,  the  motives  somewhat  stiff. 
Both  pictures  are  well  coloured,  and,  excepting  the  somewhat  over- 
simple  landscape  background,  carefully  executed,  and  are  very 
valuable  specimens  of  the  old  Spanish  school 


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Letter  XXXT.  ALTON  TOWERS.  381 


LETTER    XXXI. 

Alton  Towers,  seat  of  the  Earl  of  Shrewsbury :  Collection  of  pictures  — 
Florentine,  Roman,  and  Venetian  schools  —  School  of  the  Carracci  — 
Spanish,  French,  Flemish,  Dutch,  and  German  schools  —  Garden.  —  Oak- 
over  Hall— Barron  Hill,  seat  of  M.  A.  Whyte,  Esq.  :  Small  Raphael 
picture.— Keddleston  Hall,  seat  of  the  Earl  of  Scarsdale :  Collection  of 
pictures  —  Flemish  school  —  Italian  school.  —  Belvoir  Castle :  Flemish 
and  Dutch  schools  —  Seven  Sacraments,  by  Nicolas  Poussin  —  Murillo. — 
Burleigh  House,  seat  of  the  Marquis  of  Exeter :  Collection  of  pictures  — 
Venetian  school  —  Spanish,  French,  Flemish,  and  Dutch  schools  — 
English  school  — Portraits  of  celebrated  persons.  —  Ai)ethorpe,  seat  of  the 
Earl  of  Westmoreland :  Family  pictures.  —  Fotheringay  Castle. 

ALTON    TOWERS. 

It  was  in  1835  that  I  was  indebted  to  the  kind  intervention  of 
the  Duke  of  Sutherland  for  a  polite  invitation  to  visit  the  Earl  of 
Shrewsbury  at  Alton  Towers,  the  seat  of  this  nobleman  in  Staf- 
fordshire. My  account  of  the  collection,  therefore,  dates  from  that 
tima  I  approached  Alton  Towers  from  Ashbourne,  through 
scenery  of  great  beauty,  and  was  much  struck  by  the  imposing 
effect  of  the  mansion,  which  stands  on  an  eminence  and  forms  a 
fine  mass  of  embattled  walls  and  towers.  As  I  drew  nearer  I 
was  astonished  at  the  gigantic  basement  of  Derbyshire  sandstone 
on  which  the  building  is  reared.  I  entered  by  a  gateway  in  a 
lofty  tower,  where  an  old  harper  struck  up  a  cheerful  air  on  his 
harp  as  if  to  welcome  me,  and,  passing  through  a  spacious  armoury, 
was  led  into  the  picture-gallery,  where  I  was  politely  received  by 
the  family  chaplaia  Escorted  by  him,  I  continued  my  course 
through  an  octagon  hall,  supported  on  a  slender  pillar  in  the 
centre,  in  imitation  of  the  beautiful  Chapter-house  at  Wells,  and 
through  an  elegant  conservatory,  till  we  reached  the  drawing- 
room,  where  I  received  a  most  friendly  welcome  from  the  Earl 
and  his  family. 

This  room,  which  is  a  stately  apartment  in  the  Gothic  style, 
happily  solves  the  diflBcult  problem  of  combining  great  space  with 
comfort  It  resembles  in  shape  the  three  arms  of  a  cross,  two  of 
which  are  on  the  right  and  left  of  the  principal  door,  and  the  third 
directly  opposite,  so  that  a  person  entering  sees  the  whole  extent. 


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ALTON  TOWERS.  Lbttbr  XXXI. 

This  arrangement  produces  very  picturesque  points  of  view,  and 
affords  the  means  for  concentrating  a  small  party  or  breaking  up  a 
large  one,  which  is  never  so  well  attained  with  a  great  number  of 
people  in  an  apartment  of  regular  form.  The  proportion  of  the 
height  of  the  ceiling  to  the  breadth  of  the  arms  is  very  good,  and 
the  pictures,  antique  furniture,  and  a  multitude  of  elegant  trifles, 
serve  to  complete  the  agreeable  impressioa 

Early  the  following  morning,  accompanied  by  the  ladies  and  the 
chaplain,  I  went  to  view  the  gallery  of  pictures.  It  has  diiefly 
been  formed  by  the  present  Earl,  and  contains  a  mixed  coUeo 
tion  as  regards  value.  I  proceed  to  describe  those  which  most 
struck  ma 

Florentine  School. 

Rafpabllino  del  Garbo. — ^The  Virgin  and  Child  with  two 
angels.  A  very  delicate  and  finished  picture  of  the  earlier  period 
of  the  master  (consequently  about  the  year  1490),  in  which,  ac- 
cording to  Vasari,  he  gave  the  promise  of  being  the  first  master 
of  his  time. 

Andrea  del  SARTa — ^The  portrait  of  his  wife,  Lucretia  Fede. 
Spirited  and  animated,  and  very  clear  in  the  colouring.  Unfor- 
tunately it  is  rather  injured.    Here  erroneously  called  Garofalo. 

Marcello  Venustl — ^The  Descent  from  the  Cross.  One  of 
the  finest  compositions  of  Michael  Angelo,  and  executed  by  one  of 
his  best  scholars. 

Mariotto  Albertinelli. — ^The  Virgin  kneeling,  in  a  land- 
scape. Erroneously  called  Raphael.  Judging  from  the  slighter 
impasto,  decidedly  of  the  Florentine  school ;  and  judging  from  the 
character,  perhaps  by  the  master  named. 

Plautilla  Nelli. — Copy  of  the  Madonna  di  Casa  Colonna ; 
in  which  I  was  surprised  to  find  the  expression  of  the  Vii^n  of  a 
more  serious  and  religious  character.  Erroneously  called  Fran- 
cesco Penni.  The  arrangement  of  the  colours  and  tiie  handling 
indicate  the  above-named  scholar  of  Fra  Bartolommeo. 

Rosso  FioRENTiNO. — ^The  Virgin  and  Child  with  JosepL  In 
a  free,  pleasing,  but  mannered  style.  Erroneously  called  Fra 
Bartolommeo. 

Alessandro  Allorf,  called  Bronzino. — 1.  Pope  Paul  V. 
(Borghese)  as  cardinal  A  delicately-conceived  and  very  care- 
fully-executed picture. 

2.  A  Holy  Family.     In  a  clear  tone,  highly  finished  in  the 


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Letter  XXXI.    EARL  OP  SHREWSBURY'S  COLLECTION.  383 

details,  but  at  the  same  time  very  mannered ;  a  proof  how  low  this 
master  st<>od  as  an  historical  painter. 

Cristoporo  Allori. — ^A  female  portrait ;  to  the  knees.  Very 
animated ;  the  colouring  excellent. 

Roman  School. 

GiuLio  Romano. — Study  of  a  head  of  Julius  IL,  from  the 
celebrated  portrait  by  Raphael.  This  is  spirited,  and  may  pro- 
bably be  by  this  master ;  certainly  not  by  Raphael,  to  whom  it  is 
here  attributed. 

PoLiDORO  DA  Caravaogio. — ^Thc  Desttiictiou  of  the  Egyptians 
in  the  Red  Sea.  In  his  dark-brown  tone,  but  spirited  in  compo- 
sition and  execution. 

Garofalo. — ^The  Adoration  of  the  Kings,  an  altar-piece.  In 
the  composition  we  recognise  the  scholar  of  Raphael ;  in  the  glow- 
ing colours,  his  original  descent  from  the  Ferrarese  school. 

Baroccio. — A  Madonna.  A  genuine  and  careful  picture  by 
this  mannered  master. 

DoMBNico  Fetl — Jacob's  Dream ;  figures  the  size  of  life.     A 
very  good  picture,  executed  in  a  silvery  tona 
Venetian  School. 

GiORGioNE. — Portrait  of  a  maa  Of  very  noble  conception  and 
character,  but  become  dull  and  indefinite  under  the  hands  of  an 
Italian  restorer. 

PoRDENONE. — The  'Death  of  Peter  Martyr.  Remarkable  for 
composition,  nobleness  of  character,  and  warmth  of  tone. 

Palma  Vecchio. — ^The  Birth  and  Death  of  Adonis.  Two 
very  able  little  pictures.  Erroneously  called  Giorgione,  with  whom 
the  yellowish  tone  and  rather  unmeaning  forms  do  not  agree. 

BoNiFAZio. — The  Return  of  the  Prodigal  Son.  Figures  the  size 
of  life,  in  a  widely-extended  poetical  landscape.  A  chef-d'oeuvre 
of  this  master,  of  his  best  time,  in  which  his  pictures  partook  more 
of  the  genius  of  Titian  than  those  of  the  other  scholars  of  that 
master.     Erroneously  called  Titiaa 

Paris  Bordone. — 1.  The  Virgin,  Elizabeth,  and  Joseph  asleep, 
in  a  beautifril  landscape,  the  infant  Jesus  and  St  John  playing 
together.  Figures  about  one-third  the  size  of  life.  More  refined 
than  usual  in  the  heads,  and  of  the  utmost  depth  and  glow  of 
colouring,  unfortunately  retouched.  My  conjecture  of  this  pic- 
ture, which  had  before  been  taken  for  a  Gior^one,  being  by  Paris 
Bordone  was  confirmed  by  the  fact  of  the  master's  name  being  on  it 

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384  ALTON  TOWERS.  Letter  XXXI. 

2.  A  good  male  portrait. 

GiACOMO  Bassano. — ^The  Nativity.  Inscribed  with  his  name. 
A  picture  of  splendid  colour,  but  vulgar  in  character. 

Tintoretto. — 1.  Joseph's  Dream.  Particularly  warm  and 
clear  in  the  tone  of  the  flesh,  rich  and  poetical  in  the  landscape, 
and  careful  in  the  executioa 

2.  The  Angels  appearing  to  the  Shepherda     A  spirited  sketch. 

Paul  VERONEsa — 1.  Mary  Magdalen  washing  the  feet  of 
Christ  in  the  house  of  the  Pharisee.  A  lai^e  sketch  from  the 
celebrated  picture  now  in  the  Louvre,  and  approaching  Titian 
in  warmth  of  tone. 

2.  Portrait  of  a  woman  ;  of  great  delicacy. 

Marco  Ricci. — The  Adoration  of  the  Kinga  Unusually  de- 
cided in  the  forms,  well  conceived  in  the  characters,  and  powerful 
in  the  colouring  for  this  late  master  (bom  1679,  died  1729),  and  a 
remarkable  proof  how  long  the  influence  of  Paul  Veronese  was 
maintained  in  this  school 

Of  the  Lombard  School  is  a  Virgin,  with  the  Child  in  the  act 
of  blessing,  which  has  much  of  Andrea  Solario,  and  was  evidently 
painted  under  the  direction  of  Leonardo  da  VincL 

School  op  the  Carracci. 

Denys  Calvart. — The  Virgin  presenting  the  Child  to  St 
Francis ;  angels  around.  Altarpiece.  Though  bom  at  Antwerp, 
he  proves  himself,  in  the  glowing  tone  of  this  picture,  to  be  a  true 
disciple  of  Sabbatini  of  Bologna  Calvart's  very  numerous  school 
was  frequented  by  Domenichino,  Guido,  and  Albano  before  they 
went  over  to  the  school  of  the  Carracci 

Guido  Renl — 1.  The  Magdalen  and  two  angela  To  the 
kneea     Of  unusual  power  and  warmth  in  the  colomng. 

2.  A  boy  presenting  the  head  of  John  the  Baptist  Attractive 
in  character  and  delicate  in  the  touch. 

3.  A  bishop.  Broadly  and  carefully  painted  in  the  greenish 
half-tints  of  the  master. 

Guercino. — 1.  The  penitent  Magdalen ;  whole-length  figure, 
the  size  of  life.  More  noble  in  character  than  is  usual  with  this 
master,  and  in  lightness  and  clearness  of  tone  approaching  Guide. 

2.  John  the  Baptist ;  whole-length  figure,  the  size  of  life.  Thea^ 
trical  in  the  attitude  ;  the  head  very  empty.  Painted  in  his  warm, 
reddish  tone. 


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Letter  XXXI.    EAKL  OF  SHREWSBURY'S  COLLECTION.  385 

3.  The  Entombment  A  small  picture,  noble  in  the  motives, 
and  careiully  finished. 

4.  Portrait  of  himself.  Spirited  in  the  conception,  warm  and 
dear  in  the  tona 

Gennarl — By  this  chief  scholar  of  Guercino  is  the  portrait  of 
Count  Palliotti ;  a  picture  of  remarkable  spirit  and  power  in  the 
colouring. 

DoMENicHiNO. — ^The  portrait  of  a  boy ;  and  a  dark  landscape, 
are  genuine,  though  by  no  means  attractive  pictures  of  this  master. 

Il  Gobbo  DAI  Fruttl — 1  and  2.  Two  large  pictures,  with  a 
profusion  of  beautifully-arranged  fruits,  of  broad  and  masterly 
treatment,  proving  that  the  Carracci  employed  him  as  successfully 
in  this  line  as  Raphael  did  Giovanni  da  Udina 

Claude  Lorraine. — ^A  landscape  of  his  later  period,  grey  and 
pale  in  the  colouring,  with  Tobit  and  the  AngeL 

Neapolitan  School. 

Ribera,  called  Lo  Spagnoletto. — 1.  Archimedes,  of  powerful 
efiect  and  great  excellence  in  the  execution ;  and — 2,  his  own 
portrait,  of  equal  merit. 

Of  the  Genoese  School,  a  caravan  by  Castiolione. 

Spanish  School. 

Murillo. — 1.  St  Theresa  praying,  in  a  beautiful  landscape. 
A  picture  of  astonishing  efiect 

2.  The  preaching  of  St  John  the  Baptist  Treated  in  a 
sketchy,  though  masterly  manner. 

Alonzo  Cano. — St  Anthony  of  Padua,  with  the  infant  Christ 
and  the  Virgin ;  whole-length  figures,  the  size  of  life.  A  devout 
feeling  pervades  this  picture,  which  is  painted  in  a  warm,  power-^ 
ful  tone. 

Pedro  de  Moya. — A  jovial  party.  Full  of  spirit ;  painted  in  a 
dear  tone,  but,  as  is  so  generally  the  case  in  the  Spanish  school, 
entirely  devoid  of  style. 

Don  Pedro  Nunez  de  Villa vicencio. — Joseph  caressing  the 
infant  Jesus,  while  the  Virgin  is  occupied  in  sewing.  An  instance 
of  the  manner,  so  frequent  in  Spain,  of  representing  Scripture  his- 
tory like  ordinary  domestic  life.  The  picture,  which  is  very  dark 
in  the  shadows,  aims  at  striking  efiect 

French  School. 

Le  Sueur. — A  Crucifixion,  with  the  mourning  disciples.    With 

VOL.  III.  2   c        ^  f 

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386  ALTON  TOWERS.  Letteb  XXXI. 

much  depth  and  warmth  of  feeling  in  the  heads,  but  very  feeble  in 
the  colouring. 

SuBLETRAS. — ^Thc  Fall  of  Simon  the  Sorcerer.  A  very  man- 
nered picture,  though  of  striking  effect ;  it  has  been  executed  in 
mosaic,  in  St  Peter's  at  Rome. 

Joseph  Vernet. — ^A  misty  morning  on  the  sea  ;  in  a  cool  bat 
true  tone. 

David. — ^Belisarius,  blind,  seated  by  the  roadside  beging 
alms,  a  soldier  recognising  him.  This  {Mcture,  which  David  painted 
in  the  year  1780,  when  he  was  thirty-two  years  of  age,  obtained 
him  a  seat  in  the  Academy  of  Arts  at  Paris.  In  my  opinicNi,  the 
sufferings  of  Belisarius  might  have  been  represented  with  more 
resignation,  dignity,  and  impressiveness ;  he  is  here  represented 
imploring  aloud,  with  a  most  piteous  expression.  The  picture, 
however,  is  very  carefully  executed  in  all  its  parts,  of  great  effect, 
and  far  more  harmonious  in  the  colouring  than  many  of  his  later 
works.  Lord  Shrewsbury  purchased  this  and  other  pictures  of 
Madame  Letitia. 

Fi^MisH  AND  Dutch  Schools. 

Hugo  Van  deb  GoEa — ^The  Virgin  standing,  holding  the 
Child,  who  is  blessing  the  kneeling  donor,  presented  by  St  An- 
thony the  Abbot  Inscribed  1472,  in  numerals  of  the  shape  usual 
at  that  time  ;  about  3  ft.  high,  1  ft.  10  in.  wide.  A  good,  well- 
preserved  picture  of  this  scholar  of  Jan  Van  Eyck. 

A  beautiftil  .small  altar-piece,  here  attributed  to  Jan  Van 
Eyck,  which  I  remember  having  seen  sixteen  years  ago  in  the  Bet- 
tendorf coUectioa  The  centre  picture  represents  the  Virgin,  with 
the  Child,  dressed  in  blue,  upon  her  lap ;  above,  two  angels  with  a 
crown  ;  below,  two  others.  On  the  wings,  St  Agnes  and  St  John 
the  Evangelist  inside;  St.  Lawrence  and  St.  Dorothea  outside. 
The  work  of  three  different  hands  may  be  distinguished ;  the  centre 
picture,  though  much  later  than  Jan  Van  Eyck,  has  in  the  heads 
a  tendency  to  the  ideal,  and  is  very  warm  in  the  colouring.  The 
interiors  of  the  wings  are  more  portrait-like  in  the  heads,  clearer  but 
colder  in  the  painting.  They  bear  much  resemblance  to  the  master 
of  the  celebrated  picture,  the  Death  of  the  Virgin,  formerly  in  the 
Boisseree  collection,  now  in  the  Royal  Gallery  at  Munich.  Lastly, 
the  outsides  of  the  wings  are  by  Bartolomew  de  Brüyn  of 
Cologne. 

Romulus  and  Remus  with  the  wolf;  a  spirited  composition,  here 

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Letter  XXXI.    EARL  OF  SHREWSBURY'S  COLLECTION.         387 

attributed  to  Rubens,  but  which  appears  to  me  to  be  rather  a  pic- 
ture of  the  early  time  of  Vandyck. 

Vandyck. — Abraham  visited  by  the  three  angels ;  painted  in 
a  deep  golden  tone,  indicating  much  of  the  influence  of  Titian. 

Jacob  Jordaens. — Mercury  and  Argus ;  very  glowing  in  the 
tone,  and  the  impasto  fuller  than  usual.  The  cattle  and  land- 
scape quite  in  tiie  style  of  Rubens.  Figures  one-quarter  the  size 
of  life.    Engraved  on  wood  by  Jegher. 

Snyders. — 1.  Dead  game  and  fruit;  a  rich  masterly  picture, 
dear  in  the  tone,  and  carefully  executed. 

2.  A  dog  Uting  a  fox,  and  two  cats ;  very  spirited. 

Peter  Boel. — ^Poultry  and  dogs  ;  an  admirably  drawn  picture 
by  this  rare  master,  whose  etchings  are  well  known.  Painted  in  a 
full  warm  tone,  with  an  extraordinary  solidity  of  impasto. 

Gerard  Honthorst. — An  Ecce  Homo ;  more  noble  in  the 
heads  than  usual,  and  with  his  accustomed  force  of  colouring. 

Lairesse. — ^Tbe  Disgrace  of  Haman  ;  a  very  capital  and  well- 
painted  picture  of  his  early  period,  when  his  tone  was  warmer  than 
it  afterwards  was. 

Paul  Moreelse. — A  female  portrait,  to  the  knees ;  very  true, 
dear,  and  delicate.     Erroneously  called  an  Anthony  More. 

Jan  Stebn. — ^Playing  at  toccadille  and  cards ;  a  very  pleasing 
little  picture. 

Jan  Mienze  Molenaer. — A  tailor's  shop.  The  humour, 
strong  marking  of  character,  and  dearness  of  the  warm  colouring, 
make  this  a  capital  picture  of  this  generally  inferior  master. 

Jan  Baptist  Weenix. — ^A  gentleman  and  a  lady  on  horseback, 
hunting ;  a  large  picture,  admirable  in  composition  and  clearness 
of  ton& 

Phiup  Wouvermans. — 1.  A  stag-hunt,  with  water ;  a  work 
of  the  second  period  of  the  master,  distinguished  for  size,  richness 
of  the  pleasing  composition,  and  clearness  and  warmth  of  colouring. 

2.  The  companion,  a  hawking-party  in  a  hilly  country.  Of 
similar  merit,  but  injured  in  the  harmony  by  a  heavy  yellowish 
varnish.  These  pictures  are,  of  their  kind,  the  most  valuable  of 
the  whole  coUectioa 

LiNGELBACH. — 1.  A  blind  harper,  and  card-players;  remark- 
ably powerful  in  tona 

2.  A  hunting-party  reposing. 

RuTHHART. — 1.  A  bear-hunt ;  a  capital  picture  for  force  and 

2  c  2 

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388  ALTON  TOWERS.  Letter  XXXI. 

warmth  of  colouring  and  careful  execution.  Two  others — 2  and 
3 — are  of  inferior  merit. 

Isaac  Van  Ostade. — Country  people  before  the  door  of  a 
house.    Very  powerful  in  tone. 

Jan  Wynants. — ^A  large  landscape,  in  the  harmonious  alvery 
tone  of  his  third  period. 

Philip  db  Koningh, — ^A  thickly-wooded  country ;  in  a  warm 
Rembrandt-like  tone,  with  yery  spirited  figures  by  Adrian  Van 
DB  Veldb. 

Db  Hbusch. — 1  and  2.  Two  landscapes,  in  the  style  of  Jan 
Both,  the  larger  of  which  is  very  nearly  equal  to  him. 

Bartholomew  Breenberg. — A  large  landscape,  with  a  degree 
of  power  unusual  with  this  master.  Inscribed  with  the  name  and 
1630. 

Jan  Van  Goybn. — A  coast,  with  a  boat ;  a  carefully-executed 
and  powerfully-coloured  picture, 

Artus  Van  der  Nebr. — ^A  landscape  by  moonlight ;  remark- 
able for  size  and  composition,  but  very  much  darkened. 

Emanuel  db  Witt. — ^Interior  of  a  church;  treated  in  his 
light  tone,  and  extremely  pleasing  from  the  deamess  and  light- 
ness of  the  masterly  chiaroscuro  and  the  delicate  touch. 

Here  are  also  some  large  and  very  choice  specimens  of  the  great 
fniit  and  flower  painters,  Jan  David  db  Heem,  Abraham  Mig- 
non,  and  Rachel  Ruysch,  with  a  piece  of  still  life  by  the  admir- 
able master  Pietbr  db  Ring. 

Lastly,  of  the  modem  Dutch  school,  here  is  a  large  cattle-piece 
by  Ommeganck,  which  is  not  one  of  his  best  works. 

German  School. 

Holbein. — ^A  portrait  of  a  man :  of  his  second  period  ;  with  the 
reddish  tone  of  the  flesh,  but  not  one  of  his  best  works. 

Lucas  Cranach. — A  female  portrait,  half  the  size  of  life ;  re- 
markably careful  in  the  execution,  and  in  a  very  warm  tone. 

Balthasar  Dennbr. — ^The  portraits  of  a  man  and  his  wife ; 
both  of  them,  especially  the  wife,  belonging  to  his  carefiilly-painted 
heads,  and  in  a  clear  tone.  His  pictures  are  the  most  striking 
proof  that  the  object  of  art  is  something  more  than  a  slavish 
imitation  of  nature ;  otherwise  his  pictures  would  be  preferable  to 
all  others,  he  having  carried  this  imitation  further  than  any  other, 
even  to  the  minutest  particulars  of  the  pores  of  the  skin  and 
mnallest  hairs.    On  tiie  contrary,  this  cold,  minutely  topographica. 

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Lbttbr  XXXI.  OAKOVER  HALL.  389 

representation  of  the  human  countenance  has  a  disagreeable  effect, 
like  that  of  wax  figure& 

After  long  examination  of  the  pictures,  I  refreshed  my  eyes  by 
a  walk  in  a  flower-garden  on  the  lofty  terrace.  In  another  small 
enclosed  garden  the  beds  are  arranged  in  the  form  of  a  large 
Gothic  St.  Catherine's  wheel,  which  agrees  very  well  with  the 
whole  plan.  On  the  following  morning  the  Countess,  accompanied 
by  a  relation  and  the  chaplain,  had  the  kindness  to  show  me  Üie 
large  garden,  which  is  perhaps  unique  in  its  kind.  An  entire 
valley  of  considerable  extent,  which  is  overlooked  by  the  house, 
together  with  the  sides  of  the  hills  which  form  it,  is  converted 
into  a  garden.  One  slope,  richly  covered  with  trees,  and  with 
winding  paths,  is  kept  more  in  the  style  of  grounds,  and  forms,  on 
the  whole,  a  noble  mass  of  verdure ;  but  the  other  slope,  divided 
into  terraces,  is  laid  out  as  a  flower  and  ornamental  garden,  and 
was  now  covered  with  dahlias,  the  splendid  colours  of  which  shone 
from  a  distance,  and  of  which  I  never  saw  such  numbers  gathered 
together.  On  expressing  my  surprise  and  admiration,  the  Countess 
told  me  that  she  had  had  twelve  hundred  dozen  pots  put  into  the 
ground  this  year  I  Some  of  the  finest  were  cut  to  adorn  the  dinner- 
table.  You  may  easily  fancy  what  a  variety  of  picturesque  views 
there  are  fr*om  the  bottom  of  the  valley,  looking  up  to  the  huls  and 
to  the  house,  and  again  from  the  hills  into  the  valley. 

An  unwillingness  to  take  too  much  advantage  of  so  kind  and 
hospitable  a  reception  made  me  express  my  wish  to  take  leave 
after  a  stay  of  24  hoiu^ ;  but  his  Lordship  invited  me  to  stay  over 
the  following  day,  on  which,  being  Sunday,  I  could  not,  he  said, 
do  much.  Though  every  day  is  valuable  to  me,  I  was  able  to 
accept  this  friendly  invitation  with  the  better  conscience,  as  his 
Lordship  promised  me  that  I  should  drive  in  the  afternoon  to  two 
places  where  there  were  said  to  be  pictures  by  Raphael,  of  which  I 
had  already  some  knowledge  from  Passavant's  book.  Accordingly 
at  two  o'clock,  unfortunately  in  a  heavy  rain,  the  elegant  equipage, 
with  four  horses  and  an  outrider,  was  at  the  door,  and,  accompa- 
nied by  the  chaplain,  for  whom,  as  a  very  well-informed  man,  I 
had  conceived  a  great  esteem,  I  drove  first  to  Oakover  Hall,  the 
seat  of  the  family  of  the  same  name,  near  Ashbourne,  in  Derby- 
shire. I  had  good  reason  to  be  gratified  with  my  drive.  The 
picture  in  question  is  a  copy  on  panel  of  the  Holy  Family,  by 
Raphael,  in  the  Museum  at  Madrid,  known  by  the  name  of  the 

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390  BARRON  HILL.  Letter  XXXI. 

Pearly  and  of  the  same  size  as  the  ori^naL  The  strongly-marked 
but  very  well-understood  forms,  the  very  carefully  blended  paint- 
ing, and  the  powerful  tone  of  the  colouring,  which  is  dark  in  the 
shadows,  induced  me  decidedly  to  consider  this  as  a  copy  by  the 
hand  of  Giulio  Romano. 

I  saw  here  likewise  two  rather  large  sea-pieces,  by  William 
Van  db  Velde,  of  extraordinary  clearness. 

From  thence  we  drove  to  Barron  Hill,  in  Staffordshire,  the  seal 
of  M.  A.  Whyte,  Esq.  We  met  there  with  the  most  friendly  re- 
ception from  Mrs.  Whyte,  whom  I  found  to  be  a  lady  well  ac- 
quainted with  the  arts.  The  small  picture  by  Raphael  which  I 
found  there  represents  a  Pieta,  Christ  on  the  knees  of  the  Virgin, 
with  the  disciples  around,  and  was  originally  a  portion  of  the 
predella  of  the  picture  painted  for  the  nuns  of  St.  Antonio,  in 
Perugia,  of  which  I  had  seen  the  two  other  portions  in  the  coUeo- 
tions  of  Mr.  Rogers,  in  London,  and  Mr.  Miles,  at  Leigh  Court 
This  is  a  beautiful  composition  in  the  principal  group,  fidl  of  the 
purest  religious  feeling,  and  in  good  preservation.  After  passing 
through  the  collections  of  Queen  Christina  and  the  Duke  of 
Orleans,  it  subsequently  came  into  the  possession  of  Count  Carl 
Rechberg,  in  Munich,  where  I  saw  it  in  the  year  1820.  The 
Count  afterwards  parted  with  it  to  Sir  Thomas  Lawrence,  at 
whose  sale  it  was  purchased  by  Mr.  Whyte.  There  is  an  engrav- 
ing of  it  by  A.  Duflos. 

Among  other  pleasing  pictures  at  Barron  Hill  I  will  mention 
only  the  Virgin  and  Child,  by  Baroccio,  which  in  expresaon  and 
motives  is  much  more  elevated  and  true  than  most  of  his  pictures, 
and  of  extraordinary  force  in  the  colouring ;  a  Holy  Family,  by 
Lambert  Lombard,  highly  finished  in  the  Italian  style;  and 
lastiy,  a  fine  landscape,  by  Rubens,  of  considerable  size.  Nobody 
would  suspect  that  this  small  and  unpretending  country-house 
contains  such  noble  works  of  art :  in  truth,  this  happens  nowhere 
in  the  world  but  in  England,  where  the  capacity  of  enjoying 
such  treasures  in  peaceful  rural  retirement  is  not  so  rare  as  is 
supposed. 

There  is  so  much  that  is  delightful  and  interesting  at  Alton 
Towers,  and  I  had  received  so  much  kindness  at  the  hands  of  the 
noble  owners,  that  I  took  my  leave  with  much  regret. 

I  now  proceeded,  also  in  1835,  to  Keddleston  Hall,  the  seat  of 
Lord  Scw^dala     The  house,  built  by  the  brothers  Adams  in  the 

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Lettbb  XXXI.  KEDDLESTON  HAIX.  391 

ancient  Roman  style  of  architecture,  is  better  and  more  simple 
in  the  proportions  than  is  usual  in  England.  The  portico  of 
six  pillars,  the  shafts  of  which  are  of  one  piece,  is  of  very  good 
workmanship.  I  was  much  pleased  with  the  truly  hospitable  in- 
scription, "  Amicis  et  Sibi." 

The  entrance-ball  has  a  surprisingly  noble  effect,  with  its  sixteen 
Corinthian  pillars  of  whitish  alabaster  with  light  reddish  spots, 
the  shafts  of  which  are  also  of  one  piece.  While  I  was  admiring 
this  hall  I  was  agreeably  surprised  by  the  appearance  of  Cap- 
tain Curzon,  whom  I  had  known  as  a  near  relation  of  Lord 
Howe,  at  his  Lordship's  residence  in  London,  and  wIm),  quite 
unexpectedly  to  me,  now  proved  to  be  a  son  of  Lord  Scarsdale. 
He  immediately  invited  me  in  the  most  friendly  manner  to  stay 
the  night.  As  the  day  was  already  drawing  towards  a  close,  I 
took  only  a  cursory  glance  of  the  pictures,  reserving  a  closer  ex- 
amination for  the  following  morning,  and  willingly  acceded  to 
Captain  Curzon's  proposal  to  take  a  walk  in  the  park.  The  ground 
in  this  part  of  Derbyshire  is  not  very  hilly ;  but  the  park  affords 
many  fine  views,  alternately  opening  on  to  the  distance,  or  en- 
closed by  the  most  beautiful  trees ;  whi^e  it  is  enlivened  by  herds 
of  deer  and  cows.  I  never  saw  such  numbers  of  magnificent  oaks 
as  here.  I  measured  the  largest,  which  is  24  ft.  in  circum- 
ference, and  several  are  nearly  equal  to  it,  and  all  in  their  prime. 
The  family  party  consisted  of  Lord  Scarsdale,  who  was  then  eighty- 
four  years  of  age,  and  his  lady,  their  son  Captain  Curzon,  and 
a  daughter,  to  whom  I  had  brought  a  letter  from  the  Earl  of 
Shrewsbury,  This  lady  gave  proofe  of  a  very  cultivated  under- 
standing, and  a  very  correct  judgment  in  matters  relative  to  the 
arts ;  indeed,  she  herself  draws  and  paints  with  much  skill  His 
Lordship  asked  me  at  table  what  I  thought  of  his  lai^e  picture  by 
Rembrandt,  Daniel  before  Nebuchadnezzar,  the  desire  to  see  which 
was  one  of  the  chief  inducements  of  my  visit  to  Keddleston  HaU. 
On  my  replying  that  it  had  not  answered  my  expectation,  and  that 
I  took  it  to  be  rather  a  masterpiece  by  Solomon  de  Koninck, 
he  said  he  was  glad  to  hear  my  opinion,  as  he  himself  had  had  some 
doubts  on  the  subject,  though  the  value  of  the  picture  was  thereby 
considerably  diminished. 

On  the  following  morning  I  convinced  myself  that  this  picture, 
which  is  about  6  ft.  high  and  as  many  wide,  a  composition  of  eleven 
figure,  in  which  the  prophet  foretells  ruin  to  Nebuchadnezzar, 

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KEDDLESTON  HALL.  Letter  XXXL 

is,  in  size,  powerful  colouring,  effect,  and  admirable  execution, 
the  most  important  work  that  I  have  ever  seen  by  this  able  follower 
of  Rembrandt 

Besides  this,  the  following  pictures  of  the  Flemish  School  ap- 
peared to  me  to  be  particularly  worthy  of  notice  : — 

Bernhard  Van  Orley. — ^The  Virgin  with  the  infant  Christ, 
who  is  blessing  St.  John,  in  the  presence  of  Joseph  and  Elizabeth. 
Figures  three-quarters  the  size  of  lifa  The  delicacy  and  ele- 
vation of  the  characters,  and  the  admirable  and  tenderly  blended 
execution,  make  this  picture,  after  the  Pieta  in  the  Museum  at 
Brussels,  the  finest  that  I  am  acquainted  with  by  this  eminent 
master.  As  is  mostly  the  case  with  him,  the  tone  is  reddish  in 
the  lights  and  grey  in  the  shadows. 

Jan  Matsys. — ^The  Virgin  kissing  the  Child.  This  very  care- 
fully-finished picture,  which  resembles  in  motive  a  work  by  his 
father,  Quentin  Matsys,  in  the  Berlin  Museum,  passes  for  a  work 
of  the  latter.  The  less  refined  feeling,  the  cold  reddish  local  tone 
of  the  flesh,  and  the  pale  tone  of  the  mountains  in  the  landscape, 
decidedly  show  it  to  be  a  work  of  the  son. 

Cornelius  Jansen. — ^Prince  Henry,  eldest  son  of  King  James 
I.,  at  the  age  of  about  eleven  years.  Very  attractive  in  truth  of 
conception,  delicacy  of  execution,  and  clearness  and  brightness  of 
tona     Inscribed  1603. 

Jan  Steen. — A  blind  beggar  and  two  other  figurea  A  dear 
and  careful  littie  picture. 

JuDOcus  DE  MoMPER. — A  rich  mountainous  country.  Perhaps 
tiie  finest  work  of  the  master ;  for,  in  addition  to  the  strange,  fan- 
tastic, and  singularly  formed  hills,  with  the  valleys  illumined  by 
the  sun,  which  constitute  the  principal  charm  of  his  pictures,  it  is 
of  unusual  size,  6  ft.  in  widtii  and  5  ft.  in  height,  and  far  more 
carefully  executed  than  most  of  his  pictures.  The  figures  of  men 
and  animals  are  very  happily  introduced  by  Velvet  Breughel. 

Albert  Cuyp. — A  large  mountainous  landscape.  The  tone  of 
tiie  distance  too  dull  and  reddish. 

Snyders. — Dead  animals;  a  swan,  a  peacock,  and  a  deer. 
The  light  colours  are  brilliant  and  powerful,  the  execution  very 
careful. 

2.  Ducks  pursued  by  a  hawk.     Masterly  and  dramatic 

Jan  Fyt. — ^Dogs  and  game ;  strikingly  true  to  nature,  and 
painted  in  the  broad  rich  manner  and  deep  full  tone  peculiar  to  him« 

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Lbttbr  XXXI.    LORD  SCARSDALE'S  COLLECTION.  393 

Adrian  van  Utrecht. — ^Various  kinds  of  poultry,  in  the 
manner  of  Hondekoeter,  and  very  masterly,  but  less  clear  in  the 
tints. 

Among  the  paintings  of  the  Italian  School  the  following  are 
remarkable : — 

The  Virgin  with  three  holy  women  and  St.  John  at  the  sepul- 
chre of  Christ  The  same  composition  as  at  Devonshire  House, 
and,  like  that,  in  the  whole  manner  of  the  admirable  execution, 
indicating  a  master  of  the  school  of  Ferrara. 

NicoLo  DEL  Abate. — The  Virgin  and  Child,  St  John,  and 
Joseph.  The  influence  of  Correggio  is  very  obvious  in  this  picture 
by  this  rare  master,  which  is  painted  in  a  warm  brownish  tone. 

Annibale  Carracci. — 1.  Orlando  delivering  Olympia  from 
the  sea-monster,  by  fixing  a  large  anchor  in  its  open  jaws.  This 
subject  is  well  suited  to  the  vigorous  turn  of  mind  of  this  master. 

2.  Mary  Magdalen  in  the  desert.  A  pleasing  little  cabinet 
picture. 

Guido  Reni. — ^Bacchus  standing  by  Ariadne,  who  is  sitting  on 
the  sea-shora  Figures  one-third  the  size  of  life.  Very  pleasing 
in  the  figures  and  in  the  bright  cheerful  eflect,  and  carefully 
painted  in  a  soft  warm  tone. 

GuERciNO. — ^The  Israelites  celebrating  the  triumph  of  David 
over  Goliah.     Kgures  the  size  of  life.    Of  very  powerful  eflect. 

DoMENiCHiNO. — ^A  landscape ;  a  beautiful  composition,  but 
more  motley  in  the  colouring  and  more  scattered  than  usual 

Carlo  Dolce. — The  head  of  a  female  saint,  with  an  arrow 
through  her  neck ;  perhaps  St.  Ursula  Of  a  beauty  of  form  and 
expression,  clearness  of  colouring,  and  delicacy  of  finish,  which  are 
not  often  found  united  in  his  works. 

Claude  Lorraine. — ^The  tower  on  the  Tiber,  with  the  mill, 
in  a  warm  evening  light  In  the  foreground,  two  shepherds  danc- 
ing. A  picture  of  fine  eflect,  of  his  later  period,  which  was  dis- 
tinguished by  broader  treatment  and  by  the  insipidity  of  his  green. 

Besides  these,  here  are  good  pictures  by  Giacomo  Bassano, 
Giovanni  da  S.  Giovanni,  Strozzi,  Luca  Giordano,  Ciro 
Ferri,  and  Benedetto  Lutl 

Of  the  French  School  I  remarked  a  picture  of  the  early  time 
of  Nicolas  Poussin — Rinaldo  holding  his  shield  to  Armida  as 
a  mirror ;  and  of  the  English  School,  a  wood-scene,  with  gleams 
of  light,  of  remarkable  warmth  and  clearness,  by  Wilson. 


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394  BELVOm  CASTLE.  Letteb  XXXT. 

Some  very  good  enamels  of  the  Limousin  manufactory,  with  the 
Passion,  after  the  series  of  thirty-six  wood-engrarings  by  Albert 
Durer,  were  so  &r  interesting  to  me,  as  proving  that  this  manu- 
factory had  also  recourse  to  German  works  of  art  as  patterns. 

At  noon  I  left  Keddleston  ELall,  and  on  the  same  day  Derby- 
shire, the  southern  part  of  which  grows  gradually  flatter. 

Nottingham  is  a  pretty  large  town,  but,  for  want  of  decided 
character,  as  tiresome  as  most  men  in  the  world  are  for  the  same 
reasoa  The  road  lay  through  part  of  Leicestershire,  where  I  was 
obliged  to  miss  Donnington  Hall,  the  seat  of  the  Marquis  of  Hast- 
ings, with  a  collection  of  Dutch  pictures  and  portraits,  and  Eey- 
thorpe,  the  seat  of  Lord  Bemers,  where  are  some  portraits  by 
Holbein,  through  Rutlandshire,  where  I  missed  in  like  manner 
Burley  House,  the  seat  of  Mr.  Finch,  containing  a  large  collection 
of  English  portraits. 

Lincolnshire,  which  I  next  entered,  resembles  Nottinghamshire 
in  appearance.  From  an  eminence,  over  which  the  road  passes, 
there  is  a  very  extensive  view  over  the  fertile  country,  with  the 
celebrated  cathedral  of  Lincoln  on  the  horizon,  which  I  the  more 
regretted  not  being  able  to  visit,  since  the  work  of  my  friend  Mr. 
Cockerell  has  drawn  attention  to  the  sculptures  with  which  it  is 
decorated,  and  which  are  doubtless  the  finest  and  most  graceful 
specimens  of  the  architectural  sculpture  of  England  in  Üie  13th 
century  that  have  been  preserved  to  us. 

At  Grantham,  where  I  stopped  on  my  way  to  Belvour  Castle,  is 
a  remarkable  church,  as  I  unfortunately  discovered  too  late.  At 
Bottesford  are  monuments  of  the  Rutland  family. 


BELVOIR  CASTLE. 
This  magnificent  seat  of  the  Dukes  of  Rutland  is  most  conve- 
niently reached  from  Bottesford  station,  between  Nottingham 
and  Grantham.  Li  point  of  situation  I  have  seen  no  other  resi- 
dence in  England  that  can  compare  with  Belvoir  Castie.  It  stands 
on  the  summit  of  a  considerable  hill,  commanding  a  view  of  the 
country  far  and  wide,  having  been  erected  by  Wyatt  at  the  com- 
mencement of  the  present  century  in  the  Gothic  style,  though 
unfortunately  without  any  proper  understanding  of  the  rules  of 
Gothic  architecture.  From  the  building  itself  the  view  falls  on 
various  eminences  outspread  in  beautiful  soft  forms,  and  adcumed 

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Lettbb  XXXI.    DUKE  OP  RUTLAND'S  COLLECTION.  395 

with  the  most  luxuriant  trees  of  the  freshest  green^  and  then 
ranges  free  over  an  expanse  of  fertile  plains  till  it  is  lost  in 
the  horizon.  Unfortunately,  I  met  with  the  same  had  luck 
here  that  had  heüeillen  me  at  Wentworth.  Lord  Lansdowne  had 
kindly  promised  to  introduce  me  to  the  Duke  of  Rutland,  but  his 
Grace  was  absent,  and  no  directions  in  my  favour  had  been  lefL 
I  was  therefore  obliged  to  use  all  my  eloquence  to  persuade  the 
chief  steward  of  the  household  not  to  drive  me  through  the  apart- 
ments with  a  family  who  had  arrived  at  the  same  time,  but  to 
allow  me  to  remain  in  the  gallery,  which  is  well  lighted  from 
above,  and  which  contains  the  prindpal  pictures,  till  he  should 
have  despatched  that  family. 

This  collection  consists  chiefly  of  excellent  pictures  of  the  first 
masters  of  the  Flemish  and  Dutch  schools,  of  a  moderate  number 
of  chefs-d'oeuvre  of  the  best  painters  of  the  French  and  Spanish 
schools,  and,  finally,  of  some  good  examples  of  the  Italian  and 
German  schools.  Nor  are  of  course  the  works  of  the  modem 
English  school  entirely  absent.  The  pictures  by  Murillo,  as  well 
as  many  others,  were  collected  about  100  years  ago  by  the  third 
Duke  of  Rutland,  and  the  rest  by  the  father  of  the  present  Duke. 
Many  pictures,  however,  were  sacrificed  at  a  fire,  among  which 
were  several  bySalvator  Rosa,  and  eleven  by  Sir  Joshua  Reynolds, 
among  which  was  one  of  his  finest  specimens.  With  the  exception 
of  the  Seven  Sacraments  by  Poussin,  which  I  take  together,  I  give  the 
pictvffes  in  the  order  in  which  they  struck  me  in  my  hasty  review. 

Gerard  Dow. — A  girl  with  a  pail  with  vegetablci«  on  her 
arm,  and  a  man  with  a  sparrow-trap,  rejoicing  at  a  newly  caught 
bird  in  a  cage.  On  the  parapet  of  the  window  a  bas-relief  with 
four  children.  Very  attractive  in  subject,  and  also  for  the  delicate 
and  highly  finished  execution.     9f  in.  high,  6f  in.  wide. 

Van  der  Heyden. — 1.  View  of  a  large  church,  of  singularly 
powerful  and  dear  treatment  of  chiaroscuro. 

William  Van  de  Velde. — 1.  A  dark  sea,  overshadowed  with 
clouds,  with  single  rays  of  light.   Poetic,  clear,  and  skilfully  treated. 

Teniers. — 1.  Interior  of  a  cattle-stabla  A  peasant  is  bringing 
fodder  to  the  oxen ;  more  behind  is  a  woman  feeding  two  cows  ; 
also  poultry  and  aU  sorts  of  utensils.  Of  admirable  keeping  and 
masterly  treatment     1  ft.  7  in.  high,  1  ft.  11  in.  wide. 

A  small  Holy  Family,  painted  on  copper ;  a  pretty  little  pic- 
ture, ascribed  to  Correggio,  but  by  a  somewhat  later  master. 

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396  BELVOIR  CASTLE.  Letter  XXXT. 

Claude  Lorraine. — 1.  A  small  landscape,  of  reddish  sunny 
lighting ;  belonging  to  his  later  tima 

Teniers. — 2.  The  Quack  Doctor.  He  is  standing,  fantastically 
dressed,  in  an  arched  window,  and  holds  some  universal  panacea 
in  a  little  bottla  All  kinds  of  objects  belonging  to  his  craft  are 
upon  the  parapet  of  the  window.  Of  great  humour  of  invention 
and  spiritedly  executed  in  his  brown  tone. 

RuBENa — 1.  Sketch  for  a  Holy  Family.  The  composition  little 
attractive,  but  the  execution  spirited. 

Carlo  Dolce. — 1.  St  Francis.  A  small  and  very  delicate  pic- 
ture, emulating  Cigoli  in  feeling  and  tone  of  colour. 

ScHiDONE. — ^The  Holy  Family;  Joseph  has  grey  hair.  A 
small  example  of  this  often-repeated  picture ;  of  clear  colouring 
and  broad  treatment. 

Berghem. — 1.  A  hilly  landscape  with  a  peasant  ploughing. 
Poetic  in  feeling,  and  of  a  subdued  harmonious  tone. 

Pynacker. — ^A  small  landscape  with  cattle,  with  a  warm  sky  ; 
one  of  his  delicate  and  transparent  works. 

Teniers. — 3.  Two  mechanics  playing  cards  at  a  table  in  a 
room,  two  others  lookmg  on ;  in  the  background  at  the  fireplace 
are  five  other  people  drinking  and  smoking.  This  inscribed  picture 
is  of  the  most  delicate  silvery  tone,  and  of  very  spirited  touch. 

Claude  Lorraine. — 2.  A  landscape,  with  the  Flight  into 
Egypt.  Finely  composed,  and  carefully  executed  in  a  powerful 
tone.     Of  his  early  time. 

Teniers. — 4-7.  Some  pleasing  small  pictures. 

Van  der  Heyden. — 2.  Houses  on  a  Dutch  canal.  Clear  and 
powerful. 

Jan  WYNANTa — 1.  A  landscape,  remarkable  for  truth  of 
nature,  power  and  transparency  of  colour,  delicate  keeping,  and 
careful  treatment 

Adrian  van  Ostade. — An  old  couple  reposing  in  a  bower 
after  a  meal ;  a  friend  entering  is  looking  at  them.  Of  great 
truth  and  admirable  execution  of  the  warm  dear  tone.  9  in.  high. 
Hin.  wide. 

Berghem. — 1.  Landscape  with  water,  cattle  and  herdsman 
passing  a  ford.  Of  singular  delicacy,  and  a  truth  which  shows  the 
beneficial  influence  of  Adrian  Van  de  Velda  As  warm  in  colour- 
ing as  it  is  tender  in  execution. 

Adrian  van  der  Werff. — Adam  and  Eve  expelled  from 

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Lkttbr  XXXT.    duke  OF  RUTLAND'S  COLLECTION.  397 

Paradise.     Cold  in  feeling,  and  ivory-like  in  the  flesh,  but  of  the 
most  delicate  melting  execution. 

Philip  Wouvermans. — ^Landscape,  with  a  horse  being  shod. 
In  every  respect — composition,  warm,  powerful,  and  transparent 
colouring,  and  delicate  touch — ^an  admirable  work  of  his  second 
manner. 

Sir  Joshua  RsTNOLDa — ^A  girl  and  a  boy  with  a  dog. 
Pleasing  in  feeling,  and  warm  and  delicate  in  colour. 

William  Van  de  Velde. — 2.  A  slightly  agitated  sea,  with 
vessels.    Gear  and  powerful  in  colour,  and  delicate  in  treatment 

Claude  Lorraine. — 3.  A  small,  narrow  landscape,  with  a 
large  tree  in  the  foreground,  and  a  piece  of  water  with  a  boat 
Of  singular  power  and  freshness  of  green,  bespeaking  his  earlier 
time,  and  admirably  preserved. 

Jan  Steen. — ^A  poor  family  saying  grace  before  a  meal ;  the 
mother  directing  one  child,  while  another  is  laughing.  Of  the 
highest  excellence,  as  respects  the  feeling  of  the  subject,  the  clear 
colouring,  the  fine  effect,  and  the  admirable  treatment  3  ft  3  in. 
high,  2  ft.  9  in.  wide. 

Jacob  Rutsdael. — 1.  A  sea-piece,  with  water  much  agitated  ; 
a  coast  in  the  distance.  Poetic  in  feeling,  transparent  in  colour, 
and  masterly  in  treatment. 

2.  Another  sea-piece,  with  a  coast  in  the  foreground,  is  of  sin- 
gular truth  and  lightness  of  tone,  and  not  less  admirably  painted. 

Jan  Wynants. — 2.  A  large  landscape,  belonging  to  his  some- 
what coldly-toned  and  crude  works. 

Claude  Lorraine. — 4.  Companion  to  the  last-mentioned  pio- 
ture ;  a  herd  of  cattie,  with  a  trea  Of  great  charm  of  delicacy 
and  transparency. 

Albert  Cuyp. — ^Landscape,  with  four  cows  reposing  in  the 
foreground,  and  three  figures ;  a  canal  in  tiie  background.  An  ad- 
mirably executed  and  luminously  coloured  picture  of  his  finest  time. 

Teniers. — 8.  A  representation  of  Dutch  proverbs.  A  large 
landscape  witii  the  most  strange  and  senseless  occurrences  going 
on  in  all  parts  :  for  instance,  a  man  filling  up  a  pit  after  his  cow 
has  fallen  into  it ;  another  throwing  money  into  the  water ;  a  pig 
being  sheared,  &c.  This  fantastic  subject,  which  hardly  belongs 
to  the  department  of  art,  is  painted  with  all  the  master's  power, 
in  his  warm  but  transparent  flesh-tones,  and  with  his  silvery-toned 
sky.     About  4  ft  6  in.  high,  6  ft.  10  in.  wide. 

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898  BELVOIR  CASTLE.  Lkctkb  XXXI. 

PoELEMBURG. — 1.  The  Adoration  of  the  Shepherds.  A  rich 
composition  with  the  full  warmth  of  his  colouring,  and  tenderness 
of  his  execution. 

Gainsboroüqh. — 1.  Landscape  with  cattle  by  some  water.  Of 
a  transparency  and  delicacy  seldom  seen  in  this  master. 

Claude  Lorraine. — 5.  A  reddish  sunset  upon  the  sea ;  two 
figures  in  fix)nt.  A  large  and  beautiful  picture  of  his  later 
time. 

Terburg. — ^Two  young  ladies  occupied  with  music,  a  page 
bringing  a  glasa  This  beautiful  picture  agrees  in  essential  re- 
spects in  composition  with  one  in  the  Louvre,  but  is  £ar  superior  as 
regards  the  singular  warmth  and  lightness,  the  execution  of  the 
beautiful  gay  carpet,  and  the  incomparably  finer  execution. 

Adrian  van  der  Neer. — ^A  small  landscape  by  moonlight 
belongs  to  the  somewhat  hard  pictures  of  his  earlier  time. 

Gaspar  Poussin. — 1.  A  large  and  highly  poetic  landscape, 
with  Christ  going  with  the  two  disciples  to  Emmaus. 

Murillo. — 1.  The  Virgin  and  Child  and  St  Rosalia,  a  female 
angel  and  little  cherubs,  thoroughly  realistic  in  conception,  but 
very  attractive,  and  of  masterly  execution  in  his  cool  silvery  tone. 

Rembrandt. — The  portnut  of  a  young  man  of  strongly  pro- 
nounced features.  Most  spiritedly  executed  in  a  very  solid 
body,  in  a  deep  golden  tone.  About  2  ft  4  in.  high,  1  fL  10  in. 
wide. 

Holbein. — ^Henry  VIIL,  full-length  figure,  life-size;  in  the 
stiff  posture  in  which  almost  all  the  portraits  of  him  by  Holbein 
are  represented,  and  which  was  doubüess  prescribed  to  the  master. 
Although  painted  on  canvas,  this  picture  is  of  such  truth,  deli- 
cacy, and  transparency,  that  I  consider  it  an  original. 

Albert  Dürer. — Portrait  of  a  man  with  a  broad-brimmed 
hat  on  his  head,  an  order  round  his  neck.  Of  very  animated 
conception,  and  Üght-yeUow  flesh-tones.  An  admirably  executed 
work  of  his  earlier  time. 

Carlo  Dolce. — 2.  The  Virgin  and  Child.  Belonging  to  his 
delicate  but  coldly-toned  pictures. 

Murillo. — 2.  The  Adoration  of  the  Kings.  Animated  in  the 
realistic  heads,  decided  in  forms,  hard  in  outline,  and  cold  in 
colouring.     A  work  of  his  earlier  time. 

Caspar  Poussin. — 2.  A  large  landscape.  Companion  to  the 
last-mentioned,  and  not  less  beautiful. 


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Lettee  XXXI.    DÜKE  OF  RUTLAND'S  COLLECTION.  399 

Berghebl — ^A  large  and  beautiful  picture,  called  by  that  name, 
but  which,  in  my  hasty  view,  impressed  me  as  being  the  work  of 
Adrian  Van  db  Vbldb,  or,  at  any  rate,  of  his  school. 

Rubens. — 2.  In  the  centre  the  Virgin  with  ihe  Child  on  her  lap, 
in  the  act  of  placing  a  crown  on  the  head  of  St  Catherine,  who  is 
kneeling  with  a  palm-branch  in  her  hand.  On  the  other  side  SS. 
Christina  and  Margaret ;  also  four  angels  of  singular  beauty,  one 
with  the  thunderbolt  ready  to  strike  the  enemies  of  Christ,  the 
others  with  palms  and  wreaths  to  reward  the  martyrs  and  saints. 
This  b  in  every  respect  one  of  Rubens'  most  attractive  chefe- 
d'oeuvre.  The  colouring  especially  is  of  the  most  singular 
warmth  and  transparency,  the  execution  as  careful  as  it  is  spirited. 
Sft  6in.high,  7ft  wide. 

Lb  Bourgüignon. — ^Landscape  with  a  bridge ;  remarkable  for 
a  carefulness  of  completion  very  rare  in  him,  and  for  warmth  and 
delicacy  of  tone. 

William  Van  de  Vbldb. — 3.  A  calm  sea,  with  a  vessel  firing 
a  gun.     Very  true  and  delicate. 

Rubens. — 3.  A  landscape,  with  the  discovery  of  the  child 
Erechthonius  with  the  serpent  feet.  A  small,  very  spirited  pic- 
ture, delicate  and  clear  in  tone. 

Sir  Joshua  REYNOLDa — 2.  Portrait  of  a  lady,  to  the  knees, 
with  landscape  background.  Delicate  in  conception,  and  of  very 
clear  colouring. 

Gainsborough. — 2.  A  party  of  country-people  before  a  house. 
Very  powerful  and  clear. 

Vandyck. — ^A  male  portrait,  half-length.  Of  his  middle  pe- 
riod, as  evidenced  by  the  warm  and  dear  colouring,  which  renders 
the  animated  conception  still  more  attractive. 

Gainsborough. — 3.  A  herd  of  cattle  in  a  landscape.  Of  a 
sunny  transparency. 

Tenibrs. — 9.  Five  storks  in  a  piece  of  standing  water  over- 
grown with  rushes  and  other  water-plants ;  a  sixth  is  flying  down 
to  them.  Highly  attractive  for  the  great  truth  of  the  animals  and 
the  daylight  of  the  landscape,  and  for  the  masterly  treatment 
ltL2iuL  high,  1  ft.  9  in.  wide. 

Lenain. — A  man  standing,  with  a  boy  sitting  next  him,  a 
woman  opposite ;  a  white  building  in  the  background.  This  pic- 
ture has  all  the  most  esteemed  qualities  of  the  master — great 
truth,  clearness  of  colour,  and  a  careful  execution. 

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400  BELVOIR  CASTLE.  Letteb  XXXI. 

Teniers. — 10.  A  landscape,  with  the  Temptation  of  St  An- 
thony in  a  cava     In  his  somewhat  heavy  brown  tone. 

GiAcoMO  Bassano. — ^The  Adoration  of  the  Shepherds.  An 
excellent  picture ;  admirably  executed  in  his  rare  silvery  tone. 

RuBENa — 4.  A  shepherd  caressing  a  seated  woman.  A  fre- 
quently recurring  picture ;  the  finest  example  is  in  the  Gallery  at 
Munich.     As  powerful  as  it  is  transparent  in  colour. 

Michael  Angeld  da  Caravaggio. — ^A  gipsy  woman  telling 
fortunes.     In  my  opinion  a  rich  and  fine  picture  by  Valentin. 

Gaspar  Poussin. — 3.  A  small  marvellously  beautiful  land- 
scape ;  of  the  rarest  fireshness  of  colour,  and  sustained  solidity  of 
execution. 

Adam  Elzheimer. — ^A  landscape.  Looks  well,  but  hangs  too 
high  to  permit  of  an  opinion. 

Schalken. — 1.  A  girl  and  a  boy,  by  daylight ;  delicately  exe- 
cuted, but  of  insipid  tone. 

PoELEMBURO. — 2.  St.  Lawrence ;  as  careful  and  warm  as  the 
example  of  the  same  subject  in  the  Museum  at  Berlin. 

A  Last  Supper,  here  most  erroneously  entitled  a  joint  work  of 
Albert  Durer  and  Lucas  van  Leyden,  is  decidedly  a  work  of  the 
old  Spanish  school  under  the  influence  of  the  Netherlandish  school, 
especially  as  regards  the  landscape,  which  is  treated  in  the  style 
of  Jan  Mostaert.  It  is  realistic  in  the  characters,  exaggeratedly 
dramatic  in  the  motives,  careful  in  execution,  and  hard  and  gaudy 
in  colouring.     On  wood. 

Schalken. — 2.  A  girl  and  a  youth  by  candlelight.  Very 
careful  and  clear,  but  rather  too  red  in  colour. 

Sir  Peter  Lely. — Portraits  of  man  and  wife ;  half-length 
figiu'es.  The  former  approaches  Vandyck,  the  latter  is  rather 
more  gaudy. 

Lucas  van  Uden. — A  landscape^  of  a  somewhat  hard  green. 
Here  entitled  a  Rubens. 

The  pictures  of  the  Seven  Sacraments  by  Nicolas  Poussin  are 
well  known  to  have  been  executed  for  the  Chevalier  del  Pozzo, 
at  an  eai'lier  period  than  those  executed  for  M.  de  Chantelou  now 
in  the  Bridgewater  Gallery.  The  comparison  of  these  two  series 
with  each  other  is  of  the  utmost  interest  to  the  connoisseur.  I 
must  preface  these  remarks  by  at  once  owning  that  I  give  the  pre- 
ference most  decidedly  to  the  series  in  Belvoir  Castle.  It  is  true 
that  the  compositions  of  these  pictures  are  less  rich  and  less  con- 
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Lettbe  XXXr.    DÜKE  OF  RUTLAND'S  COLLECTION.  401 

formable  to  the  rules  of  art,  but  they  have  something  more  unaf- 
fected, a  greater  warmth  of  feeling,  slenderer  proportions  of  figures, 
and  in  point  of  the  colouring — which  is  executed  with  a  delicate 
feeling  for  harmony  in  broken  tones,  preserved  throughout  with 
great  transparency — ^they  belong  to  the  finest  works  of  the  master. 
Those  in  the  Bridgewater  Gallery,  on  the  other  hand,  while  dis- 
tinguished for  the  greatest  mastery  of  art  in  the  well-balanced 
compositions,  have  too  many  cold  reflections,  are  somewhat  thea- 
trical in  single  motives,  and,  having  been  originally  too  crude, 
have  now,  in  consequence  of  the  bole  ground  becoming  apparent, 
entirely  lost  all  keeping,  and  have  turned  quite  dark.  I  now 
proceed  to  give  a  few  remarks  on  the  separate  pictures. 

Baptism. — A  composition  of  thirteen  figures.  This  is  less 
happy  than  the  arrangement  in  the  other  series ;  the  chief  group, 
that  of  John  baptizing  Christ,  being  more  on  one  side  of  the  pic- 
ture. The  figure  of  a  powerful  man  drawing  ofi^  his  hose,  which 
is  a  free  copy  from  Michael  Angelo's  well-known  cartoon,  is  also 
in  the  picture  in  the  Bridgewater  Gallery,  though  somewhat 
altered.     The  landscape  here  is  of  especial  beauty. 

Confirmation. — A  composition  of  sixteen  figures ;  very  remark- 
able for  beauty  of  motive,  dignity,  and  an  unusually  delicate 
feeling  for  nature  in  the  heads. 

Confession. — Here  also  the  master  has  represented  the  forgive- 
ness of  sins  by  the  incident  of  the  Magdalen  washing  the  feet  of 
Christ ;  the  meaning  being  finely  and  distinctly  conveyed. 

The  Last  Supper. — ^The  motives  here  are  more  dignified,  and 
the  heads  more  various,  than  in  the  corresponding  picture  of  the 
other  series,  in  which  it  always  jarred  upon  my  mind  to  see  some 
of  the  disciples  represented  eating  at  such  a  solemn  moment. 

Marriage. — ^The  Marriage  of  the  Virgin.  The  noble  tendency 
and  fine  taste  of  the  master  are  very  conspicuous  here,  while  the 
cool  tone  of  the  whole  has  a  peculiar  charm. 

Extreme  Unction. — Seldom  has  Poussin  expressed  such  deep 
emotion  as  in  this  fine  composition. 

Ordinatioa — Here,  also,  the  chief  group,  Christ  giving  the 
keys  to  Peter,  is  more  towards  the  edge  of  the  picture  than  in  the 
other  series,  which  somewhat  diminishes  the  solemnity  of  the 
event  But  in  the  uncommon  delicacy  and  harmony  of  keeping 
this  picture  is  far  superior  to  the  other. 

Michael  Angeld  da  Caravagqio.  —  I  attribute  to  thia 

VOL.  III.  2   © 

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402  BURLEIGH  HOUSE.  Lbttee  XXXI. 

master  the  Expulsion  of  Hagar.  Of  warm  and  transparent  tone. 
I  do  not  know  to  whom  it  is  ascribed  here. 

In  the  chapel,  upon  the  altar,  is  a  picture  by  Murillo  which  I 
consider  one  of  the  finest  by  the  master  in  all  England.  The 
Virgin  is  seated,  with  the  Child  standing  and  looking  up  to  her, 
the  Baptist  kneeling  and  worshipping  him ;  St.  Joseph,  standing 
behind  this  group,  completes  the  pyramidal  form  in  an  unstudied 
way.  The  expression  of  the  heads  has  an  elevation  which  Murillo 
seldom  attained  in  such  perfection ;  that  of  the  in&nt  Saviour  is  as 
if  he  were  transfigured.  At  the  same  time,  what  is  most  rare» 
the  execution  is  carried  out  in  a  warm  reddish  tone  with  equal 
solidity  in  every  part. 

In  passing  through  the  other  rooms  I  was  struck,  among  the 
pictures  adorning  them,  with  a  large  sea-piece,  with  slightly  agi- 
tated water,  and  numerous  vessels,  one  of  which  is  firing  a  gun — 
a  careful  and  beautiful  work :  also,  among  various  portraits  by 
Sir  Joshua  Reynolds,  with  that  of  a  young  man  of  the  Rutland 
family,  which  is  remarkable  for  the  animation  with  which  the  fine 
features  are  rendered. 

In  one  apartment  is  a  collection  of  miniature-portraits,  some  of 
them  of  value,  framed  and  glazed,  and  hung  on  the  walls. 

This  lordly  seat  is  surrounded  with  a  vast  possession,  containing 
all  the  appurtenances  of  deer-park,  preserves,  &c.,  on  a  magnificent 
scala  I  was  greatly  delighted  to  hear  the  present  Duke  spoken 
of  as  a  nobleman  of  highly  cultivated  mind,  and  of  mild  and  bene- 
volent disposition,  who  devotes  the  powers  which  his  elevated 
position  gives  him  to  the  promotion  of  all  that  is  good  and  useful, 
both  on  a  large  and  small  scale. 


BURLEIGH  HOUSE. 
Burleigh  House  is  situated  in  the  midst  of  a  fine  park,  very 
near  to  Northlunptonshire.  My  only  visit  to  this  noble  seat  was 
in  1835.  The  house  was  built  (making  use,  however,  of  a  more 
ancient  edifice)  by  Cecil,  the  well-known  minister  of  Queen  Eliza- 
beth, and  is,  perhaps,  the  most  important  mansion  in  what  the 
English  call  the  Elizabethan  styla  It  makes  a  truly  imposing- 
appearance  by  its  immense  extent,  and  surrounds  a  spacious  quad* 
rangular  court.  The  very  wide  windows  are  particularly  cha- 
uacteristic,  being  much  in  the  same  style  as  those  in  the  School 

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Letter  XXXT.    MARQUIS  OP  EXETER'S  COLLECTION.  403 

of  Architecture  at  Berlin,  one  of  the  best  and  most  original 
works  of  SchinkeL  At  the  comers  are  round  towers,  and  others 
also  rise  at  intervals  The  numerous  chimneys,  in  the  form  of 
antique  pillars,  have  a  very  singular  effect  On  my  arrival  I 
saw,  for  the  first  time,  a  large  pack  of  English  hounds  with  brown 
spots,  with  the  huntsmen  in  scarlet  uniforms.  The  Marquis  of 
Exeter  was  just  going  out  on  a  hunting  party.  He  sent  to  desire  I 
would  excuse  him  for  the  present,  and  I  therefore  commenced  my 
perambulation  through  the  mansion,  attended  by  the  housekeeper. 

I  have  seen  no  other  seat  which  affords  so  completely,  and  on 
80  grand  a  scale,  a  view  of  the  taste  in  the  arts  which  pre- 
vailed among  the  English  nobility  from  the  middle  of  the  17th 
till  about  the  end  of  the  18th  century.  Several  of  the  finest 
apartments  were  adorned  at  the  beginning  of  that  period  with 
very  confused  and  unattractive  figures  by  Antonio  Verrio,  a 
degenerate  descendant  of  the  degenerate  Neapolitan  school  He 
spent  twelve  years  in  completing  these  masterpieces  of  bad  taste, 
during  which  period  he  received  from  Lord  Exeter,  besides  table 
and  equipage,  1500/.  per  annum — that  is,  in  all,  far  more  than 
Raphael  or  Michael  Angelo  ever  received  for  all  the  immortal 
productions  of  their  genius.  Very  little  more  can  be  said  in 
favour  of  the  large  pictures  with  which  Louis  la  Guerre,  a 
Frenchman  and  assistant  of  Verrio,  adorned  the  ball-room.  These 
paintings  are  justly  preserved  as  proofs  of  princely  munificence, 
and  as  specimens  of  the  taste  of  that  time.  The  other  decorations 
of  the  mansion  consist  of  tapestries,  mosaics,  bronzes,  sculptures 
(among  which  are  many  by  NoUekens),  china  vases,  plaster-casts 
from  celebrated  antiques,  oak-carvings  by  the  famous  Gibbons,  aüd 
of  pictures  (about  550  in  number),  which  are  distributed  among 
the  chief  apartments.  Among  these  the  masters  of  the  later 
Italian  school  predominate ;  they  include  accordingly  good  works 
by  Andrea  Sacchi,  Carlo  Maratti,  Filippo  Lauri,  Luca 
Giordano,  Giro  Ferri,  Franceschini,  Liberi,  Luti,  Sebas- 
tian Ricci,  &c.  The  great  masters  of  the  time  of  Raphael  are 
here  rather  in  name  than  in  reality.  Notwithstanding  this,  the 
number  of  valuable  pictures  of  the  happier  periods  of  the  art  is 
not  inconsiderable,  as  may  be  seen  from  the  following  remarks, 
which  are  the  best  I  can  ofler  after  an  inspection  of  only  four  hours. 

Of  the  Italian  Schools,  the  Venetian  is  the  best  represented. 

Giovanni  Bellini. — Christ  delivering  the  keys  to  St  Peter, 

2  D  2 

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404  BURLEIGH  HOUSE.  Letter  XXXI. 

in  the  presence  of  St.  John  and  two  Marys.  A  very  finished 
work  of  the  later  period  of  the  master,  highly  refined  and  elevated 
in  feeling,  and  delicately  executed  in  a  light  tona 

PoRDENONE. — 1.  The  Finding  of  Moses ;  whole-length  figures, 
the  size  of  life.  A  capital  work  by  this  rival  of  Titian,  to  whom 
this  picture  is  here  erroneously  ascribed ;  noble  in  the  characters 
and  expression,  grand  in  the  forms,  and  of  a  brownish,  warm,  full 
tone  of  colouring. 

2.  The  Adoration  of  the  Kings  ;  whole-length  figures,  the  aze 
of  life.  Also  a  rich  and  admirable  picture.  I  do  not  know  any 
other  gallery  which  can  boast  two  such  works  by  this  rare  master. 
Here  erroneously  called  Bassano. 

Tintoretto. — The  Entombment.  Noble  in  character  and 
composition,  and  warm  in  colouring. 

Paul  Veronese. — ^The  mother  of  the  sons  of  Zebedee  ask- 
ing of  Christ  that  her  sons  may  sit  in  heaven,  one  on  his  right, 
and  the  other  on  his  left  Whole-length  figures,  the  size  of  life. 
This  picture  serves  as  the  altar-piece  to  the  family  chapel,  and  is 
not  in  a  favourable  light ;  but  it  seems  to  be  one  of  the  inferior 
works  of  the  master. 

GiACOMO  Bassano. — 1.  Gathering  the  Manna ;  a  rich,  careful, 
and  well-coloured  pictura  The  Return  of  the  Prodigal  Son,  2, 
and  an  Adoration  of  the  Shepherds,  3  (here  erroneously  ascribed 
to  a  painter  of  the  name  of  Apollonius),  are  also  remarkably  good 
works  by  Giacomo  Bassano. 

Andrea  Schiavone. — 1.  The  Marriage  of  St.  Catherine. 
Pleasing  in  the  lines,  and  glowing  in  the  colouring. 

2.  The  Finding  of  Moses.  Very  graceful  in  the  composition, 
and  the  heads  more  animated  than  usual 

The  Roman  School,  in  its  most  brilliant  period,  is  but  ill  re- 
presented. Under  the  name  of  Raphael,  here  is  an  old  copy  of 
the  so-called  "Belle  Vierge"  in  the  Bridgewater  Gallery,  but 
with  still  less  pretensions  to  originality ;  and  another  copy  of  the 
Virgin  at  the  Sepulchre,  of  which  I  saw  one  at  Keddleston  Hall, 
and  another  at  Devonshire  Housed  A  Magdalen,  by  Baroccio, 
is  a  genuine  and  good  picture. 

Of  the  Lombard  School  here  is  an  excellent  portrait  of  a 
man  by  Sofonisba  Anguisciola,  who  is  so  highly  praised  by 
Vasari  ;  and  who  was  invited  by  Philip  IL  to  Madrid  to  paint  the 
Boyal  family. 

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Lepter  XXXI.    MARQUIS  OF  EXETER'S  COLLECTION.  405 

Of  the  school  and  time  of  the  Carracci  here  are  many  valu- 
able pictures,  of  which  I  particularly  noticed  the  following : — 

Denys  Calvart. — ^The  Annunciation.  A  picture  painted  in 
a  very  warm  tone,  and  blended  like  an  enamel,  with  tiie  artist's 
name. 

Guido  Renl — ^A  boy  with  a  pigeoa  Of  a  purer  feeling  for 
nature  than  usual,  and  of  very  clear  colouring. 

Albano. — Galatea  combing  her  hair.  Very  graceful,  and  of 
warm,  clear  colouring. 

GüERCiNO. — Jacob  receiving  the  bloody  garment  of  Joseph. 
Very  carefully  executed,  and  remarkably  clear  in  the  colouring. 

Lanfranco. — Christ  walking  on  the  Sea,  and  rabing  the  sink- 
ing Peter. 

ScHiDONE. — ^Four  ladies  of  the  princely  family  of  Parma.  A 
good  and  careful  picture.        • 

Carlo  Dolce. — 1.  Christ  blessing  the  Bread.  A  good  ex- 
ample of  the  picture  at  Corsham  House,  and  In  the  Dresden 
Gallery.     Of  the  three  I  am  inclined  to  prefer  the  last. 

2.  The  Nativity.  Very  excellent  in  composition,  force  and  ful- 
ness of  colour,  and  delicate  finishing. 

Benedetto  Castiolione. — ^The  Virgin  and  Child.  Far  more 
noble  and  tender  than  most  of  the  pictures  by  this  master ;  pre- 
sented to  the  Earl  of  Exeter,  in  the  year  1774,  by  Pope  Clement 
XIV.  (GanganeUi). 

2.  The  Passage  of  the  Israelites  through  the  Red  Sea.  In 
size,  richness  of  composition,  and  careful  execution,  a  capital  pic- 
ture of  the  master. 

Claude  Lorraine. — ^Two  landscapes,  remarkably  long  and 
narrow  in  shape ;  of  the  middle  period  of  the  master :  remarkable 
for  composition,  power  and  freshness  of  tone. 

Here  are  also  some  good  pictiures  by  the  naturalistic  painters  : — 

Michael  Angelo  da  Caravagoio. — 1.  Susannah  and  the 
Elders.  In  colouring  and  painting  displaying  all  his  peculiar 
energy,  and  more  discreetly  conceived  than  might  be  expected 
of  him. 

2.  Peter  denying  Christ     A  picture  of  great  effect 

Spagnoletto. — The  Flight  into  Egypt.  In  delicacy  of  feel- 
ing and  execution  superior  to  many  much-praised  works  of  the 
master. 

Mattia  Preti. — ^Time  unveiling  Truth.   A  large  picture,  and 

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406  BURLEIGH  HOUSE.  Letter  XXXL 

more  carefully  executed  than  usual  with  this  painter,  who  merely 
aimed  at  effect. 

Of  the  Spanish  School  there  is  only  a  picture  by  Murili/>, — 
Diogenes  about  to  throw  away  his  drinking-cup  as  useless.  It  is 
conceived  with  great  skill,  in  the 'natural  manner  of  his  beggar- 
boys,  yet  rather  dark,  especially  in  the  shadows. 

Of  the  French  School  there  are  some  good  pictures : — 

Nicolas  Poussin. — 1.  Angels  with  the  instruments  of  the 
Passion  appearing  to  the  infant  Christ  in  his  sleep ;  a  careful  pic- 
ture, of  fine  compositioa 

2.  The  Assumption  of  the  Virgin. 

Le  Sueur. — Mary  Magdalen  anointing  the  feet  of  Christ  In 
the  pure  taste  and  true  feeling  which  distinguishes  Le  Sueur  from 
most  of  the  French  artists. 

The  Flemish  and  Dutch  Schools  are,  in  proportion  to  the 
others,  but  indiflbrently  represented.  The  following  pictures,  how- 
ever, deserve  mention : — 

Jan  van  Eyck. — The  Virpn  with  the  infant  Christ  in  her 
arms,  and  St  Barbara  presenting  the  donor,  an  ecclesiastic  in 
white  robes,  who  is  kneeling.  The  background  landscape  and 
architecture  in  this  small  picture  bear  so  strongly  in  every  part 
the  stamp  of  the  master,  that  I  recognised  it  as  his  at  the  first 
sight,  and  was  very  glad  to  find  that  it  was  properly  named.  It 
is  a  highly-finished  miniature  in  oil ;  and  in  the  tone  and  treat- 
ment has  the  greatest  resemblance  to  the  masterly  picture  by  Jan 
van  Eyck  in  the  Louvre. 

Vandyck. — William  Cavendish,  Duke  of  Newcastle.  A  por- 
trait of  great  delicacy  and  elegance. 

Rembrandt. — A  small  portrait,  called  William  TelL  The 
colouring  very  warm. 

Sir  Peter  Lely. — Susannah  and  the  Elders.  The  best  of  all 
his  historical  pictures  that  I  have  seen.  The  heads  are  realistic, 
but  not  vulgar ;  the  execution  spirited  and  careful,  in  a  warm 
clear  tone. 

PoELEMBURG. — Christ  with  the  two  Disciples  on  the  way  to 
Emmaus.  The  usual  delicacy  of  the  painter's  execution  is  here 
united  with  uncommon  force. 

Teniers. — A  shepherd  with  his  dog  and  flock.  Lightly  painted 
in  his  clear  tone. 

Jacob  Ruysdael. — ^A  waterfall ;  powerful  and  fresh  in  colour- 
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Letter  XXXI.    MARQUIS  OF  EXETER'S  COLLECTION.  407 

ing,  and  careful  in  execution.  Another  picture  ascribed  to  him 
hangs  in  too  bad  a  light  to  give  an  opinion  of  it,  but  looks  doubtiiil. 

HoBBEMA. — ^A  landscape  of  the  best  time  of  the  master. 

Here  are  also  some  pictures  of  the  German  School  : — 

A  LBERT  DuRER. — ^Thc  Nativity.  A  small  but  beautiful  picture, 
here  erroneously  ascribed  to  Herri  de  Bles. 

Lucas  Cranach. — ^The  portrait  of  Luther,  with  the  monogram 
and  date.     A  genuine,  but  unhappily  injured  picture. 

Angelica  Kauffmann. — Here  are  no  fewer  than  fifteen  of 
her  feeble  sentimental  productions,  of  which  three  are  from  the 
history  of  Abelard  and  Eloisa ;  the  subject  of  another  is  Fame 
adorning  the  tomb  of  Shakspeare. 

The  English  School  has  but  little  to  show  hera  The  most 
important  are  three  large  pictures  by  Stothard,  which  adorn  the 
staircase.  They  represent  the  banquet  given  by  Cleopatra  to 
Mark  Antony ;  Orpheus  leading  the  shade  of  Eurydice  from  the 
infernal  regions ;  and  the  Terrors  of  War.  Here  we  find  again 
the  poetry  of  his  invention  and  the  grace  of  his  attitudes ;  but 
the  feebleness  of  the  drawing  is  too  apparent  in  these  large 
dimensions. 

Next  to  these  I  would  mention  a  capital  picture  by  West, 
Agrippina  with  the  ashes  of  Germanicus ;  a  rich  composition. 
There  is  a  nobleness  of  style  in  the  figures^  and  in  some  of  them 
even  real  feeling. 

Besides  all  these,  a  room  with  the  portraits  of  celebrated  persons 
is  very  interesting,  of  which  I  will  mention  the  most  important, 
without  regard  to  schools  : — 

Holbein. — 1.  King  Henry  VIIL  ;  half-length.  A  scroll,  with 
the  verse  from  the  Bible,  "  Go  into  all  the  world,  and  preach  the 
Gospel  to  every  creature,"  in  the  Latin  language,  which  he  holds 
in  his  hand,  refers  perhaps  to  the  supremacy  over  the  Church  of 
England  which  that  king  asserted  with  so  much  pertinacity  and 
cruelty.    It  is  very  carefully  painted  in  a  brownish  tone. 

2.  King  Edward  VL  at  the  age  of  seven  or  eight  years.  The 
head  and  hands  are  painted  in  a  peculiarly  reddish  local  tone  of 
the  flesh,  with  grey  shadows. 

Mark  Gerards. — 1.  Queen  Elizabeth  at  an  advanced  age ; 
half-length.  She  seems  to  have  been  quite  in  a  dignified  mood 
when  she  sat  for  this  picture.  Coldness  and  pride  are  expressed  in 
those  sharp  features.     At  the  same  time  the  picture  is  tastelessly 

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408  BURLEIGH  HOUSE.  Letter  XXXF. 

overladen  with  the  rich  stiff  lace  ruff,  and  an  excess  of  ornaments 
of  all  kinds  of  jewels  and  pearls.  This  master  was  a  second-rate 
painter  from  Bruges,  who  was  much  employed  by  the  English  court 
after  the  year  1580. 

2.  William  Cecil,  Lord  Burleigh,  in  the  robes  of  a  Knight  of 
the  Garter.  A  very  intelligent  countenance,  but,  from  the  pre- 
dominant expression  of  austerity,  far  from  pleasing. 

3.  Robert  Devereux,  Earl  of  Essex,  the  celebrated  favourite  of 
Elizabeth.  The  very  model  of  a  favoured  courtier ;  with  hand- 
some, delicate,  but  by  no  means  expressive  features ;  an  air  of 
superiority,  and  the  expression  of  excessive  arrogance  and  extreme 
self-conceit,  render  this  portrait  very  characteristic.  The  dress  is 
much  tricked  up  and  studied. 

llie  decided  contrast  in  the  character  of  the  last  two  portraits 
is  very  interesting. 

Cornelius  Jansen. — Lady  Dorothy  Nevill,  the  first  wife  of 
Thomas,  the  first  Earl  of  Exeter,  is,  in  refinement  and  delicacy  of 
conception,  tone,  and  execution,  one  of  the  most  beautiful  pictures 
of  the  master. 

The  portraits  of  a  Lady  Pembroke  and  of  a  Lady  Warwick, 
painted  by  Edmund  Ashfield,  who  flourished  in  1680,  after 
Vandyck,  deserve  mention  for  their  extremely  delicate  fimshing. 

It  would  take  too  much  time  to  particularize  the  numerous 
family  portraits :  suffice  it  to  say  in  general  that  there  are  among 
them  pictures  by  Sir  P.  Lely,  Sir  G.  Kneller,  and  Sir  Tho- 
mas Lawrence. 

A  glass  case  contains  an  excellent  collection  of  miniatures  and 
enamels,  among  which  are  masterpieces  by  Petitot,  Isaac  Oliver, 
and  John  Hoskins» 

The  whole  mansion  and  the  above-mentioned  portraits  carry 
one  back  to  the  glorious  and  prosperous  reign  of  Elizabeth ;  and, 
to  complete  the  impression,  you  are  shown  into  the  Queen's  bed- 
chamber, where  she  slept  when  she  honoured  her  favourite  minister 
with  a  visit.  In  remembrance  of  that  event,  the  state-bed,  with  its 
green  and  gold  brocaded  curtains,  is  preserved  exactly  in  the 
state  in  which  she  left  it. 

I  had  concluded  my  observations  on  most  of  these  matters 
when  the  Marchioness  sent  to  invite  me  to  luncheon,  and  aflierwards 
had  the  kindness  to  show  me  the  pictures  which  adorn  her  apart- 
ments.    Her  boudoir,  which   contains  the  best  of  the  smaller 

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Lhtter  XXXI.    MARQUIS  OF  EXETER'S  COLLECTION.  409 

pictures  which  I  have  mentioned,  gives  the  impression  of  the  most 
refined  comfort.  I  had  again  the  pleasure  to  find  in  this  lady  a 
truly  patrician  and  gracefiil  demeanour,  combined  with  great 
simplicity  and  unaffectedness  in  conversation,  and  a  very  intelligent 
and  lively  interest  in  my  observations  respecting  works  of  art 
Towards  evening  the  Marquis,  who  had  returned  from  hunting, 
came  in.  With  the  greatest  afiability  he  directed  my  attention  to 
several  remarkable  portions  of  the  building ;  for  instance,  to  the 
kitchen,  which,  formed  of  a  single  lofty  and  spacious  Gothic  groined 
arch,  is  doubtless  unique  in  its  kind.  Being  invited  by  him  to 
dinner,  I  returned  to  Stamford  to  dress.  At  table  I  was  introduced 
to  the  widow  of  Lord  Frederick  Bentinck,  a  relative  of  the  Earl 
of  Lonsdale,  a  very  accomplished  lady. 

A  sideboard  in  the  dining-room  was  very  richly  covered  with 
silver  plate,  goblets,  salvers,  &c.  Four  very  large  dishes  were 
presents  from  the  coronations  of  James  IL,  Anne,  and  George  L, 
at  which  the  Earls  of  Exeter  officiated  as  almoners.  What  struck 
me  most  was  a  silver  wine-cooler,  as  large  as  a  small  bathing-tub. 
It  contains  3400  ounces  of  silver,  and  cost  825Z.  It  is  said  to  be 
the  largest  in  England. 

The  amiable  manners  of  the  Marchioness,  the  plain,  cordial 
habits  of  the  Marquis,  in  which  we  Germans  gladly  recognise  in 
the  English  an  affinity  of  race,  made  the  conversation,  which  I  was 
able  with  some  difficulty  to  carry  on  in  English,  very  agreeable.  At 
their  request  I  gave  many  particulars  of  the  result  of  my  observa- 
tions on  the  vast  treasures  of  works  of  art  which  I  had  seen  on  my 
tour,  in  which  they  took  much  interest.  I  regretted  much  not  to 
be  able  to  accept  the  invitation  of  the  Marchioness  to  view  all  the 
works  of  art  more  at  my  leisiu^,  having  already  arranged  my 
departure.  His  Lordship  presented  me  at  parting  with  a  copy  of 
the  '  Guide  to  Burleigh  House,*  which  was  the  more  welcome  to 
me,  as  it  is  out  of  print  My  limited  time  unfortunately  would 
not  permit  me  to  see  the  park,  with  all  its  beauties,  a  large  piece 
of  water  with  a  stone  bridge  by  the  celebrated  Brown,  numerous 
summer-houses,  grottoes,  the  farm,  the  hot-houses,  &c.  For  the 
same  reason  I  was  unable  to  view  the  old  and  remarkable  town 
of  Stamford,  with  several  Gothic  churches,  one  of  which  contains 
the  monument  of  the  great  Lord  Burleigh  and  of  other  members 
of  the  same  family. 


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410  APETHOBPE.  Lettbb  XXXI. 


APETHORPE. 

In  consequence  of  an  invitation  from  the  Earl  of  Westmoreland 
I  proceeded  in  1850  from  Peterborough  to  visit  Apethorpe,  the 
seat  of  that  nobleman,  and  was  received  by  him  and  Lady  West- 
moreland in  ihe  kindest  manner.  The  devotion  of  Lord  Westmore- 
land to  the  art  of  music,  in  which  he  is  a  successful  composer,  is 
too  well  known  for  me  to  dwell  on ;  the  Countess  also  is  much 
distinguished  as  an  amateur  painter.  During  the  long  reddence 
of  the  Earl  as  English  Ambassador  to  the  Court  of  Berlin,  I  had 
enjoyed  a  close  acquaintance  with  himself  and  his  lady,  and  re- 
ceived the  most  numerous  proo&  of  the  exceeding  benevolence  and 
amiability  which  this  noble  pair  unite  to  their  other  qualities.  It 
was  therefore  no  little  pleasure  to  me  to  visit  these  honoured 
friends  in  their  native  homa  The  house  itself  is  of  very  various 
periods;  the  oldest  portions,  built  in  the  14th  century,  in  the 
English  style  (Gothic),  have  been  much  altered,  and  appear  as 
subordinate.  The  chief  part,  namely,  a  stately  court,  is  of  the 
time  of  Queen  Elizabeth.  Unfortunately,  a  portion  of  this  has 
been  remodelled  in  an  empty  Italian  taste,  and  thus  the  unity  of 
the  impression  destroyed.  Below  the  entrance-hall  is  the  statue, 
though  a  very  feeble  one,  of  James  I.,  which  he  presented  to  Lord 
Westmoreland  after  a  sojourn  of  two  days  at  this  seat,  on  occa- 
sion of  his  first  coming  from  Scotland  to  assume  the  crown  of 
England.  The  present  Earl  has  added  a  gallery  to  the  back  part 
of  the  building,  and  an  arcade  towards  the  beautiful  garden,  by 
which  the  house  has  gained  much  in  cheerfidness  and  attraction. 
In  the  stately  hall,  lighted  by  six  windows,  are  a  series  of  family 
pictures,  two  of  which  deserve  notice  for  their  artistic  value. 

Vandyck. — 1.  Rachel,  daughter  of  Francis  Earl  of  Westmore- 
land, whole-length,  life-size  figure,  in  white  silk  dress,  plucking  a 
rose  with  her  right  hand,  while  the  delicate  left  hand  hangs  at  her 
side.  In  the  background  a  green  curtain  and  an  orange-tree, 
with  a  piece  of  sky.    An  elegant  picture  in  his  latest  silvery  tones. 

2.  Portrjut  of  James  Stuart,  Duke  of  Richmond  ;  whole-length, 
life-size,  with  his  hand  on  the  head  of  a  greyhound ;  an  old  and 
very  good  repetition  of  the  fine  picture  formerly  at  Corsham  House, 
and  generally  known  by  Earlom's  engraving.  No  picture  by  Van- 
dyck seems  to  have  been  oftener  copied  than  this. 

In  this  and  the  other  apartments  of  Queen  Elizabeth's  time  are 


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Letter  XXXI.  FOTHERINGAY  CASTLE.  411 

large  stone  sculptured  chimney-pieces,  of  tolerably  good  workman- 
ship, but  which,  being  covered  with  a  thick  coating  of  white  colour, 
have  a  very  clumsy  appearanca 

Another  room  contains  several  family  portraits  by  Sir  Joshua 
Reynolds,  chiefly  whole-length  figures.  The  great-grandfather 
of  the  present  Earl,  a  stately  personage,  in  a  red  coat ;  of  very 
animated  conception,  and  of  masterly  painting  in  a  warm  tone. 
Also  the  portrait  of  his  son  is  worthy  of  remark.  A  third  picture, 
a  young  Lord  Westmoreland,  seated  between  his  two  guardians, 
who  are  standing,  was  once  a  very  remarkable  work,  but  is  now 
much  faded  in  the  flesh-tones. 

I  must  also  mention  a  head  of  Lady  Westmoreland,  with  one  of 
her  children,  by  Sir  Thomas  Lawrence.  The  conception  is  so 
spirited,  the  head  so  animated,  and  the  colouring  so  true  and 
clear,  that  we  seldom  see  these  qualities  united  in  the  same  degree 
in  the  master. 

The  finest  works  of  art,  however,  at  Apethorpe,  are  the  plaster 
casts  of  the  family  of  Niobe,  a  present  from  the  Grand  Duke  of 
Tuscany  to  Lord  Westmoreland,  who  was  for  many  years  minister 
at  that  Court  This  work,  which,  both  in  size  and  in  pathos,  is 
the  most  important  specimen  of  Greek  sculpture  which  has 
descended  to  us,  is  placed  in  an  apartment  erected  for  the  pur- 
pose, according  to  the  arrangement  of  Mr.  Cockerell,  the  archi- 
tect, '  who  is  closely  allied  in  friendship  with  the  Westmoreland 
family.  Other  casts  from  well-known  sculpture  are  also  in  the 
same  apartment,  of  which  I  may  mention  the  fine  Ludovisi  Mars, 
the  ApoUino,  the  Venus  de'  Medici,  the  Mercury,  by  Thorwald- 
sen ;  and  the  Perseus  and  the  Graces,  by  Canova. 

Various  expeditions  into  the  grounds,  under  the  guidance  of 
Lord  Westmoreland,  were  very  gratifying  to  me,  and  made  me 
acquainted  with  the  extent  of  his  Lordship's  richly-wooded  pos- 
sessions. In  the  park  I  saw  some  oaks,  which  must  be  among 
the  most  ancient  in  England.  I  was  also  particularly  interested 
by  a  visit  to  Fotheringay  Castle,  only  four  miles  ofi^,  so  long 
the  prison  of  the  unhappy  Mary  Stuart,  and  the  place  of  her 
execution.  The  castle,  it  is  true,  was  levelled  by  James  I. ;  but 
from  the  hill,  which  was  once  the  rampart  of  the  castle,  an  ex- 
tensive view  over  the  fertile  and  richly-wooded  country  is  obtained. 
The  church,  a  pretty  edifice  of  the  time  of  Henry  V.,  is,  with  the 
exception  of  the  choir,  well  preserved.  The  tower  is  of  good  pro- 
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412  FOTHERINGAY  CASTLE.  Letter  XXXf. 

portions,  and  terminates  in  an  octagon.  The  interior  has  a  roof 
in  the  style  of  King's  College  Chapel,  Cambridge,  but  of  wood, 
which  has  a  good  eflFect.  Two  stone  monuments  in  the  later  choir, 
eret'ted  by  Queen  Elizabeth,  in  1573,  to  the  Duke  of  York  who 
fell  at  Agincourt,  and  to  that  Duke  of  York  who  met  with  his 
death  under  Henry  VI.  at  this  place,  are  of  very  moderate  artistic 
value* 

Here  is  also  another  relic  of  still  earlier  times,  in  the  shape  of  an 
old  inn  of  considerable  size,  in  the  Gothic  style,  which,  judging 
from  the  forms,  may  have  belonged  to  the  16th  century. 
■  It  was  with  sincere  regret  that  I  found  myself  compelled  to  resist 
a  kind  invitation  to  remain  longer  within  the  circle  of  a  family  I 
80  much  esteem  ;  accordingly,  after  three  days  of  true  social  enjoy- 
ment, I  took  my  departure  for  Norfolk. 


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Letter  XXXII.  HOLKHAM.  413 


LETTER   XXXII. 

Holkham  House,  seat  of  Earl  of  Leicester :  Collection  of  sculpture  —  Ck>llec- 
tion  of  pictures  —  Drawings  by  old  masters  —  MSS.  with  miniatures. — 
Ketteringbam  Hall,  seat  of  Sir  Jobn  Boileau  :  Sculpture  and  pictures. — 
Intwood. — Narford,  seat  of  Andrew  Fountaine,  Esq. :  Collection  of  pic- 
tures —  Netberlandisb  scbool  —  Italian  and  Englisb  scbools  —  Collec- 
tion of  Majolica  —  MSS.  witb  miniatures.  —  Attleborougb  Church. — 
Wolverton,  seat  of  Earl  of  Orford  :  Collection  of  pictures. —  Norwich  — 
Picture  in  Cathedral. —  Yarmouth  —  Old  Crorae  —  Burgh  Castle. — 
Orwell  Park,  seat  of  Mr.  Tomline  :  Collection  of  pictures,  miscella- 
neous schools. 

HOLKHAM. 

The  road  to  Holkham,  which  is  situated  in  Norfolk,  the  most 
easterly  county  of  England,  only  three  English  miles  from  the 
sea*coast,  presents  a  uniform  and  melancholy  prospect — large 
tracts  of  land  being  covered  only  with  heath  or  broom. 

It  was  on  my  first  visit  to  England,  in  1835,  that  I  paid  a  visit 
to  Holkham  House,  the  residence  of  the  late  Earl  of  Leicester, 
then  Mr.  Coke ;  the  remembrance  of  whose  princely  hospitality 
and  frank  benevolence  of  manner  must  be  still  fresh  in  the  recol- 
lection of  a  large  circle.  I  esteem  myself  fortunate  to  have 
known  this  remarkable  man,  who,  while  in  his  own  words  pro- 
fessing to  be  a  farmer  in  tastes  and  occupation,  yet  frdly  honoured 
and  appreciated  the  treasures  of  art  accumulated  beneath  his  roof. 
My  notice,  therefore,  of  these  various  objects  dates  from  that 
period ;  nor  am  I  aware  that  Lord  Leicester  before  his  death,  or 
his  son  the  present  Earl,  has  added  anything  of  note.  The 
mansion  itself  is  on  a  truly  princely  scale.  The  main  building, 
which  is  114  ft.  in  length,  and  62  in  breadth,  contains,  besides  a 
basement  of  rustic  work,  only  one  story  of  very  considerable  ele- 
vation. In  the  centre  of  the  south  front  the  basement  projects, 
forming  a  vestibule,  with  a  portico  of  six  Corinthian  columns. 
This,  as  well  as  the  north  side,  has  two  low  wings,  forming  an 
entire  length  of  340  ft.  The  grand  park  entrance  is  on  the 
north  side.  It  leads  into  a  very  elegant  and  lofty  hall,  in  the 
middle  of  which  a  staircase  leads  to  a  gallery  ornamented  with 


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414  HOLKHAM.  Leiter  XXXII. 

eighteen  Ionic  columns  of  the  beautiful  Derbyshire  alabaster 
which  I  spoke  of  in  my  account  of  Keddleston  Hall.  The  pedi- 
ment, up  to  the  height  of  the  gallery,  is  faced  with  the  same 
stone.  An  inscription  over  the  door  states  that  this  mansion  was 
built  in  the  middle  of  the  18th  century,  on  a  bare  arid  spot, 
which  was  levelled  and  planted  by  Thomas,  Earl  of  Leicester. 
The  Earl  employed  Kent,  the  celebrated  architect,  in  erecting  the 
mansion,  which  was  built  of  brick  in  the  years  1734-1764.  In 
order  to  adorn  it  in  a  suitable  manner,  he  commissioned  Mr. 
Brettingham,  the  architect,  in  the  year  1755,  to  purchase  antique 
sculpture  for  him  in  Italy.  This  was  done  with  princely  munifi- 
cence and  the  happiest  success.  Many  antiques  were,  however, 
purchased  in  Italy  by  his  Lordship  himself.  He  also  succeeded 
in  obtaining  a  number  of  paintings,  some  of  them  very  valuable, 
particularly  landscapes  by  Claude  Lorraine  and  Caspar  Poussin, 
and  a  masterpiece  by  Vandyck.  That  there  might  be  no  want,  in 
so  remote  a  spot,  of  appropriate  literary  employment,  a  chosen 
library  was  formed,  which  contains  in  MSS.  alone  about  800 
works,  some  of  them  very  valuable.  The  late  Earl  of  Leicester 
followed  up  the  plans  of  his  predecessor  by  cultivating  and  im- 
proving the  land  to  such  an  extent  as  to  render  himself  one  of  the 
most  eminent  and  wealthy  landowners  in  England.  Two  hun- 
dred of  his  tenants  went  out  on  horseback,  in  solemn  procession, 
to  meet  her  present  Majesty.  Where  a  barren  heath  formerly 
extended  further  than  the  eye  could  reach,  thousands  of  people 
now  live,  who  have  to  thank  him  for  their  means  of  existence. 
Under  these  circumstances  it  is  not  to  be  wondered  at  that  the 
treasures  of  art  and  learning  contained  in  Holkham  did  not 
attract  his  attention  until  a  comparatively  late  period  of  life.  The 
celebrated  Roscoe,  with  whom  he  lived  on  terms  of  intimacy,  put 
the  long-neglected  MSS.  in  order,  and  compiled  a  descriptive 
catalogue  of  them.  I  was  allowed  the  utmost  liberty  in  examining 
them.  I  proceed,  however,  to  describe  that  portion  of  the  Holk- 
ham treasures  which  I  conceive  to  be  of  most  importance,  viz.  the 
antique  sculpture,  taking  them  in  the  order  which  they  occupy  in 
the  apartments. 

The  Statue  Gallery. 

This  stately  apartment  is  of  fine  proportions,  and  with  its  rare 
and  beautiful  contents  has  a  truly  noble  effect 

Neptune.     A  standing  statue  as  large  as  life,  of  Parian  marble. 

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Letter  XXXU.  SCULPTURE.  415 

The  style  of  the  workmanship,  which  is  careful,  bears  witness  to  a 
good  time  of  art  The  head,  of  which  the  nose  only  has  been 
restored,  and  very  badly,  is  of  a  nobler  character,  more  related 
to  that  of  Jupiter,  than  the  few  representations  of  this  god 
which  have  come  down  to  us.  The  most  decided  difference  is  in 
the  expression  of  the  mouth,  which  is  less  benevolent  and  serene. 
The  hair  is  less  rich,  and  not  so  much  raised,  but  more  in  single 
locks.  It  hangs  down  only  on  the  neck,  and  not,  as  in  Jupiter,  on 
the  shoulders.  The  body  is  rather  more  slender,  the  muscles 
more  angular  and  more  strongly  marked,  than  in  Jupiter.  This 
statue,  which  was  bought  at  Rome  of  Carlo  Monaldi,  is  in  my 
opinion  the  most  important  statue  of  Neptune  that  exists,  and  well 
deserves  to  be  made  more  generally  known  by  plaster  casts.  A 
part  of  the  neck,  the  right  arm  up  to  the  elbow,  the  left  arm,  with 
the  trident,  and  the  left  leg,  are  new.  A  dolphin  of  extraordinary 
beauty,  which  is  of  importance  in  determining  the  statue  to  be 
that  of  Neptune,  is  antique. 

A  Faun  at  the  age  of  manhood,  the  size  of  life,  clothed  with 
the  panther's  skin :  of  slender  proportions  ;  the  muscles  vigorous, 
and  admirably  executed.  In  character  and  workmanship  one  of 
the  best  statues  of  this  kind  that  I  am  acquainted  with.  It  was 
found  in  the  Campagna,  and  purchased  of  Cardinal  Albani.  Both 
hands  and  the  tip  of  the  nose  are  new. 

Meleager.  A  statue  as  large  as  life,  of  very  good  Roman 
workmanship  ;  of  which,  however,  both  thighs,  the  left  arm,  the 
nose  and  the  head  of  the  boar,  are  restored  by  Cavaceppi. 
Bought  of  Belisario  Amadei,  then  a  dealer  in  works  of  art 

Apollo.  A  slender  youthful  figure,  resting  on  a  tripod,  of  very 
good  workmanship.     The  head,  arms,  and  right  leg  are  new. 

Over  this  is  a  female  bust,  with  a  mural  crown,  here  called 
Cybele,  but  probably  the  personification  of  a  city.  This  seems  to 
have  much  merit,  but  is  placed  too  high. 

Venus. — A  statue  as  large  as  life,  in  a  tunic,  of  very  fine  ma- 
terial, with  her  right  hand  drawing  her  upper  garment,  which  is 
also  of  very  light  material,  over  her  shoulder.  The  drapery  and  the 
design  incÜcate  the  more  ancient  and  more  dignified  representa- 
tion of  that  goddess,  who  was  worshipped  among  the  Romans, 
under  the  name  of  Venus  Genetrix,  as  the  Mother  of  the  Roman 
people.  Of  all  similar  statues  which  have  come  down  to  us,  not 
excepting  even  that  in  the  Louvre,  formerly  at  Versailles  (No. 

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416  HOLKHAM.  Letter  XXXIL 

46),  this  perhaps  deserves  the  preference.  The  head  is  extremely 
noble  and  chaste  in  character,  the  hair  treated  in  the  archaic  style, 
with  undulating  lines,  yet  already  more  freely  divided  into  elegant 
portions.  A  certain  healthy,  and  yet  delicate  fulness  of  the  forms — 
the  drapery  closely  clinpng,  or  fluttering  in  small  parallel  folds — 
indicates  the  finest  period  of  Greek  art  The  workmanship  is  not 
unworthy  of  the  wonderful  grace  and  beauty  of  the  design.  The 
left  hand  is  restored  by  Cavaceppi,  who  has  erroneously  given  her 
a  vase  instead  of  the  apple.     Bought  of  Belisario  Amadei. 

Diana.  A  statue  rather  above  the  size  of  life.  She  is  ad- 
vancing the  left  foot,  and  about  to  take  an  arrow  from  the  quiver. 
This  is  decidedly  taken  from  the  same  original  as  the  celebrated 
Diana,  as  huntress,  in  the  Louvre,  but  in  my  opinion  is  superior 
to  that  in  beauty  of  form,  and  in  the  workmanship  of  the  narrow- 
plaited  drapery.  The  head  and  arms  are  unfortunately  restored 
by  the  sculptor  Rusconi.  This  excellent  statue  is  composed  of 
two  pieces  of  Parian  marble,  which  are  joined  together  above  the 
girdle.  The  Earl  of  Leicester,  who  had  purchased  it  at  Rome  for 
1500/.,  and  clandestinely  exported  it  to  Florence,  contrary  to  the 
prohibition  of  the  Papal  government,  was  arrested  for  this  offence, 
but  very  soon  liberated  by  the  intervention  of  the  Grand  Duke  of 
Tuscany. 

Bacchus.  A  statue  of  tolerably  good  workmanship,  with  the 
ancient  support,  on  which  are  grapes.  The  head,  the  hands,  and 
parts  of  the  arms,  are  restored  by  Cavaceppi,  of  whom  it  was 
bought. 

Minerva.  A  statue  about  5  ft.  high  ;  of  rather  broad  propor- 
tions :  the  head,  however,  is  of  a  fine  form,  the  cast  of  the  dra- 
pery elegant,  and  the  workmanship  good.  The  helmet,  the  tip  of 
the  nose,  and  large  portions  of  the  drapery,  are  new. 

Fortuna  Stativa,  here  called  Ceres.  A  very  delicate  statue 
with  a  pretty  head  and  elegant  drapery.  The  workmanship  is 
good.  The  right  arm,  the  left  hand,  and  the  greater  part  of  the 
cornucopia,  are  new. 

Tribune  op  the  Statue  Gallery. 

Isis,  here  called  Juno.  This  statue,  above  the  size  of  life,  has 
that  arrauffement  of  drapery  peculiar  to  the  Roman  representa- 
tions of  Isis ;  it  being  so  taken  up  as  to  form  in  front  a  straight 
fold  down  the  figure,  while  the  other  folds  radiate  obliquely  on 
both  sides.     The  whole  workmanship  is  finished  in  the  manner  of 

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Letter  XXXII.  SCULPTURE.  417 

the  best  time  of  Adrian.  The  single  folds,  in  particular,  are  of 
great  depth,  sharpness,  and  precision.     The  arms  are  new. 

Agrippina  the  Elder,  wife  of  Germanicus.  The  head  of  this 
statue,  which  is  of  the  size  of  life,  and  of  good  workmanship,  is  evi- 
dently a  portrait ;  but  I  have  not  the  face  of  Agrippina  suflSciently 
present  to  my  recollection  to  be  able  to  give  an  opinion  of  the  cor^ 
rectness  of  the  name  assigned.  The  arms,  with  the  attributes  of 
Ceres,  are  new. 

Lucius  Antonius,  the  orator,  brother  of  Marc  Antony.  A 
statue  in  the  toga,  of  very  careful  workmanship.  Near  him  a 
scrinium  with  rolls  of  manuscript.  The  head  seems  to  be  put  on  ; 
the  hands  and  parts  of  the  drapery  are  new. 

Lucius  Verus.  A  statue  the  size  of  life,  dressed  in  the  toga ; 
of  good  workmanship.     The  arms  and  feet  are  new. 

Faustina  the  Younger,  consort  of  Marcus  Aurelius ;  a  bust ; 
the  workmanship  very  delicate. 

A  male  bust,  said  to  be  that  of  the  Emperor  Philippus  Arabs, 
represents  some  other  younger  person,  and  is  of  an  earlier  and 
better  period  of  art. 

On  each  side  of  the  door  leading  into  the  vestibule  of  the  statue 
gallery  is  a  copy  of  the  Faun  blowing  the  flute,  the  most  cele- 
brated of  which,  from  the  Villa  Borghese,  is  now  in  the  Louvre. 
One  of  them,  of  Greek  marble,  lightly  clothed  above  with  the 
Nebris,  is  of  a  rather  more  slender  shape  than  usual,  the  forms 
extremely  soft,  and  the  workmanship  very  careful.  The  head  and 
arms  are  new.  The  workmanship  of  the  other  is  also  good ;  but 
the  head,  arms,  and  legs  are  new.  The  one  was  purchased  of 
Cardinal  Albani,  the  other  of  Cavaceppi. 

DiNINO-ROOM. 

Lucius  Verus.  A  colossal  marble  bust,  found  in  the  harbour 
of  Nettuno,  of  most  admirable  workmanship.  The  hair  is  not  so 
carefully  divided  into  single  locks  as  in  most  busts  of  this  Em- 
peror, but  treated  with  more  style.  In  character  it  difiers  from 
most  of  his  busts.     The  nose  is  new. 

A  colossal  bust,  called  Juno,  seems  to  me,  from  the  character, 
to  be  a  very  noble  and  beautiful  head  of  Apollo.  It  is,  however, 
placed  so  high  as  not  to  allow  a  positive  decision. 

Of  two  other  busts,  with  draperies  of  coloured  marble,  of  good 
workmanship,  called  Geta  and  Marcus  Aurelius,  I  say  nothing  of 

VOL.  III.  2   E 

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418  HOLKHAM.  Letter  XXXII. 

the  first  named,  but  the  latter  seems  to  me  to  be  rather  an  Anto- 

niiiuä  Pius. 

The  great  wine-cooler  consists  of  one  piece  of  beautiful  red 

granite. 

Vestibule  under  the  Portico. 

A  statue,  rather  larger  than  life,  called  Jupiter,  I  consider, 
from  the  cast  of  the  hair,  the  form  and  expression  of  the  face, 
and  the  broader  proportion  of  the  figure,  to  be  an  Esculapius. 
The  head  is  very  noble,  the  workmanship  very  good.  The  antique 
supixjrt  is  formed  by  a  palm-tree  with  fruit.  Half  the  nose,  the 
arms,  with  the  patera  and  sceptre,  portions  of  the  drapery,  and 
the  lower  part  of  the  legs,  are  new.  Purchased  by  the  Earl  of 
Leicester  at  Rome. 

A  colossal  bust  of  the  Bearded  Bacchus,  very  noble  in  cha- 
racter and  of  good  workmanship ;  here  called,  according  to  the 
old  fashion,  Plato. 

Lysias  the  orator,  a  disciple  of  Socrates.  A  terminal  statue  of 
very  good  workmanship.  Only  the  tip  of  the  nose  and  the  ears 
arc  new. 

Two  square  cinerary  vessels,  of  a  late  period,  and  ornamented 
with  sculptures  of  indifierent  workmanship,  are  remarkable  on 
account  of  the  representations  on  them.  On  one  of  them,  dedi- 
cated to  Calpumius  Cognitus,  is  the  Rape  of  Proserpine,  repre- 
sented in  the  usual  manner,  only  that,  instead  of  Pluto,  there  is 
a  youthful  genius,  probably  intended  as  a  general  representa- 
tion of  the  genius  of  death.  On  the  other,  dedicated  to  Petro- 
liius  Hedychrus,  are  represented  Romulus  and  Remus  suckled  by 
the  wolf;  and  the  sacred  chickens  eating. 

In   the   GAIiliERY   OP   THE   HaLL.. 

Agrippina  the  Younger,  mother  of  Nero,  in  travertine.  The 
head  is  very  noble ;  the  design  of  the  drapery,  which  she  has 
wrapped  round  both  hands,  but  which  has  unhappily  been  re- 
touched, is  beautiful  and  original. 

The  Provinces  of  Tuscany  doing  homage  to  Cosmo  I.  A 
cart? fully  executed  bas-relief  of  the  Cinquecento  time,  rather  too 
crowded  in  the  compositioa  Bought  by  the  late  Lord  Leicester 
on  hia  visit  to  Italy. 

The  Death  of  Germanicus,  by  Nollekens.  A  bas-relief  of 
very  careful  workmanship,  but  altogether  capricious,  and  without 
ityle  in  the  composition  and  lines. 


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Letter  XXXII.  PICTURES.  419 

Socrates  defending  himself  before  his  Judges.  The  composi- 
tion of  this  bas-relief,  by  Sir  Richard  Westmacott,  is  not  plastic, 
but  pictorial  In  expression  and  character  it  is  one  of  the  best 
works  of  his  that  I  have  seen.  It  is  however  not  thoroughly  car- 
ried out  in  all  the  parts. 

Besides  many  antique  sculptures,  which  appeared  to  me  of  infe- 
rior importance,  I  pass  over  some  copies  of  the  antique,  as  well  as 
a  considerable  number  of  plaster  casts  from  more  or  less  cele- 
brated works. 

To  conclude  with  works  of  antique  art,  I  may  mention  a  mosaic, 
about  2i  ft  square,  which  the  late  Lord  Leicester  purchased  at 
Rome,  and  which  is  placed  over  the  chimney-piece  in  the  library. 
It  represents  a  lion  tearing  a  panther.  The  composition  is  very 
bold,  and  in  the  powerful  foreshortenings  calls  to  mind  the  well- 
known  mosaic  of  Alexander's  Battle ;  but  the  drawing  of  the 
lion  is  indiflFerent,  and  that  of  the  panther  very  feeble.  With 
respect  to  the  smallness  of  the  pieces,  the  number  and  delicacy  of 
the  tints  of  colour,  and  the  beauty  of  the  border,  it  is  however  one 
of  the  most  finished  antique  works  of  the  kind  with  which  I  am 
acquainted. 

Of  the  considerable  number  of  pictures  which  are  distributed 
among  the  numerous  apartments,  many,  as  at  Burleigh  House,  are 
of  the  late  Italian  school ;  others  are  family  portraits.  I  must 
here  confine  myself  to  the  most  important,  in  the  order  of  the 
rooms  which  they  occupy. 

Yellow  Dbessinq-room. 

Albano. — 1.  The  Triumph  of  Galatea.  The  beauty  of  the 
forms  and  the  glowing  coloiuing  render  this  a  very  pleasing  picture. 

Parlour. 

Claude  Lorraine. — 1.  A  large  landscape,  with  Apollo  and 
Marsyas.  A  richly-wooded,  warmly-lighted  country  entirely 
without  buildings,  uniting  poetical  feeling,  depth,  and  fulness  of 
colour,  in  a  degree  which  is  rare  even  with  Claude.  Of  that  fine 
period  which  combines  the  more  accurate  making  out  of  the 
details  with  the  harmony  of  the  whola 

Nicolas  Poussin. — 1.  A  storm.  Sublimely  poetical  in  the  com- 
position, but  become  very  dark. 

Saloon. 

Rubens. — Return  from  the  Flight  into  Egypt.  Figures  the 
size  of  life.     A  repetition  of  the  picture  at  Blenheim. 

2  E  2 

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420  HOLKIIAM.  Letter  XXXII. 

Vandyck. — 1.  The  Duke  d'Aremberg  galloping  on  a  brown 
horse,  and  looking  towards  the  spectator.  He  is  in  armour ;  his 
curling  hair  falling  on  a  lace  collar ;  in  his  right  hand  he  holds  a 
truncheon.  Behind  is  a  page  with  the  Duke's  helmet;  in  the 
back^fTound  cavalry.  The  heads,  painted  in  a  very  clear,  light- 
yellowish  tone,  indicate  that  it  was  executed  rather  before  Van- 
dyck's  arrival  in  England.  The  same  is  shown  by  the  landscape, 
which  is  painted  with  unusual  care  in  a  decidedly  green  tone,  with 
a  li^lit  horizon.  The  whole  has  a  noble  and  princely  eflTect  About 
10  ft,  high  and  8  ft.  wide.  Painted  for  the  Elector  Palatine,  and 
eugraved  by  Eustace, 

State-room. 

Claude  Lorraine. — 2.  A  misty  evening  landscape,  warmly 
lighted.  In  the  foreground  Claude  drawing.  In  his  late  pale 
^iirral  tones.  Inscribed  1675  or  1676,  the  last  figure  being  in- 
distinct. 

Nicolas  Poussin. — 2.  A  thunderstorm  :  the  lightning  striking 
a  tower.  Full  of  poetry,  and  ratlier  clearer  than  the  above-men- 
tioned picture. 

Vandyck. — 2.  The  Duke  of  Richmond;  whole-length,  the  size 
of  life-  The  rather  simplified  forms  very  nobly  conceived,  the  flesh 
admirably  treated  in  a  tempered  golden  tona  The  whole  very 
harmonious. 

Guido  Reni. — Joseph  and  Potiphar's  Wife;^  whole-length 
figures,  the  size  of  life.  The  Earl  of  Leicester  is  said  to  have 
paid  1500?.  for  this  picture,  which,  with  its  black  shadows  and 
greenish  lights,  is  by  no  means  pleasing. 

A  female  portrait,  of  which  the  painting  is  clear  and  the  con- 
ception delicate,  is  neither  painted  by  Titian,  nor  is  it  the  picture 
of  \m  mistress,  as  here  called,  though  I  am  not  able  to  name  the 
artist - 

Leo  X.  with  the  two  Cardinals  Medici  and  Rossi,  called  a  Ra- 
phael, is  an  old,  very  dark  copy  of  the  celebrated  original  in  the 
Pitti  Palace. 

Landscape-  room. 

Domenichino. — A  landscape,  with  the  Sacrifice  of  Isaac,  in 
which  the  noble  composition  is  united  with  great  power  and  extra- 
ordinary clearness  of  colouring.  Formerly  in  the  Barberini  Palace. 
Unfortunately  it  hangs  in  an  unfavourable  light  over  a  door. 

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Letter  XXXII.  PICTURES.  421 

Claude  Lorraine. — 3.  A  rather  small  landscape,  with  figures, 
of  his  early  period,  very  pleasing  and  clear.    Over  the  chimney-piece. 

4.  The  view  of  a  port.  In  the  foreground  a  figure  drawing — 
probably  the  painter  himself — with  a  dog.  Inscribed  with  the 
name  of  Claude  and  1652.  Of  charming  coolness  of  tone.  In  the 
green  his  insipid  tone  already  begins  to  appear. 

5.  The  companion,  with  Apollo  and  Admetus  playing  on  the 
violia  Remarkably  light  and  cheerful  in  tona  Both  the  pictures 
were  formerly  in  the  bedroom  of  Cardinal  Albani,  of  whom  they 
were  purchased. 

6.  The  Temple  of  the  Sibyl  at  Tivoli,  with  a  view  of  the  sea. 
The  poetical  scene  is  floating  in  a  mild,  warm  atmosphere. 

7.  The  companion  picture.  The  sun  rising  behind  a  cloud,  the 
silver  reflection  of  which  appears  on  the  sea.  In  the  foreground  a 
large  cavern,  with  a  view  through  it  of  the  rocky  coast.  Of  very 
great  eflect. 

8.  A  large  upright  landscape,  in  which  a  tall  tree  and  a  bridge 
are  striking  objects.  Numerous  figures  of  men  and  animals.  Of 
a  late  period ;  very  insipid  in  the  general  tone. 

9.  A  large  landscape,  with  Erminia  and  the  shepherds.  Of  his 
latest  period ;  therefore  very  cold  and  pale. 

Several  of  these  fine  landscapes,  especially  Nos.  6,  7,  and  8, 
have  formerly  suflered  injury  from  damp.  The  brown  film  which 
has  thus  been  formed  makes  large  parts  invisible.  What  a  thank- 
worthy task  would  it  be  for  an  able  restorer  who  could  remove 
this  film  without  injury  to  the  pictures  I 

There  are  also  in  this  room  a  landscape,  3,  by  Nicolas  Pous- 
siN ;  five  by  Gaspar  Poussin — one  of  them,  which  is  very  large, 
with  ruins  in  the  middle  distance,  is  one  of  his  best  works ;  a  large, 
excellent  landscape,  in  the  style  of  Annibale  Carracci,  by  Fran- 
cesco Grimani  ;  a  rocky  landscape,  of  considerable  size,  by  Sal- 
VATOR  Rosa  ;  two  by  Orizzonte  ;  two  by  Lucatelli  ;  lastly,  a 
storm  at  sea,  and  a  view  of  Tivoli,  by  Joseph  Vernet — the  last 
extremely  fine. 

Dressing-room  to  the  State  Bed-chamber. 

Annibale  Carracci. — Polyphemus  seated  on  a  rock,  endea- 
vouring, by  his  performance  on  the  reed  pipe,  to  gain  the  love  of 
Galatea,  who  is  passing  on  the  sea  with  two  Nereids.  This  little 
picture,  admirably  painted  in  a  very  harmonious  tone,  in  fresco, 
on   tile,   about  H  ft  square,   is  the  more   interesting,  as  it  is 

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422  HOLKHAM.  Letteb  XXXIT. 

doubtless  a  study  for  the  same  fresco  which  Annibale  painted,  on 
a  large  scale,  in  the  Famese  Palace.  I  unhesitatingly  pronounce 
it  to  be  superior  to  that  in  refinement  of  feeling. 

SxYDERa — Large  and  small  parrots.  A  careful  and  clear  pic- 
ture, here  erroneously  called  a  Rubens. 

iVuBANo. — 2.  The  Virgin  and  Child,  with  St  John  and  Joseph  ; 
a  ^iwect,  warmly-coloured  little  cabinet  picture. 

NoRTi  I ERN  State-closet. 

Cupid  in  a  car  drawn  by  doves,  and  two  Genii,  called  Guido 
Rt^ni,  is,  in  my  opinion,  an  extremely  beautiful  little  picture  by 
Carlo  Maratti,  in  Guido's  manner.  The  Cupid  here  is  the 
same  child  as  the  little  Christ  known  from  Garavaglia's  engraving. 

Carlo  Maratti. — 2.  Judith  giving  the  head  of  Holofemes  to 
the  attendant.  So  much  more  spirited,  dramatic,  and  powerful 
than  most  of  the  pictures  by  this  master,  that  one  would  almost 
liesltate  to  ascribe  it  to  him,  had  it  not  been  described  as  his  by 
BclkirL 

(-•ANALETTO. — View  of  the  Rialto ;  of  uncommon  power  and 
finii^h. 

A  battle-piece,  called  Wouvermans,  is  a  very  good  picture  by 
Stoop. 

Northern  State  Bed-chamber. 

PiETRO  Francesco  Mola. — David  Rizzio  playing  the  violon- 
cello ;  whole  length,  the  size  of  life  ;  very  ably  conceived  and 
masterly  in  the  treatment,  but  very  much  darkened. 

Northern  State  Dressing-room. 

Claude  Lorraine. — 10.  A  small  landscape,  of  a  long  narrow 
form,  with  a  Riposo ;  a  delicate  little  picture  of  his  later  period. 

LuiNi. — The  Virgin  caressing  the  Child,  Joseph,  and  three 
saints ;  very  carefully  painted,  in  a  blooming,  powerful  colouring  ; 
it  is  decidedly  of  the  Milanese  school,  though  the  pleasing  cha- 
ractei^  are  not  important  enough  for  Luini.  Purchased  from  the 
lloscoe  collection. 

Paumigianino. — ^The  Magdalen  in  a  cavern  ;  a  very  carefully- 
executed,  but  a  very  mannered  little  cabinet  pictura 

CiACOMo  Bassano. — Christ  bearing  the  cross.  This  mode- 
rately-sized picture  is  still  more  distinguished  by  the  true  and  not 
undignified  expression  of  feeling  than  by  the  warmth  and  force  of 
tUe  colouring. 


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Letter  XXXII.  DRAWINGS.  423 

Mattia  Preti,  called  II  Cavaliere  Calabrese.— The  Adoration 
of  the  Kings ;  a  large  picture,  painted  for  eflTect ;  the  shadows 
very  black. 

The  Virgin  standing,  holding  in  her  left  hand  a  book,  in  her 
right  flowers,  at  which  the  Child,  also  standing,  and  looking  round 
to  her,  is  eagerly  reaching.  The  background,  a  landscape.  As- 
cribed to  Raphael.  This  picture  hangs  in  too  unfavoiu-able  a  light 
to  be  judged  of;  yet  I  can  by  no  means  take  it  for  Raphael 
The  figures,  the  dark  shadows,  and  the  decided  modelling,  seem 
rather  to  point  to  Giulio  Romano. 

The  Virgin  with  the  Child,  St.  Francis  of  Assisi,  and  St  He- 
lena, from  the  Roscoe  collection,  is  here  erroneously  ascribed  to 
Domenico  Ghirlandajo ;  it  is  not  even  of  the  Florentine  school, 
but  certainly  a  very  good  picture  of  the  Ferrarese  school,  and  in 
many  parts — for  instance,  in  the  marble  bas-reliefs  painted  on  the 
lower  edge — strongly  recalls  Mazzolino,  but  is  inferior  to  him  in 
warmth  of  colouring. 

An  old,  and  once  a  very  good,  but  now  ruined  copy,  on  panel, 
of  the  "  Belle  Vierge,"  of  which  the  best  known  is  in  the  Bridge- 
water  Gallery. 

Melchior  Hondekoeter. — A  capital  picture  by  this  Raphael 
of  bird-painters — a  stately  turkey-cock  gobbling  at  a  family  of 
chickens. 

Two  rooms  are  filled  with  drawings  by  the  old  masters,  framed 
and  glazed ;  of  which,  however,  I  mention  only  those  of  the  high- 
est importance. 

Bbown  Dressing-room. 

Michael  Angeld. — A  group  of  nineteen  figures,  from  the 
celebrated  cartoon  of  the  Palazzo  Vecchio,  which  he  executed,  in 
competition  with  Leonardo  da  Vinci,  for  a  painting  in  the  great 
hall  at  Florence.  A  copy  of  this  picture,  painted  in  chiaroscuro, 
4  ft.  3  in.  long  and  2  ft.  6  in.  high,  is  here  properly  placed  beside 
the  drawings.  Though  it  is  no  doubt  far  inferior  to  the  ori- 
ginal in  anatomical  knowledge  and  thorough  execution,  it  is,  how- 
ever, of  inestimable  value,  as  enabling  us  to  form  an  idea  of  the 
most  essential  parts  of  that  cartoon,  which  was  one  of  the  greatest 
works  in  the  whole  range  of  modem  art — a  cartoon  where  Michael 
Angelo  first  displayed  his  power  and  wonderful  originality  in  youth- 
ful vigour  and  simplicity,  and  the  study  of  which  had  so  great  an 
influence  on  Raphael,  Andrea  del  Sarto,  Fra  Bartolommeo,  and 

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424  HOLKHAM.  Letter  XXXII. 

other  artists  of  the  best  period.  The  subject,  Florentine  soldiers 
bathing,  and  suddenly  called  to  arms  upon  an  unexpected  attack 
made  by  the  Pisans,  gave  him  an  admirable  opportunity  for  show- 
ing his  thorough  study  of  anatomy  and  foreshortening,  and  his 
grandeur  and  decision  in  the  boldest  and  most  transitory  move- 
ments, which  obtained  him  the  victory  over  Leonardo,  so  supe- 
rior to  him  in  years  and  experience.  Passavant  is  of  opinion  that 
this  picture  may  be  a  copy  of  that  which  Bastiane  di  San  Gallo, 
the  Florentine  painter  and  architect,  painted  from  that  cartoon, 
also  in  chiaroscuro,  at  the  request  of  Vasari.  If  the  latter  com- 
prised the  whole  cartoon,  as  Passavant  understands  the  passage  in 
Vasari,  this  cannot  be  a  copy,  for  here  we  see  none  of  the  "  innu- 
merable figures  on  horseback  beginning  the  combat,"  which, 
according  to  Vasari's  expression,  were  also  in  that  cartoon.  From 
the  expressions  of  Vasari,  which  are  certainly  rather  vague,  I 
am  however  inclined  to  believe  that  only  that  group  of  the  men 
arming  is  to  be  understood  ;*  and  I  coincide  the  more  in  that 
case  with  Passavant's  opinion,  because  the  picture  painted  by 
San  Gallo,  according  to  Vasari's  account,  was  sent  by  the  prelate 
Giovio  to  King  Francis  I. ;  whereas  the  picture  at  Holkham  was 
obtained  from  the  Barberini  Palace.  It  was  well  engraved  in 
1808  by  Schiavonetti.  Previously,  no  more  was  known  of  the 
whole  cartoon  than  five  of  the  figures  in  the  picture  at  Holkham, 
which  Agostino  Veneziano  engraved  in  his  well-known  plate,  Les 
Grimpeurs. 

Raphael. — ^The  original  cartoon,  drawn  in  black  chalk,  and 
heightened  with  white,  for  the  well-known  picture  of  '*  La  belle 
Jardiniere"  in  the  Louvre.  Soaked  with  oil,  and  besides  much 
damaged,  so  that  it  has  a  very  unsightly  appearance. 

Of  the  other  drawings  in  these  rooms,  many  are  by  Italian 
masters  of  the  period  of  the  decline  of  the  arts,  and  many  are  of 
uncertain  origin. 

Lady  Leicester's  Dressikg-room. 
Raphael. — Joseph  recognised  by  his  brethren.     Here  errone- 
ously called   Christ  and   his  Disciples.     An  extremely  spirited 
drawing,  of  the  time  and  in  the  manner  of  the  illustrations  of  the 
Bible  in  the  Loggie. 

*  **  Bastiano — ritrasse  in  un  cartonetto  tutta  insieme  1*  invenzione  di  quel  gruppo 
di  figure,  la  quale  niuno  di  tanti  che  vi  avevano  lavorato  aveva  roai  disegDato  intera- 
mcnte."    Vasari.    Vita  di  Battiano,  &c. 

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Letter  XXXII.  MSS.  WITH  MINIATURES.  425 

Nicolas  Poussin. — ^The  Plague ;  an  excellent  bistre  drawing 
from  the  celebrated  picture. 

Claude  Lorraine. — ^Three  beautiful  landscapes,  admirably 
executed  with  pen  and  bistre. 

Most  of  the  other  drawings,  kept  in  portfolios,  are  of  no  great 
importance. 

Library  of  .  Manuscripts. 

Among  the  pictures  in  this  room,  ä  portrait  of  the  celebrated 
Fox  is  remarkably  well  painted. 

A  book  of  thirty-five  leaves,  with  drawings  of  architecture, 
formerly  in  the  possession  of  Carlo  Maratti,  is  next  to  be  con- 
sidered. Eighteen  contain  studies  after  antique  or  later  monu- 
ments, most  of  them  drawn  with  the  pen  or  red  chalk  in  a  very 
masterly  manner ;  one  leaf  contains  grotesque  subjects ;  another 
a  landscape  ;  lastly,  one  has  a  pen-and-ink  drawing  from  Michael 
Angelo's  fresco-painting  of  the  Brazen  Serpent:  these  are  all 
ascribed  by  Passavant  to  the  band  of  Raphael,  in  which  I  agree 
with  him. 

An  original  manuscript,  in  small  folio,  by  Leonardo  da  Vinci, 
is  very  interesting  ;  it  bears  the  following  title  : — '  Libro  originale 
della  natura,  peso  e  moto  delle  acque,  da  Lionardo  da  Vinci,  in 
tempo  di  Lodovico  il  Moro,  nel  condur  che  fece  le  acque  del  Na- 
viglio  della  Martesana  dell'  Adda  a  Milano.'  Like  Leonardo's 
other  manuscripts,  it  is  written  from  the  right  hand  to  the  left,  and 
has  illustrative  drawings  inserted  in  the  text.  This  manuscript 
may  perhaps  be  the  supplement  to  another  on  the  same  subject, 
which  is  preserved  among  Leonardo's  manuscripts  in  the  Ambro - 
sian  Library  at  Milan,  under  letter  Q.  The  construction  of  canals, 
and  the  directing  the  courses  of  rivers,  was  a  favourite  pursuit  of 
Leonardo,  who  devoted  much  time  at  Milan  and  at  Florence  to 
the  course  of  the  Arno,  to  that  of  the  Adda,  and  to  the  canal  of 
Martesana. 

Among  the  manuscripts  with  miniatures  I  noticed  the  following : — 

No.  16.  An  Evangeliarium,  small  folio,  on  parchment,  said  to 
be  from  a  convent  near  Ratisbon :  judging  by  the  writing  and 
the  pictures,  of  the  eleventh  century.  On  the  cover,  which  is  of 
the  same  age,  is  Christ  enthroned  in  the  almond-shaped  glory, 
giving  the  benediction,  surrounded  by  the  attributes  of  the  four 
Evangelists,  very  long  in  the  proportions,  of  very  rude  workman- 
ship, chased  in  metal.  The  edge  is  adorned  with  fine  filigree- 
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426  HOLKHAM.  Letter  XXXH. 

work,  and  richly  set  with  jewels.  The  pictures,  besides  the  four 
Evangelists,  are  the  Crucifixion,  with  the  Virgin  and  St.  John, 
and  the  sun  and  moon  veiling  themselves,  contained  in  circles. 
They  have  in  all  their  parts  a  great  resemblance  to  the  Benedic- 
tionale  at  Chatsworth,  and  are  certainly  of  English  origin.  The 
colours  of  the  draperies  are  light  and  broken ;  the  draperies  are 
fluttering ;  the  faces  little  more  than  outlines ;  the  proportions 
excessively  slender.  The  workmanship  has, '  however,  a  certain 
neatness ;  four  borders  are  in  the  style  of  the  Romanesque  archi- 
tecture, and  are  richly  adorned  with  gold  on  the  edges. 

No.  15.  Another  Evangeliarium,  of  the  same  age. 

Nos.  36  and  37.  Two  Sacramentalia,  of  the  12th  and  13th  cen- 
turies, have  also  richly  adorned  covers,  and  contain  miniatures. 
Unfortunately  I  had  not  time  to  take  any  more  detailed  notes 
of  them. 

No.  41.  A  Missal,  octavo,  on  parchment,  executed  for  Pietro 
de'  Medici,  as  is  proved  by  his  name  on  the  first  page.  The 
parchment,  the  writing,  and  the  miniatures,  all  rich  and  interest- 
ing of  their  kind.  The  little  figures  in  the  numerous  vignettes  and 
initials,  full  of  life  and  spirit,  strongly  call  to  mind  the  style  of 
Domenico  Ghirlandajo,  and  point  to  the  end  of  the  15th  century. 
The  lights  in  the  draperies  and  landscapes  are  heightened  wiüi 
gold ;  the  borders  of  the  principal  divisions  are  richly  ornamented 
with  elegant  arabesques,  little  gold  knobs,  and  here  and  there  with 
small  birda 

Nos.  658,  659.  A  Chronicle  of  the  Counts  of  Hainault  and 
Flanders  is  here  too  highly  estimated.  With  respect  to  the  pic- 
tures, they  are  of  indifferent  workmanship,  from  some  manufactory 
in  the  Netherlands  in  the  15th  century. 

Some  other  MSS.  with  miniatures,  which  would  have  greatly 
interested  me,  especially  a  kind  of  Bible  in  pictures,  of  the  time  of 
Edward  III.,  I  to  my  great  regret  did  not  see,  as  the  first  notice 
I  had  of  them  was  firom  a  description  of  Holkham,  the  existence  of 
which  was  unknown  to  me  till  the  moment  of  my  departure. 

Want  of  time  obliged  me  to  take  leave  without  seeing  the  fine 
gardens,*  pleasure-grounds,  and  park. 


In  the  year  1850  I  was  favoured  with  an  invitation  from  Sir 
John  Boileau,  a  most  highly  cultivated  and  amiable  man,  whose 
acquaintance  I  had  formed  in  the  house  of  Chevalier  Bunsen,  to 

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Let.  XXXII.      ELY  CATHEDRAL— KETTERINGH AM  HALL.      427 

his  seat,  Ketteringham  Hall,  near  Wymondham.  From  Peter- 
borough, therefore,  I  next  proceeded  to  Ely,  where,  by  missing 
one  train,  I  gained  an  hour  and  a  half  to  visit  the  cathedral  This 
edifice  is  of  considerable  size,  and  both  externally  and  internally 
of  very  picturesque  effect.  It  was  constructed  at  various  periods : 
the  wings  of  the  transept  belong  to  the  close  of  the  10th  century, 
the  unarched  nave  was  completed  in  1174.  The  beautiful  choir 
is  of  the  early  English  style  (Gothic)  of  the  13th  century,  and  the 
rich  and  very  peculiar  octagon  structure,  built  of  wood,  at  the 
junction  of  the  nave  and  transept,  was  executed  in  1322-1328. 
What  struck  me  particularly  was  the  Lady  Chapel,  next  the  choir — 
singular  to  say,  on  the  north  side  -  both  on  account  of  the  large 
size,  and  also  of  the  perfect  development  of  the  over-decorated 
Gothic,  although  built  at  a  period — 1321-1349 — when  other 
countries  only  exhibit  the  earlier  and  simpler  style  of  this  archi- 
tecture. I  rejoiced  to  find  that  this  cathedral  is  now  being  most 
carefully  restored,  extending  even  to  the  partial  insertion  of  painted 
glass.  The  clerk  held  forth  in  praise  of  the  zeal  of  the  present 
Dean,  the  Rev.  Mr.  Peacock,  whom  I  had  seen  in  1835  as  Pro- 
fessor at  Cambridge.  How  much  I  regretted  that  the  inexorable 
railway  did  not  permit  of  my  calling  upon  him  I 

Towards  evening  I  arrived  at  Ketteringham  Hall,  where  I  was 
most  kindly  welcomed  by  my  host.  The  circle  consisted  of  Lady 
Catherine  Boileau,  a  lady  of  those  ample  and  refined  manners 
which  bespeak  the  only  true  cultivation  of  mind,  and  a  large 
family  of  amiable  sons  and  daughters,  the  only  visitor  being  that 
well-known  connoisseur  Mr.  Dawson  Turner,  of  Yarmouth,  with 
whom  I  had  long  carried  on  a  correspondence,  and  who  invited 
me  to  visit  him.  Ketteringham  Hall  is  a  very  pleasing  residence,  its 
handsome  and  convenient  apartments  being  adorned  with  pictures 
and  sculpture  which  are  worthy  of  notice. 

Of  the  sculpture  I  may  mention  first  a  marble  relief  found  at 
Nismes  in  France,  which  struck  me  as  showing  an  antique  mirror 
of  a  new  form.  It  represents  a  female  figure  with  one  foot  on  a 
vase,  and  holding  a  mirror  to  a  woman  opposite  to  her.  The 
mirror  consists  of  two  circles  attached  together  at  one  part,  so  that 
they  could  be  folded  together.  The  workmanship  is  moderate,  but 
the  action  of  the  figures  is  very  good. 

A  small  statue  in  marble,  which,  firom  the  figure,  may  be  re- 
cognised as  a  young  Hercules.     Visconti  pronounced  this,  and  I 

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428  SIR  JOHN  BOILEAU'S  COLLECTION.        Letter  XXXIL 

think  correctly,  to  be  the  statue  of  a  Roman  prince,  represented 
under  the  form  of  that  demigod.  This  work  is  of  very  good  style 
and  delicate  execution,  and  is  well  preserved  in  the  principal  parts. 

Two  busts  of  Emperors,  one  of  them  a  Nero. 

I  now  proceed  to  the  pictures. 

Sano  di  Pietro. — A  miracle  from  the  legends  of  St  Clara. 
A  genuine  and  good  little  picture  by  this  mediocre  Sienese  master. 

Fra  Filippo  Lippi. — The  story  of  Jupiter  and  Calisto ;  treated 
with  great  naivete.  I  consider  this  to  be.  a  slight  work  of  this 
master. 

Holbein. — Portrait  of  Anne  Boleyn ;  bust-picture,  inscribed 
with  the  monogram  of  the  master,  and  "  Anna  Regina,  1530." 
The  features  differ  somewhat  from  the  other  portraits  of  this 
Queen.'  It  is  much  defaced  by  broad  cracks  in  the  fllesh  parts, 
and  in  the  green  ground. 

Francois  Clouet,  called  Janet. — Portrait  of  Jean  d'Albret, 
King  of  Navarre  and  father  of  Henry  IV.  of  France.  Animated 
and  careful 

Lo  Spagnoletto. — -The  Adoration  of  the  Shepherds.  The 
Virgin  is  very  noble  for  him ;  the  Child  is  the  least  satisfactory. 
Upon  the  whole,  one  of  his  best  pictures. 

Lancret. — A  pretty  family  picture,  of  particularly  warm  tone 
for  this  padnter. 

De  Vries. — A  pleasing  landscape. 

Williams. — A  landscape  which  is  especially  attractive  for  the 
effect  of  the  warm  evening  light. 

Nothing  could  exceed  the  active  kindness  with  which  Sr  John 
Boileau  promoted  my  desire  to  visit  the  principal  objects  of  art 
in  Norfolk,  sometimes  introducing  me  himself  to  the  proprietors 
of  such,  far  and  near,  and  sometimes  obtaining  admission  for  me 
by  letters  of  introduction. 

.  At  Intwood,  in  the  neighbourhood  of  Ketteringham,  the  seat  of 
Joseph  Muskett,  Esq.,  I  saw  one  of  Hondekoeter's  largest  and 
finest  poultry-pieces,  and  a  pleasing  picture  by  William  Van  de 
Velde. 

From  various  accounts  I  had  received  of  the  treasures  contained 
at  Narford,  the  seat  of  Andrew  Fountaine,  Esq.,  I  was  most  eager 
to  visit  it  But  the  same  unlucky  star  which  had  presided  over 
some  few  other  places  I  had  visited  in  England  accompanied  me 
also  here.      On  one  occasion  Mr.  Fountaine  had  just  left  for 

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Letter  XXXII.    MR.  FOÜNTAINE'S  COLLECTION.  429 

London,  so  that  the  MSS.  with  miniatures  were  not  visible  at  all, 
and  the  collection  of  majolica  (Raphael-ware)  only  very  partially ; 
and  on  another,  the  combinations  of  railway  and  carriage  were 
so  unfavourable  that  I  had  only  a  very  limited  time  to  inspect  a 
collection  of  chefe-d'oeuvre,  consisting  chiefly  of  the  Netherlandish 
school,  intermixed  with  specimens  of  the  Italian,  French,  and 
English  schools,  which  Mrs.  Fountaine,  a  beautiful  young  woman, 
showed  me  with  the  greatest  kindness.  My  memoranda,  which  I 
was  not  able  to  put  on  paper  till  the  next  morning,  are,  therefore, 
neither  so  complete  nor  so  exact  as  this  collection,  which  bears 
witness  to  the  great  knowledge  and  fine  taste  of  the  possessors,  so 
richly  deserves.  Unfortunately,  my  numerous  engagements  in 
London  in  1851  prevented  my  making  good  these  deficiencies  by 
accepting  an  invitation  from  Mr.  Fountaine,  whose  acquaintance  I 
subsequently  made. 

Among  the  pictures  of  the  Netherlandish  School  the  follow- 
ing especially  remain  on  my  memory. 

Sir  Anthony  More. — 1.  Edward  VI.,  and  Queen  Elizabeth  as 
Princess ;  to  the  knees.  This  picture,  which  is  very  animatedly 
conceived  and  carefully  executed  with  yellowish  flesh-tones,  left 
the  impression  on  my  mind  of  being  one  of  Holbein's  works  of 
his  latest  time.  It  is  certain,  also,  that  Sir  Anthony  More,  who 
was  bom  in  1525  or  1526,  covdd  not  have  painted  Edward  VI. 
from  life,  since  the  King  died  in  1553,  and  the  painter's  first  visit 
to  England  did  not  occur  until  after  that  date. 

2.  Philip  IL,  King  of  Spain,  full-length,  life-size.  It  appears 
to  be  careftd  and  genuine,  though  it  hangs  very  unfavourably. 

Rubens. — 1.  A  stable  with  horses  and  cows ;  the  Prodigal  Son 
on  his  knees  before  a  milkmaid,  who  is  busy  feeding  some  little  pigs. 
There  are  also  three  other  figures  and  the  sow.  The  expression 
of  misery  in  the  Prodigal  Son,  the  animation  of  the  animals,  and 
the  spirited  yet  careful  execution,  render  this  picture  particularly 
interesting.  It  remained  for  a  long  time  in  the  possession  of  the 
descendants  of  Rubens,  and  was  not  brought  to  England  till  1823. 
I  saw  this  picture  in  the  hands  of  Mr.  Wilkins  the  architect  in  1835. 

2.  A  large  fruit-piece  by  Snyders,  with  three  figures  by  Rubens, 
which  appear  to  me  of  unequal  value.  The  nearest,  seen  in  pro- 
file, is  very  attractive  for  its  animation  and  transparent  colouring. 

Vandyck. — ^Portrait  of  a  man ;  bust-picture.  Very  life-like, 
and  carefully  painted  in  the  brownish  tones  of  the  master. 

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430  ,  NARFORD.  Letter  XXXII. 

Teniers. — 1.  The  Four  Elements.  Four  figures.  Carefully 
executed  in  a  tone  as  clear  as  it  is  warm. 

2.  Three  peasants  in  the  courtyard  of  a  peasant-bouse.  Of 
singular  power. 

Jacob  Ruysdael. — This  great  master  is  here  represented  in 
all  his  excellence. 

1.  A  sea-piece ;  a  ship  with  a  brown  sail  particularly  conspi- 
cuous. Sky,  water,  and  effect  of  light,  all  of  the  most  surprising 
truth,  and  of  peculiar  poetry. 

2.  A  sea-coast,  with  clouded  sky.  Of  the  utmost  delicacy  both 
in  touch  and  in  gradation  of  tones. 

3.  A  flat  country  with  sunny  fields.  Of  marvellous  charm  of 
nature  and  very  careful  treatment 

4.  A  very  small  picture  executed  with  singular  truth.  Quite  a 
pearl. 

William  Van  de  Velde. — 1.  A  larger  sea-piece,  with  several 
vessels.     Of  fine  effect,  and  of  spirited  and  marrowy  execution. 

2.  A  smaller  sea-piece,  with  a  vessel  firing  a  gun,  is  very  deli- 
cate and  refined 

Jan  Fyt. — A  large  hunting-piece ;  of  powerful  and  transparent 
colouring,  and  particularly  broad  and  masterly  treatment. 

Of  the  Italian  School  I  noticed  the  following  : — 

LoDovico  Carracci. — ^The  Virgin  and  Child ;  very  attractive 
in  composition  and  heads,  and  most  carjefully  executed  in  his 
finest,  warm  reddish  tones.  The  rich  and  elegant  frame  is  formed 
of  angels,  which  support  the  picture,  as  was  said  of  the  miracu- 
lous picture  of  Loretto. 

Guido  Reni. — ^Venus  and  Cupid ;  whole-length  figures,  life-size. 
The  goddess,  almost  undraped,  is  seated  upon  a  couch  and  holding 
up  an  arrow,  at  which  Cupid  is  reaching.  This  picture  is  justly 
called  the  Diamond,  uniting,  as  it  does,  a  singular  grace  of  in- 
vention, beauty,  and  decision  of  forms,  with  that  very  light  and 
transparent,  but  still  warm  tone,  which  is  characteristic  of  the  finest 
period  of  the  master.     The  preservation  is  also  excellent. 

Of  the  French  School  I  was  particularly  struck  by  a  small 
but  very  fine  and  careful  picture  of  a  mythological  subject  by 
Nicolas  Poussin  ;  also  by  a  large  and  admirable  landscape  by 
Gaspar  Poussin,  remarkable  for  clearness  of  colouring  and  com- 
pleteness of  detail. 

Among  the  pictures  of  the  English  School  I  found  a  male 


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Letter  XXXII.    MR.  FOüNTAlNE'S  COLLECTION.  431 

portrait  by  Dobson  approaching  Vandyck  in  beauty.  Also,  an 
excellent  picture  by  Hogarth,  painted  for  one  of  the  ancestors 
of  Mr.  Fountaine,  representing  several  figures,  to  whom  the  por- 
trait of  that  ancestor  is  being  shown,  of  unusual  clearness  and 
freshness  of  colour,  and  careful  execution.  I  also  noticed  a  land- 
scape by  Wilson,  of  considerable  size,  fine  poetic  composition, 
transparency,  and  thorough  completioa 

A  small  apartment,  lighted  from  above,  and  entered  by  a  glass 
door,  contains  the  collection  of  majolica,  arranged  with  great 
taste.  The  centre  is  formed  by  a  very  fine  specimen  of  Luca 
DELLA  RoBBiA,  the  Virgin  and  Child  with  the  little  St.  John,  an 
alto-rilievo  in  a  circle,  and,  as  usual,  terra-cotta,  with  a  glazing 
passed  over  it  Among  the  vessels  I  remarked  many  distinguished 
for  shape  and  size,  others  for  the  spirited  subjects  upon  them,  and 
some  for  the  union  of  all  these  qualities.  There  are  also  excel- 
lent specimens  of  Bernard  de  Palissy's  ware,  and  larger  vessels  of 
the  beautiful  Limoges  enamel,  while  a  small  cabinet  displays  a  rich 
collectiou  of  them.  Some  large  dishes  appeared  to  me  to  be  the 
work  of  Pierre  Rexmon. 

As  regards  the  MSS.  with  miniatures  belonging  to  Mr.  Foun- 
taine, I  had  the  satisfaction  of  seeing  one  of  the  most  valuable  of 
them  at  my  leisure  in  the  hands  of  Mr.  Farrer,  the  picture-dealer, 
to  whom  Mr.  Fountaine  had  sent  it.  It  is  a  prayer-book,  with 
pictures  by  Don  Giulio  Clovio,  octavo,  one  column,  written  on  fine 
parchment  in  an  almost  Roman  text.  No  connoisseur  of  the 
miniatures  of  this  master  can  doubt  that  the  figures  and  most  of 
the  initials  and  border  decorations  are  by  his  hand.  Moreover, 
the  purer  taste  observable  in  the  figures,  indicative  of  the  school  of 
Raphael,  proves  that  they  belong  to  his  earlier  and  better  time,  not 
long  after  he  had  quitted  the  school  of  Giulio  Romano  at  Mantua, 
and  before  he  had  fallen  into  the  exaggerated  imitation  of  Michael 
Angelo.  My  opinion  is  also  confirmed  by  the  circumstance  that 
this  prayer-book  was  executed  for  Eleanora,  or,  as  she  was  also 
called,  Dipnora  Hippolita  Gonzaga,  daughter  of  the  Marquis 
Francis  III.  of  Mantua,  and  Isabella  of  Este,  daughter  of  Ercole 
Duke  of  Ferrara — and  wife  of  Francesco  Maria  della  Rovere, 
Duke  of  Urbino.  In  the  calendar,  only  the  letters  Kl.  at  the 
beginning  of  each  month  are  elegantly  decorated.  The  frontis- 
piece is  very  rich.  In  an  initial — a  D — the  Annunciation  is  exe- 
cuted with  great  delicacy.     On  the  border  is  the  Almighty  in 

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432  NARFORD.  Letter  XXXII. 

the  act  of  blessing,  above ;  and  below,  in  a  circle  fantastically 
formed  of  tritons,  are  the  arms  of  the  Dukes  of  Urbino,  with  the 
motto  around,  alluding  to  Eleanora,  "  Diva  Dio  Duci  Ur."  The 
very  beautiful  and  rich  decorations  executed  on  a  dead  gold 
ground  display  a  pecvdiar  mixture  of  Italian  and  Netherlandish 
taste.  To  the  first  belong  the  symmetrically-arranged  cameos 
and  pearls — to  the  latter  the  single  flowers,  strawberries,  and  birds, 
distributed  around  them.  At  the  heading  of  the  next  page  is 
John  the  Baptist,  a  very  delicate  little  figure.  Many  other  ini- 
tials and  border-decorations  further  on  are  by  another  and  less 
refined  hand.  Among  the  miniatures  by  Giulio  Clovio,  the  fol- 
lowing are  especially  worthy  of  note.  St  Jerome  with  a  crucifix  in 
his  hand,  in  a  D.  The  Crucifixion,  with  the  Vir^n  and  St  John  at 
the  sides.  St.  Augustin,  St.  Ambrose,  St.  Sebastian  (of  particular 
delicacy),  a  saint  with  a  crutch,  and  King  David.  There  is  also 
a  picture  of  the  Duchess,  with  a  death's  head,  looking  at  herself 
in  a  mirror.  The  decorations  accompanying  these  pictiu'es  are 
tasteful  in  design,  and  of  the  utmost  beauty  and  elegance  of  exe- 
cution. An  inscription  at  the  end  enlightens  us  also  as  to  the 
writer  of  the  book  :  "  Manu  Mathei  Domini  Herculani  de  Vul- 
terria"  This  beautiful  and  well-preserved  MS.  was  purchased 
by  Sir  Andrew  Fountaine,  for  the  library  to  which  it  now  belongs. 

From  the  catalogue  of  the  library  at  Narford,  which  I  saw  at 
the  same  time,  I  perceived  that  it  includes  also  the  following  in- 
teresting MSS.  with  miniatures : — 

The  first  part  of  the  Vulgate,  written  for  Philip  le  Bel,  King  of 
France,  as  appears  from  a  notice  by  Flameel,  secretary  to  the 
Duke  de  Berry,  in  the  year  1403. 

A  Psalter  of  the  same  period.  MSS.  of  the  time  of  Henry  VIII. 
Various  Breviaries  of  promising  import 

A  printed  Prayer-book,  with  autograph  signature  and  remarks 
by  Henry  VIIL,  is  an  historical  curiosity. 

From  Narford  I  proceeded  to  visit  the  Rev.  Mr.  Colby,  of 
Little  Ellingham,  in  order  to  examine  two  portraits  by  Rem- 
brandt ;  one  of  the  Rev.  John  Elison,  minister  of  the  English 
church  at  Amsterdam  at  the  time  of  Rembrandt,  and  the  other 
of  his  wife.  Both  are  represented  seated,  full-length,  life-size 
figures,  and  inscribed  with  the  name  and  date  1634.  Mr.  Elison 
is  dressed  entirely  in  black,  with  his  right  hand  (of  admirable 
truth  of  nature)  resting  on  the  arm  of  the  chair,  with  the  left 

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Letter  XXXII.        ATTLEBOROÜGH  CHURCH.  433 

pointing  to  himself.  Near  him,  on  a  table,  are  books.  The  lady 
is  also  in  black,  with  a  broad-brimmed  hat,  which  throws  a  very 
transparently-treated  shadow  on  her  fisice ;  her  left  hand,  which 
rests  on  her  person,  is  the  least  successful.  These  pictures  are 
distinguished  from  many  by  the  master  for  their  very  simple 
and  unpretending  conceptioa  They  are  also  more  carefblly  exe- 
cuted in  the  light,  clear  flesh-tones  which  were  peculiar  to  him  at 
this  time.  They  came  into  the  possession  of  the  present  owner 
by  inheritance,  and  are  admirably  preserved. 

A  visit  that  we  pwd  on  the  same  occasion  to  the  church  at 
Attieborough  was  exceedingly  interesting  to  ma  It  contains, 
namely,  the  remains  of  a  painted  screen  which,  according  to  a 
custom  prevalent  in  Norfolk,  and  perhaps  in  all  England,  ori^ally 
decorated  the  partition  dividing  the  presbytery  from  the  church — 
the  same  place  which  is  occupied  by  the  Iconostasis  in  Russian 
churches.  It  is  now  placed  on  the  inner  side  of  the  west  wall  of 
the  church,  where  the  chief  entrance  is,  and  occupies  the  whole 
breadth  of  it  Woodwork  of  rich  Gothic  architecture  of  a  late 
pei*iod  divides  the  screen  into  a  series  of  compartments,  each  of 
which  originally  contained  a  full-length  figure  of  a  saint,  some- 
times accompanied  by  angels,  with  an  elegant  canopy.  Only  six 
of  these  are  preserved,  and  these  are  in  a  very  ruined  condition. 
The  most  distinguishable  are  John  the  Baptist  and  St.  Bartholo- 
mew. The  heads  show  partiy  that  ideal  form  which  had  obtained 
about  1350,  and  partiy  the  realistic  aim  at  a  more  decided  indi- 
viduality. The  angels  belong  to  the  first  style — the  saints  to  the 
last  The  garments  are  richly  decorated,  the  grounds  coloured, 
with  patterns.  Judging  from  the  whole  style  of  art,  and  from  the 
character  of  the  writing  beneath,  I  am  inclined  to  fix  the  date  at 
about  1440.  From  Sir  John  Boileau  I  understood  that  tradition 
assigned  this  and  other  similarly-painted  screens  in  Norfolk  to  one 
Peter  Fleming.  If  this  name  be  indicative  of  an  English  artist 
who  may  have  acquired  his  art  in  Flanders,  it  at  all  events  shows 
the  influence  of  the  Netherlands,  which,  as  already  remarked,  are 
particularly  accessible  from  Norfolk. 

On  the  following  day  I  paid  a  visit  to  Wolverton,  the  seat  of 
the  Earl  of  Orford.  This  nobleman,  who  has  considerably  enriched 
the  collection  with  fine  specimens  of  rare  masters  of  the  Italian 
school  of  the  15th  and  16th  centuries,  and  with  an  admirable  pic- 
ture of  the  old  German  school,  was  absent  from  Wolverton,  but  a 

VOL.  III.  2    F       C^r\nin]i> 

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434  WOLVERTON.  Letter  XXXII. 

few  lines  from  Sir  John  Boileau  propitiated  the  housekeeper,  who 
allowed  me  the  undisturbed  view  of  the  pictures,  which  I  describe 
in  the  order  in  which  I  saw  them. 

Jacob  Ruysdael. — A  sea-piece  :  a  raging  etorm,  with  a  sun- 
beam upon  the  waves.     Highly  poetical,  and  of  astonishing  eflFect. 

Jacopo  Amiconi. — A  series  of  portraits  of  a  royal  court.  Pre- 
sented to  the  Walpole  family. 

Sassoferrato. — The  Marriage  of  St.  Catherine,  with  an 
angel.  A  particularly  fine  work  of  the  master,  of  warm  and 
transparent  colour. 

FiLippiNO  Lippi. — A  saint  in  red  dress.  A  figure  with  a  fine 
head  and  noble  action. 

Berohem. — A  rocky  landscape,  with  a  procession  of  shepherds 
and  animals.     In  his  late  cool  and  heavy  manner.     Inscribed. 

Jan  David  de  Heem. — A  breakfiast-table,  with  fruits.  In 
point  of  taste  of  arrangement,  truth  of  detail,  warm,  sunny  light- 
ing, and  masterly  treatment,  this  belongs  to  the  choice  works  of 
this  great  painter.     Inscribed,  and  dated  1651. 

Lo  Spagna. — An  altar-picture  ;  of  semicircular  form  above : 
the  Virgin  enthroned,  surrounded  by  angels ;  below,  two  angels 
with  musical  instruments,  one  of  them  looking  up,  especially 
fine.  This  picture,  which  is  noble  in  feeling  and  graceful  in 
motive,  is  the  most  important  I  have  yet  met  with  in  England  by 
this  rare  master,  who  has  so  much  aflSnity  with  the  earlier  pictures 
of  Raphael. 

Near  this  are  some  good  pictures  by  Lingelbach,  Miel.,  and 
Poelemburg. 

Jan  Baptista  Weenix. — A  dead  hare  appears  to  be  excel- 
lent ;  but,  being  placed  over  a  door,  it  was  not  possible  to  form 
any  opinion  as  to  the  execution  of  the  details. 

GiAOOMo  Bassano. — The  Prodigal  Son.  A  careful  picture,  in 
his  deep  golden  tone. 

Andrea  Verrocchio. — ^The  Virgin  and  Child,  the  Baptist  and 
an  angel.  A  beautiful  picture  of  his  earlier  time.  The  head  of 
the  Virgin  expresses  a  noble  melancholy.  The  treatment  is  deli- 
cate, but  the  modelling  less  powerful  than  in  his  later  pictures. 

Portrait  of  Louis  XV. ;  whole-length  figure.  Presented  by 
that  monarch  to  the  then  Earl  of  Orford.  It  most  resembles  the 
work  of  Hyacinth  Rigaud. 

Rubens. — ^The  landscape,  from  the  Balbi  Palace   in   Genoa, 

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Letter  XXXII.    EARL  OF  ORFORD'S  COLLECTION.  435 

called  the  Rainbow.  The  painter  here  gives  us  a  view  of  one  of 
the  wide  and  fertile  plains  of  his  native  land.  Groups  of  trees, 
hedges,  and  high  roads  intersect  the  productive  meadows,  while 
the  rainbow  in  the  sky,  and  the  fresh  green,  show  that  a  refresh- 
ing shower  has  just  passed.  A  peasant  and  two  peasant  women 
are  returning  from  harvest,  while  others  axe  still  at  labour.  In 
the  foreground  are  some  cows  in  standing  water,  to  which  a 
number  of  ducks  are  hastening.  The  keeping  of  this  picture, 
which  is  of  marvellous  power  and  clearness  of  colouring,  is  admir- 
able, and  the  execution  of  all  the  numerous  details  spirited  and 
careful.  This  picture  is  equally  admirable  as  the  companion  to  it 
in  the  National  Gallery ;  and  I  can  quite  imagine  how  Lord 
Orford  was  induced  to  give  the  sum  of  2600Z.  for  it  in  1823.  4  ft. 
6^  in.  high,  7  ft.  9  in.  wide.     Wood. 

MüRiLLo. — Christ  falling  beneath  the  weight  of  his  Cross ;  the 
Virgin,  seen  in  profile,  gazing  upon  him.  Only  these  two  figures, 
life-size.  This  picture  proves  that,  in  the  sphere  of  feeling,  art 
can  attain  even  by  means  of  realistic  forms  the  highest  excellence. 
In  the  head  of  the  Virgin,  namely,  sorrow  of  the  intensest  and 
most  noble  and  most  resigned  character  is  expressed ;  while  the 
pale  but  delicate  and  transparent  colouring  is  in  the  finest  har- 
mony with  the  subject 

Velasquez. — Portrait  of  a  Duchess  of  Ossuna:  a  beautiful 
woman,  and  well  painted,  though  in  a  manner  differing  from  the 
pictures  I  know  by  him. 

Math^us  Grunewald. — An  altar-piece  with  wings.  In  the 
centre  the  Virgin  and  Child  enthroned  on  the  half-moon  between 
St.  Catherine  and  St.  Barbara ;  on  the  inner  sides  of  the  wings  St. 
George  and  St.  Nicholas ;  on  the  outer,  three  other  saints.  This 
is  the  only  picture  by  tliis  great  and  rare  German  master  that  I 
know  in  England.  It  displays  in  full  measure  that  nobleness  and 
grandeur  of  heads  and  figures,  good  style  of  drapery,  and  powerful 
and  clear  colouring  which  are  proper  to  him.  The  moon,  which 
is  painted  with  black  outlines  on  silver,  is  here  represented  by  a 
face.     No  master's  name  is  given  to  the  picture  here. 

Andrea  Sabbatini,  called  Andrea  da  Salerno. — 1  and  2. 
The  two  altar-pieces  by  this  scholar  of  Raphael,  who  is  seldom 
seen  but  in  the  kingdom  of  Naples,  are  the  only  specimens  I  have 
seen  of  him  in  England.  The  one  represents  a  strange  subject 
— the  Adoring  of  the  Cross,  which  is  erected  in  the  centre,  and  em- 
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436  WOLVERTON.  Letter  XXXII. 

braced  by  the  kneeling  Magdalen ;  at  the  sides  are  the  Virgin  and 
St.  Stephen,  St  John  the  Baptist  and  St  Lawrence.  This  is  a 
work  of  his  earlier  and  best  time,  while  he  was  still  under  the  influ- 
ence of  the  school  of  Raphael.  The  heads  are  fine,  and,  excepting 
the  Magdalen,  who  is  of  too  worldly  a  character,  of  dignified  ex- 
pression, the  forms  and  motives  elevated,  the  colouring  light  and 
harmonious,  the  execution  careful.  The  other  picture  contains  the 
Virgin  enthroned  with  the  Child,  adored  by  four  saints.  Besides 
this,  there  are  various  small  subjects  on  the  lower  border,  where 
they  seldom  occur,  and,  further,  a  Predella  containing  several 
pictures.  It  is  inscribed  "Andreas  Sabbatini,  mdxxii.,"  and 
jM*oves  that  in  comparison  with  his  earlier  works  he  had  already 
at  this  time  somewhat  degenerated.  The  details  are  less  exact, 
the  treatment  of  an  almost  decorative  breadth,  while  the  colouring 
b  of  that  great  warmth  which  is  characteristic  of  his  later  time. 

Philip  de  Koninck. — A  large  landscape,  with  an  extended 
view  over  a  flat  country.  Of  great  truth  and  power,  and  un- 
common effect. 

A  very  good  portrait  of  Oliver  Cromwell  in  his  earlier  years, 
by  a  painter  unknown  to  ma 

Taddeo  di  Bartolo. — The  Virgin  and  Child.  An  excellent 
picture,  especially  in  the  expression  of  melancholy  in  the  head  of 
the  Virgin.  I  am  not  aware  to  what  master  the  picture  is  here 
attributed. 

Jacopo  da  Empoli. — ^A  female  portrait,  in  which  he  has  suc- 
cessftiUy  imitated  the  noble  conception  of  Sebastian  del  Piombo. 

Two  small  portraits  of  King  Henry  VIII.  and  Edward  VI. ; 
of  pale  colouring,  but  of  animated  conception  and  careful  exe- 
cution. 

A  picture  by  Opie  here  is  favourably  distinguished  for  great 
power  and  transparency  of  colour,  and  unusually  careful  execution. 

Three  initials  cut  out  of  a  MS.  contain  beautiful  miniatures  of 
the  Umbrian  school,  which  have  an  aflSnity  to  Pinturicchio. 

Besides  these,  there  are  several  good  pictures  by  second-rate 
masters,  and  a  considerable  number  of  portraits ;  many  of  the 
Walpole  family  very  excellent. 

On  my  return  to  Ketteringham  I  had  the  intention  of  paying  a 
visit  to  Blickling,  the  seat  of  the  Dowager  Lady  Suffield,  the 
library  of  which  contains  MSS.  with  valuable  miniatures.  But 
the  slowness  of  my  "fly,"  and  an  erroneous  statement  of  the 

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Letter  XXXH.  NORWICH  CATHEDRAL.  437 

distance  to  Wolverton,  which  lies  twenty-two  instead  of  eighteen 
miles  from  Ketteringham,  frustrated  this  plan.  I  the  more  re- 
gretted this  disappointment  as  the  very  sight  of  the  old  mansion, 
which  I  saw  from  the  road,  seemed  to  invite  the  traveller. 

The  next  day  I  was  obliged  to  quit  the  hospitable  mansion  of 
Sir  John  Boileau  and  his  interesting  family,  and  to  turn  my  face 
towards  Norwich.  The  grandeur  of  this  ancient  capital  city  of 
Norfolk  is  well  seen  from  the  old  castle,  which  lies  on  a  hill  sur- 
rounded by  it.  Thence  I  hastened  to  the  cathedral,  which  in  point 
of  beauty  and  richness  of  architecture  is  one  of  the  most  important 
edifices  in  the  late  Norman  style  which  England  possesses.  The 
character  of  the  exterior,  with  its  surrounding  buildings,  is  pic- 
turesque in  the  extreme,  and  the  interior  offers  a  fine  perspective 
effJect :  a  door  leads  into  the  cloisters,  which  are  in  the  Gothic 
style,  and  belong  to  the  finest  I  know.  The  keystones  of  the 
groined  arches  are  throughout  adorned  with  reliefe  of  very  careful 
and  well-arranged  subjects. 

In  the  vestry-room  is  a  picture  of  great  significance  in  the  his- 
tory of  English  painting,  which  formerly  probably  adorned  the 
altar  of  the  Jesus  Chapel.  It  contains,  in  five  compartments,  the 
Scourging,  the  Bearing  the  Cross,  the  Crucifixion,  the  Resurrec- 
tion, and  the  Ascension ;  and,  judging  from  the  forms  of  art,  may 
have  been  executed  between  1380  and  1400.  Here  that  idealistic 
tendency  so  often  mentioned  is  still  throughout  adhered  to ;  the 
well-arranged  drapery  is  of  great  softness,  the  colouring  powerful, 
and  in  many  of  the  heads  of  great  warmth ;  finally,  the  treatment 
in  size-colours  broad  and  in  full  body.  Both  the  figures  and  the 
raised  elegant  patterns  of  the  gold  ground  entirely  resemble  the 
indubitable  English  miniatures  of  the  same  period,  so  that  there  is 
no  question  in  my  mind  as  to  the  English  origin  of  this  pictm*e. 
Excepting  the  Bearing  of  the  Cross,  of  which  much  has  fallen  off, 
the  preservation  may  be  called  good,  and  a  glass  over  it  prevents 
any  further  mischief  My  attention  was  drawn  to  this  picture  by 
Mr.  Dawson  Turner,  at  whose  hospitable  house  in  Yarmouth  I 
arrived  the  same  evening,  and  where  I  admired  the  unresting  ac- 
tivity and  discrimination  with  which  this  already  aged  gentleman 
has  collected  materials  for  the  history  and  antiquities  of  Norfolk, 
which  amount  to  more  than  sixty  volumes.  The  numerous  draw- 
ings and  etchings  with  which  this  work  is  illustrated  proceed  from 
the  hands  of  the  late  Mrs.  Dawson  Turner  and  her  daughters, 

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438  BURGH  CASTLE.  Letter  XXXIL 

displaying  great  talents  and  unwearied  industry.  With  two  of 
these  ladies — Miss  Turner  and  Mrs.  Gunn — I  had  the  pleasure 
to  beconre  acquainted  at  that  time.  I  was  also  glad  to  renew  an 
ancient  acquaintance  with  Mrs.  Phillips,  widow  of  Mr.  Phillips, 
the  late  portrait-painter.  Mr.  Dawson  Turner's  interesting  col- 
lection of  pictures  has  since  been  sold  at  Christie's  rooms. 

Whilst  in  Yarmouth,  which,  with  its  trees  and  canals,  has  quite 
the  appearance  of  a  Dutch  town,  I  visited  Mr.  Sherrington,  at 
whose  house  I  saw  various  pictures  by  the  well-known  Old  Crome, 
the  landscape-painter,  a  native  of  Norfolk.  The  truth,  origin- 
ality, and  variety  of  his  conception,  the  fine  character  of  his  trees, 
the  great  power  of  his  generally  warm  colouring,  and  a  careful 
execution  give  him  a  very  honourable  position  among  English 
landscape-painters.  Among  the  nine  landscapes  by  him  here,  I 
was  most  struck  by  the  following: — 1.  An  avenue  of  trees  fore- 
shortened, with  noonday  shadows,  a  man  and  dog  in  the  fore- 
ground ;  2.  A  dark  wood,  with  warm  evening  light,  countrymen  and 
a  dog  in  the  foreground ;  3.  A  large  landscape  with  a  cottage,  in 
the  taste  of  Gainsborough  ;  and  4.  Another  landscape  with  large 
willow-trees,  with  the  cool,  silvery  tones  delicately  carried  out 

The  afternoon  of  the  following  day  I  drove  with  two  friends  of 
Mr.  Turner's  to  Burgh  Castle,  the  neighbouring  Roman  camp, 
the  ancient  Camolodunum.  This  is  of  very  considerable  size, 
and  oblong  form,  one  of  the  long  sides  of  which  may  have  over- 
looked the  sea.  This  side  alone  is  unfortified,  doubtless  because 
the  Roman  vessels  had  the  full  command  of  the  sea,  but  the 
parallel  side  above  is  fortified  with  a  wall  of  very  great  thickness 
and  considerable  height,  with  two  large  towers  projecting  in  semi- 
circles. In  the  centre  of  this  wall  is  still  the  opening  for  the  Porta 
de  Cumana.  The  walls  on  the  shorter  sides,  each  with  a  similar 
though  smaller  tower,  are  of  less  strength.  Walls  and  towers  are 
built  within  and  without  of  quarry-stone,  with  layers  of  Roman 
bricks,  and  filled  in  the  centre  with  rubble.  The  external  surface 
is  however  encrusted  with  an  "  opus  reticulatum  "  of  the  flint- 
stones  of  Norfolk,  which  by  their  great  hardness  are  peculiarly 
adapted  for  this  purpose.  In  the  immediate  use  to  which  the 
Romans  converted  these  native  materials,  the  practical  sense  which 
distinguished  the  civilized  invaders  is  conspicuous.  Also  the 
cement  which  they  compounded  here  is  of  such  hardness  that  a 
fallen  tower  of  picturesque  appearance  has  remained  in  one  enor- 

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Lbtter  XXXII.  ORWELL  PARK.  439 

mous  unbroken  mass.  As  this  magnificent  Roman  relic  ran  every 
risk  of  gradual  demolition,  my  friend  Sir  John  Boileau  has  pur- 
chased the  ground  on  which  it  stands,  in  order  to  preserve  it,  by 
which  he  has  entitled  himself  to  the  gratitude  of  all  lovers  of 
Roman  antiquities. 

Numerous  as  were  the  objects  of  art  which  I  saw  in  this  county, 
there  are  yet  four  seats  besides  Blickling,  containing  pictures, 
which  I  was  obliged  to  leave  unvisited : — 

Melton  Constable,  seat  of  Lord  Hastings,  with  Vandyck  por- 
traits. 

Houghton  Hall,  near  Fakenham,  seat  of  the  Marquis  of  Chol- 
mondeley. 

Raynham  Hall,  seat  of  Lord  Charles  Townshend,  containing 
Salvator  Rosa's  celebrated  Belisarius,  and  a  fine  village  festival 
by  Teniers  ;  and 

Langley  Park,  seat  of  Sir  Thomas  Beauchamp  Proctor,  Bart., 
with  a  collection  of  pictures. 

On  leaving  Norfolk  by  the  railway,  a  county  now  endeared  to 
me  by  the  kindness  of  many  amiable  and  accomplished  friends,  I 
proceeded  to  Ipswich,  capital  of  the  neighbouring  county  of  Suf- 
folk, where  I  visited  Orwell  Park,  about  five  miles  ofi^,  the  seat  of 
Mr.  Tomline.  The  exterior  of  the  house  is  of  no  decided  cha- 
racter, but  it  contains  fine  apartments,  while  the  well-kept  gardens, 
in  which  I  was  particularly  struck  by  an  evergreen  oak  of  the  greatest 
age  and  beauty,  command  fine  marine  views  animated  wiüi  large 
vessels.  In  the  entrance  hall  are  the  busts  of  Lord  Bacon  and 
Sir  Walter  Scott ;  in  one  of  the  rooms  those  of  Pitt,  Fox,  the 
Duke  of  Wellington,  and  Lord  Byron,  all  of  marble.  A  very 
pretty  statue  of  Ruth,  by  Rinaldi,  also  struck  me.  Mr.  Tomline, 
who  had  received  me  with  the  greatest  kindness  in  his  London 
house,  where  he  had  allowed  me  the  undisturbed  inspection  of  two 
of  the  chief  pictures  of  his  collection,  now  completed  my  obliga- 
tions to  him  by  sending  me  a  note  for  his  steward,  which 
not  only  admitted  me  to  all  the  pictures,  and  to  the  view  of  the 
gardens,  but  even  procured  me  an  excellent  lunch,  Üie  refresh- 
ment of  which  was  exceedingly  welcome.  Mr.  Tomline,  who,  like 
the  Marquis  of  Hertford  and  Mr.  Holford,  collects  with  an  almost 
royal  liberality,  has  taken  the  motto  "  Few,  but  good,"  for  his 
guide.  The  number  of  pictures  which  form  the  collection,  con- 
sisting of  the  Italian,  Spanish,  Netherlandish,  and  German  schools. 

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440  ORWELL  PARK.  Letter  XXXH. 

is  therefore  not  large,  but  each  master  is  almost  invariably  repre- 
sented by  the  choicest  work& 

I  commence  my  remarks  by  describing  the  two  pictures  I  saw 
first  in  London,  as  I  understood  from  the  proprietor  that  tliey 
were  to  be  sent  here  also. 

MuRiLLO. — 1.  Christ  healing  the  lame  man  at  the  pool  of  Beth- 
esda;  whole-length  figures,  life-size.  One  of  the  weU-known 
series  of  pictures  which  Murillo  executed  for  the  church  of  the 
Caridad  at  Seville;  purchased  from  Marshal  Soult  for  6000 
guineas.  The  Saviour,  who  is  not  ideal  in  form,  but  of  very  dig- 
nified expression,  is  listening  to  the  lame  man,  who  lies  on  the 
right  at  the  corner  of  the  picture.  Three  of  the  Apostles  are  also 
gazing  at  the  lame  man ;  the  St.  John  is  very  remarkable  for  his 
noble,  genuine  Spanish  physiognomy  of  powerful  complexion,  with 
which  his  mantle,  of  a  deep  full  red,  admirably  harmonises.  A  fiill 
powerful  colouring  also  prevsdls  in  the  other  broadly-treated  dra- 
peries, which  gives  a  serious  character  to  the«  whole.  The  pro- 
portions of  the  figures  are  noWe,  hands  and  feet  admirably  drawn, 
and  in  fine  action.  The  aerial  perspective  of  the  background, 
with  the  pool,  and  the  ^ck  around  it,  is  of  great  delicacy.  At  the 
same  time  every  part  of  the  picture,  even  the  most  subordinate, 
is  carried  out  with  an  equal,  true,  and  masterly  treatment  All 
things  considered,  I  look  upon  this  as  the  finest  Murillo  in  England. 

Annibale  Carracci. — Christ  and  the  Magdalen  in  the  gar- 
den, with  some  of  the  apostles.  One  of  the  four  well-known 
pictures  by  the  Carracci  in  the  Giustiniani  Gallery,  two  of  which  I 
had  already  seen  in  Mr.  Holford's  possession,  while  the  fourth  is 
in  the  Museum  at  Berlin.  The  composition  is  well  balanced,  the 
heads  unusually  noble,  the  drawmg  very  correct,  and  the  execution 
solid  throughout. 

The  pictures  now  at  Orwell  Park  I  take  in  the  order  in  which 
they  are  arranged  in  the  house. 

Adrian  van  Ostade. — A  party  of  peasants ;  dandng  going 
on :  a  rich  composition,  executed  in  the  reddish  flesh-tones  of  his 
later  pictures.     Inscribed  and  dated  1675. 

Titian. — 1.  The  Emperor  Charles  V. ;  bust-picture,  in  armour. 
Judging  from  the  age  of  the  Emperor,  from  the  very  spirited  and 
animated  conception,  and  from  the  light  and  transparent  golden 
tone,  this  magnificent  portrait  is  probably  one  of  the  earliest 
painted  by  Titian  of  this  monarch. 

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Lkttbb  XXXII.      MR.  TOMLINE'S  COLLECTION.  441 

Giovanni  Pedrini. — ^The  repentant  Magdalen  pointing  to  a 
death's  head.  One  of  the  best  works  I  know  of  the  master.  The 
head  is  more  noble  in  form  and  expression  than  usual ;  the  treat- 
ment very  careful.  I  know  not  to  whom  this  picture  is  attributed  hera 

Artus  van  der  Neer. — A  landscape  by  moonlight ;  rich  and 
delicate,  and  of  an  unusually  cool  tone  in  the  foreground. 

Albert  Cuyp. — 1.  A  view  of  Dort  in  morning  light ;  the  river 
Maas  enlivened  with  several  vessels,  one  producing  a  light,  the 
other  a  dark  mass.  On  the  left  a  manned  boat.  Of  a  clearness 
in  ejSect  of  light,  and  a  delicacy  of  aerial  perspective,  such  as  are 
only  found  in  his  best  pictures. 

Titian. — 2.  A  male  portrait,  erroneously  entitled  Francis  I.  of 
France.  A  spirited  picture,  executed  in  the  same  light  golden 
tones  as  his  Charles  V. 

Philip  Wouvbrmans. — A  landscape  with  hunting*dogs  being 
fed.  Delicate  in  keeping,  and  very  elegant  in  execution  ;  in  his 
second  maimer. 

Carlo  Dolce. — ^The  Magdalen  contemplating  a  death's  head. 
A  picture  remarkable  for  pleasing  forms,  beauty  of  expression,  and 
transparency  and  power  of  warm  colouring. 

Albert  Cuyp. — 2.  Five  cows  near  some  water.  Of  singular 
power  of  tone,  and  very  careful  completion,  though  somewhat  sunk. 
Inscribed. 

Jan  Steen. — A  cheerful  party  of  seven  persons,  with  a  girl 
with  a  wreath  on  her  head,  apparently  the  chief  person.  Full 
of  humour,  powerfid  and  transparent  in  colour,  and  of  spirited 
treatment. 

TENiERa— The  courtyard  of  a  house  with  peasants  making 
merry.  A  picture  of  the  first  class,  mih  numerous  well-arranged 
figures ;  of  happy  motives,  and  carefully  executed  in  his  most  ten- 
der and  transparent  gold  tone.     Inscribed. 

Vandyck. — His  own  portrait  Like  the  well-known  youthful 
portrait  of  himself  in  the  Louvre. 

MuRiLLO. — 2.  St.  Augustin  in  ecstacy,  adoring  a  burning  heart, 
the  symbol  of  Christ,  appearing  to  him  in  the  air.  On  the  ground 
are  his  writings,  three  books,  and  the  episcopal  staff.  The  intense 
longing  for  his  Lord  expressed  in  the  fine  features  and  beautiful 
eyes,  and  the  speaking  gestures  of  the  admirable  hands,  render  the 
following  inscription  almost  superfluous--^' Inquietum  est  cor 
meum,  donee  perveniat  ad  te."    As  respects  pictures  of  single 

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412  ORWELL  PARK.  Lbttbb  XXXU. 

figures,  this  is  the  finest  I  know  of  the  master ;  for  the  grandly 
expressed  moral  intention  is  here  combined  with  unusual  decision 
of  forms,  with  a  light  and  transparent  golden  colouring  in  the 
flesh-tones,  with  a  fine  arrangement  of  the  harmoniously  and 
powerfully  coloured  drapery,  which  is  lined  with  a  beautiful  cherry 
brown,  and,  finally,  with  a  solid  and  sustained  execution  in  a  rich 
body.  The  general  dark  tint  of  the  background,  with  only  a  cur- 
tain, sets  off  the-  striking  effect  of  the  figure.  I  had  already  seen 
and  admired  this  chef-d'oeuvre  in  the  collection  of  Marshal  Soult 
at  Paris. 

William  Van  de  Velde. — A  storm  at  sea :  all  the  skill  of 
the  master  is  seen  in  this  large  picture.  The  wide  extent  of  the 
agitated  element  is  given  with  incomparable  truth,  though  seen 
only  by  the  subdued  light  of  a  clouded  sunbeam,  while  the  whole 
is  painted  in  the  finest  chiaroscuro,  and  even  the  deepest  shadow 
is  transparent.  The  monotony  of  such  a  scene  has  been  relieved 
with  the  most  delicate  artißtic  feeling  by  the  white  sail  of  a  boat, 
which  serves  as  an  eye  to  the  picture.  This  is  the  finest  storm- 
piece  I  have  ever  seen  by  the  master.     Inscribed  and  dated  1677. 

Berquem. — A  very  large  landscape,  with  lo%,  misty  mountains 
in  the  background  and  a  waterfall ;  in  the  foreground  picturesque 
groups  of  herdsmen  and  cattle.  A  very  rich,  warm,  and  careful 
picture  of  his  later  time. 

MuRiLLO. — 3.  St.  Joseph  with  his  flowering  wand  walking  with 
the  infant  Christ.  This  is  one  of  those  pictures  in  which  the 
master  indulges  in  that  realistic  mode  of  conception  which  borders 
on  genra  Both  the  figures  are  evidently  portraits — the  infant 
Christ,  a  beautiful  Spanish  child  with  intense,  large  eyes,  has  a  pe- 
culiar charm.  He  is  carrying  a  saw  on  his  left  arm,  and  a  basket 
of  other  carpenter's  tools  on  the  right.  The  action  of  walking  is 
most  truthfully  expressed  in  both  in  every  part,  especially  in  the 
drapery ;  the  feet  are  admirably  drawn.  The  yellow  local  tones  of 
the  flesh  are  opposed  to  dark  shadows.  The  impasto  is  admirable. 
Full-length  figures,  life-size. 

Salvator  Rosa. — A  wild  rocky  country,  with  a  beauty  of  lines 
unusual  in  him,  and  showing  the  favourable  influence  of  Caspar 
Poussin.  To  this  influence  may  be  also  attributed  a  temple  which 
crowns  a  rock  ;  two  figures  are  in  the  foreground.  The  execution 
is  solid,  and  with  more  details  than  usual.  This  picture  is  of 
moderate  size. 

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Letter  XXXII.        MR.  TOMLINE'S  COLLECTION.  443 

Gainsborough. — Lady  Chatham,  mother  of  the  youthful  minis- 
ter, in  white  satin ;  to  the  knees.  Animatedly  conceived ;  the 
hands  delicate,  especially  the  extended  right,  and  carefully  painted 
in  a  good  impasto. 

Frans  Snyders. — His  own  portrait  with  wife  and  child.  Too 
heavy  in  tone  and  not  light  and  spirited  enough  in  treatment  In 
my  opinion  a  very  good  and  careful  picture  by  Erasmus  Quel- 
linus,  his  fellow-pupil  with  Rubens. 

Pannini. — ^Two  pictures  of  old  Roman  buildings — the  Colosseum 
and  the  Pyramid  of  Cestius — ^belong,  in  point  of  admirable  keeping, 
delicate  tone,  and  careful  execution,  to  his  best  works. 

Stanfield. — ^A  calm,  transparent  sea  in  morning  light,  with  a 
coast  animated  by  boats :  of  excellent  keeping,  true  in  the  forms, 
transparent  in  colour,  and  carefully  completed. 

An  extremely  beautiful  and  apparently  contemporary  repe- 
tition of  the  finest  existing  female  portrait  by  Raphael  in  the 
Tribune  at  Florence,  erroneously  called  the  Fomarina  As  it  has 
a  glass  over  it,  I  was  not  able  to  judge  of  the  delicacies  of 
execution. 

The  head  of  Julius  Caesar  in  profile,  in  an  oval  form,  in  a  red 
dress,  decided  in  the  forms,  and  of  masterly  painting  in  a  warm 
tone,  is  very  like  Titian. 

Andrea  del  Sarto. — Portrait  of  Michael  Angelo.  The 
careful  finbh  and  sfiimato  of  this  picture  bespeak  much,  but  it  is 
hung  too  high  and  in  too  dark  a  place  for  me  to  examine  it. 

Holbein. — 1.  Portrait  of  a  woman  with  folded  hands,  in  black 
cap  and  dress,  the  sleeves  with  a  yellow  pattern.  A  bust  picture, 
one-third  life-size.  .  Of  most  masterly  execution,  in  his  brownish 
flesh-tones. 

2.  A  smaU  picture  in  a  circle,  dated  1527 ;  of  the  most  rare 
animation,  power  of  colouring,  and  precision  of  execution. 

Sir  Anthony  More. — Portrait  of  a  man  with  gloves.  Delicate 
in  feeling,  and  executed  in  a  pale  but  transparent  tone.  In  my 
opinion,  here  erroneously  attributed  to  Holbein. 

LuDOLPH  Backhuysen. — A  storm,  with  two  large  ships  and 
some  boats.  In  the  foreground  coast  and  fishermen.  An  admir- 
able and  large  picture  of  his  best  time,  and  of  very  harmonious 
eflect 


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444  CAMBRIDGE.  Lktteb  XXXIH. 


LETTER    XXXIIL 

Cambridge  :  King's  College  Chapel  —  Trinity  College  Chapel  —  Picture»  in 
Fitzwilliam  Museum  —  Mesman  Collection  —  University  Library  — 
MSS.  with  miniatures. — Althorp,  seat  of  Lord  Spencer :  Collection  of 
pictures. — Broughton  Hall,  seat  of  Duke  of  Buccleuch :  Pictures,  cartoons, 
and  tapestries.  —  Glendon  Hall.  —  Collections  in  Northamptonshire. — 
Wobum  Abbey,  seat  of  Duke  of  Bedford  :  Collection  of  pictures  — 
Portraits  of  painters  by  themselves  —  Gallery  of  antiquities  —  Sculpture  — 
Hothouses  —  Pleasure-grounds. —  Luton  House,  seat  of  Marquis  of  Bute  : 
Collection  of  pictures. — Architectiu^  in  England. 

CAMBRIDGE. 

Although  Cambridge  can  by  no  means  be  compared  with  its 
sbter  university  in  tlie  grandeur  and  unity  of  the  romantic  cha- 
racter of  the  middle  ages,  it  has  an  uncommonly  cheerful  and 
pleasing  appearance.  In  unison  with  this,  the  spirit  of  learning 
is  said  to  be  more  liberal  and  active  here  than  in  Oxford.  My 
only  visit  to  this  university  was  in  1835.  The  most  stately  edifices 
are  King's  College  and  Trinity  College,  admirably  built  in  the 
15th  and  16th  centuries,  in  the  Gothic  style  of  the  age,  which, 
with  their  various  towers,  buildings,  embattled  walls,  and  very 
large  courts,  occupy  a  considerable  site.  King's  College  has  also 
very  fine  gardens.  At  Trinity  College  I  called  on  two  professors, 
with  whom  I  had  already  become  acquainted  in  London — Pro- 
fessor Peacock,  an  eminent  mathematician,  and  Professor  Whewell, 
one  of  the  most  able  and  generally  accomplished  of  the  learned 
men  of  England  at  this  day.  I  was  received  by  both  in  the  most 
obliging  manner.  Professor  Whewell  is  thoroughly  conversant 
with  the  architecture  of  the  middle  ages,  and  gave  me  interesting 
information  respecting  it.  He  presented  me  with  his  ingenious 
observations  on  ancient  churches  in  Germany,  enlarged  by  obser- 
vations on  the  churches  in  Normandy  and  Picardy.  I  observed 
to  him  that  England  appeared  to  me  to  have  entirely  the  advantage 
of  the  Continent,  especially  with  respect  to  Gothic  edifices  of  the 
15th  and  the  first  half  of  the  16th  century,  since  tlieir  forms  did 
not  manifest,  as  on  the  Continent,  a  complete  and  tasteless  decline, 
but  rather  a  new,  rich,  and  pleasing  improvement  of  that  style. 


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Lbttbr  XXXni.  FJTZWILLIAM  MUSEUM.  445 

The  best  proof  of  this  is  the  celebrated  chapel  of  Bang's  College, 
Cambridge,  itself,  the  building  of  which  was  begun  in  1441,  and 
continued  with  interruptions  till  1530,  and  which,  in  my  opinion, 
is  the  most  perfect  and  tasteful  production  of  this  late  flourishing 
period  of  Gothic  architecture.  The  symmetry  of  the  main  pro- 
portions of  this  edifice,  316  ft.  long,  84  fL  wide,  and  90  ftw  high,  is 
admirable.  On  the  two  long  sides  of  the  very  long  parallelogram 
which  forms  the  chapel,  are  ten  wide  and  lofty  windows,  between 
which  are  buttresses.  The  two  narrow  ends  have  each  a  very 
wide  and  lofty  window.  The  four  comers  are  decidedly  outlined 
by  small  towera  If  the  exterior  makes  a  very  satisfactory  im- 
pression, the  efiect  of  the  interior  is  highly  surprising  and  agreeable. 
The  whole  forms  a  single  nave,  without  aisles,  80  ft  high,  the 
roof  of  which,  in  groined  arches,  is  very  rich  and  elegant,  but  by 
no  means  overladen.  It  inspires  in  an  extraordinary  degree  the 
idea  of  sublimity,  and  yet  at  the  same  time  of  lightness  and  cheer- 
fulness The  spaces  between  the  pillars  which  support  the  roof 
form  small  chapels.  The  Crucifixion,  a  large  painting  on  glass, 
which  fills  one  of  the  end  windows,  is  said  to  be  from  a  design  by 
Holbein.  The  execution,  however,  is  so  rude  that  there  is  no 
trace  of  his  feeling.  From  the  roof  of  the  chapel  there  is  a  fine 
view  of  the  town  and  neighbourhood.  At  the  same  time  it  is  in- 
teresting to  look  at  the  groining  from  above.  The  blocks  of  sand- 
stone are  so  well  fitted  and  joined  that  the  whole  appears  to  be  cast 
in  one  mass.  Altogether,  the  workmanship  of  this  building  is 
remarkably  sharp  and  accurate. 

Trinity  College  Chapel  is  distinguished  by  some  monuments, 
especially  by  a  statue  of  Newton,  who  studied  in  this  college.  It 
was  executed  in  marble,  in  1755,  by  Roubillac,  and  is  certainly 
one  of  his  best  works.  He  stands  looking  upwards,  with  a  prism 
in  his  hand.  The  head  is  dignified,  characteristic,  and  spirited ; 
but  the  cast  and  treatment  of  the  drapery  quite  in  the  manner  of 
that  age,  realistic,  and  without  style.  A  monument  by  Flaxman 
is  distinguished  by  the  grace  of  the  lines  of  three  female  figqjres. 
The  proportions  are,  however,  almost  too  slender,  and  the  arrange- 
ment something  capricious.  Lastly,  a  monument  by  Sir  Richard 
Westmacott  is  a  true  example  how  a  relief  should  not  be  treated. 
A  figure  appears  in  the  front  of  it,  in  the  upper  part  in  very  high 
relief,  and  the  under  part  in  very  low  relief ;  so  that  it  looks  as  if 
the  latter  had  been  beaten  flat. 

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446  CAMBRIDGE.  Letter  XXXUI. 

The  little  church  of  St.  Sepulchre,  hmlt  in  the  earlier  Roman 
style,  is  remarkable  only  for  its  great  antiquity.  It  is  circular,  and 
is  supposed  to  be  the  oldest  of  that  form  in  England.  Within, 
a  gallery  is  supported  by  eight  short  black  pillars  with  the  well- 
known  clumsy  capitals.  A  second  story,  in  the  Grothic  style,  was 
added  at  a  later  period.  The  workmanship  in  the  old  parts  is 
indifiFerent,  the  blocks  of  stone  small,  and  united  with  much 
mortar ;  the  sculpture  on  some  corbels  very  rude.* 

I  saw  with  pleasure  two  paintings  on  gla^  in  the  church  of 
Corpus  Christi  College.  They  are  admu-able  specimens  of  the 
perfection,  in  the  execution  of  historical  compositions,  which  this 
art  had  attained  in  the  Netherlands  in  the  16th  century.  Having 
been  brought  to  Norwich  by  a  Dutch  dealer,  they  were  purchased 
for  this  church. 

I  was  particularly  anxious  to  see  the  treasures  of  art  and  litera- 
ture bequeathed  by  Viscount  Fitzwilliam  to  the  University  of 
Cambridge  in  1816.  They  consist  of  a  collection  of  144  paintings, 
520  large  folio  volumes  of  engravings  splendidly  bound  in  mo- 
rocco, a  number  of  drawings  and  sculptures,  a  collection  of  music, 
inferior  only  to  that  in  the  possession  of  the  Queen,  and,  lastly,  of 
a  choice  library  of  7000  volumes,  and  about  150  missals  and 
prayer-books  adorned  with  miniatures.  His  Lordship  also  lefl  the 
sum  of  100,000i,  in  order  with  the  revenue  from  it  to  build  an 
edifice  worthy  to  receive  them.  This  is  another  splendid  instance 
of  the  munificent  spirit  showed  by  the  English  towards  public 
institutions. 

All  the  treasures  of  the  "  Fitzwilliam  Museum  "  are  at  present 
crowded  together  in  two  moderate-sized  apartments. 

Of  the  pictures,  the  following  appeared  to  me  to  be  the  most 
worthy  of  notice. 

Italian  School. 

GioRGioNE. — ^The  Adoration  of  the  Shepherds.  From  the 
Orleans  Gallery.  Noble  in  the  characters ;  the  Child  especially 
\exf  beautiful ;  the  colouring  full  and  glowing.  It  resembles 
in  all  respects  the  picture  of  Jacob  and  Rachel  in  the  Dresden 
Gallery. 

Titian. — ^The  ori^nal  of  the  picture  called  THtian's  Venus,  in 
the  Dresden  Gallery :  here  called  the  Princess  of  Eboli  and  Philip 

*  See  prints  in  the  first  and  third  volomes  of  Britton*8  Architectural  Aotlqoities  of 
Great  Britain. 

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Letter  XXXin.  FITZWILLIAM  MUSEUM.  447 

II. ;  but  in  my  opinion  without  suflScient  reason,  as  the  man  play- 
ing the  guitar  does  not  at  all  resemble  the  well-known  portraits 
of  that  king.  The  female  figure  unites  with  great  clearness  that 
warm,  full,  golden  tone  which  is  so  characteristic  of  Titian  ;  whereas 
in  the  picture  at  Dresden,  though  otherwise  of  great  merit,  a  cold 
reddish  local  tone  prevails,  which  is  very  unlike  his  usual  colour- 
ing, and  which  gives  the  whole  rather  a  dull  appearance.  Un- 
fortunately, the  heads  of  the  female  and  of  the  Cupid  in  the 
Fitzwilliam  picture  are  much  disfigured  by  re-paintings.  From 
the  Orleans  Gallery. 

Palma  Vecchio. — Venus  and  Cupid ;  from  the  Orleans  Gal- 
lery. A  poetical  picture,  in  which  the  painter  evidently  took  the 
head  of  Venus,  which  is  unhappily  rather  injured,  from  the  same 
model  who  sat  for  the  centre  female  in  the  well-known  picture, 
supposed  to  be  of  his  three  daughters,  at  Dresden.  The  flesh  is 
treated  in  his  peculiar  golden  local  tone. 

Paul  Veronese. — Mercury,  with  a  touch  of  the  caduceus, 
transforming  Aglauros  to  stone  for  attempting  to  prevent  his  ac- 
cess to  her  sister  Herse.  This  picture,  inscribed  with  his  name — 
a  very  unusual  circumstance — is  very  carefully  painted  in  the 
delicate  silvery  tone  in  which  he  is  unrivalled.  From  the  Orleans 
Gallery. 

AoosTiNo  Carracci. — Christ  with  an  angel  appearing  to  the 
Virgin.  There  is  a  feebleness  in  the  character  of  the  heads ;  and 
the  tone  betrays  the  imitation  of  Correggio.  From  the  Orleans 
Gallery,  where  it  was  ascribed,  in  my  opinion  justly,  to  Agostino 
Carracci.     It  is  here  called  Lodovico  Carracci. 

Annibale  Carracci. — St.  Roch  with  the  angel.  A  remark- 
ably powerful,  careful,  and  beautiful  picture.  From  the  Orleans 
Gjdlery. 

Benedetto  Castiglione. — Abraham  journeying  to  the  land 
of  Canaan.  This  subject  has  afibrded  ample  opportunity  for  the 
painter's  predilection  for  cattle.  Of  uncommon  clearness  of  tone 
and  careful  execution  ;  altogether  an  excellent  work. 

Gaspar  Poussin. — A  small  but  very  choice  picture,  of  great 
poetry  of  composition,  and  freshness  and  clearness  of  colouring. 

A  Holy  Family,  called  Leonardo  da  Vinci,  is  an  old  and 
very  carefully-executed  copy,  on  a  reduced  scale,  of  the  picture  of 
that  master,  known  by  Forster's  masterly  engraving,  under  the 
name  of  *'  La  Vierge  au  Bas-relief." 

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448  CAMBRIDGE.  LrarER  XXXIIL 

Flemish  and  Dctch  Schools. 

Rembrandt. — ^The  portrait  of  an  officer  in  a  steel  cuiraas, 
with  a  velvet  cap  and  feathers  on  his  head,  a  heavy  gold  diain 
round  his  neck,  his  left  hand  resting  on  his  hip,  his  right  on  the 
hilt  of  his  sword.  Inscribed  with  name  and  date  1635.  A  pic- 
ture of  the  greatest  energy,  combining  excellent  modelling  in  the 
details  with  astonishing  warmth  in  the  general  tone. 

Caspar  de  Crater. — His  own  portrait  A  picture  of  a  noble 
and  refined  feeling  for  nature,  and  carefully  finished  in  a  subdued 
warm  tone. 

Cornelius  de  Vos. — ^Portrait  of  a  man  in  a  white  collar ;  dis- 
plajring  in  every  respect  the  truthfulness  peculiar  to  this  admirable 
portrait-painter,  as  well  as  great  clearness  of  tone. 

Gerard  Dow. — 1.  An  old  schoolmaster  and  four  scholars ;  the 
master  holds  a  rod  in  his  left  hand,  teaching  a  boy  to  read; 
another  with  a  book  is  opposite  him.  To  the  knees ;  by  candle- 
light Of  the  same  period  as  the  celebrated  Evening-school  at 
Amsterdam,  only  less  glowing  in  tone.  The  expression  of  the  old 
man  is  incomparably  true ;  the  whole  a  scene  of  admirable  humour, 
and,  with  all  the  finish,  not  laboured. 

2.  The  portrait  of  a  young  man  holding  a  picture.  Here  called 
a  Rembrandt;  but,  as  I  am  convinced,  an  excellent  picture  of 
the  early  period  of  Gerard  Dow,  and  therefore  still  in  the  manner 
of  his  master. 

Metzu. — A  gentleman  paying  his  addresses  to  a  lady.  This 
beautiful  little  picture  is  here  ascribed  to  Franz  Mieris  the  elder, 
but  in  my  opinion  is  of  the  earlier  time  of  Metzu,  when  he  painted 
in  this  golden  tone. 

Eglon  Van  der  Neer. — A  page  presenting  a  golden  vessel 
to  a  lady  dressed  in  white  satin  with  a  blue  jacket  A  crown  and 
sceptre  on  a  table.     Here  called  Van  der  Werff. 

Philip  Wouvermans. — 1.  A  stable.  A  rich  picture  of  the 
second  period  of  the  master,  distinguished  for  variety  of  motives 
and  power  of  colouring.     About  1  ft.  high  and  1  ft  6  in.  wide. 

2.  A  landscape,  in  which  a  horseman  is  watering  his  horse  at 
a  river  overhung  with  trees.  Very  delicately  executed  in  his  cool 
silvery  tone.     About  1  ft  3  in.  high,  1  ft  6  in.  wide. 

Roland  Savary. — A  wood,  with  a  lady  and  gentleman  on  horse- 
back, with  country-people  offering  game.  A  very  choice  picture 
by  this  spirited  landscape  and  animal  painter ;  of  his  early  period. 


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Letter  XXXIIT.         FITZWILLTAM  MUSEUM.  449 

Jan  Both. — The  Tiber  \^inding  through  a  mountainous,  richly- 
wooded  country ;  Mount  Soracte  in  the  distance ;  a  waterfall  rushing 
between  rocks ;  a  road  enlivened  by  travellers  and  many  kinds  of 
cattle,  the  latter  by  the  hand  of  Andreas  Both.  In  elevation  of 
composition,  unpasto,  colouring,  and  lighting,  a  first-rate  picture 
of  this  master.     About  4  ft  8  in.  high,  5  ft.  10  in.  wide. 

Simon  de  Vlieger. — 1.  A  slightly  agitated  sea,  near  a  port, 
of  considerable  size;  and  a  smaller  pictinre,  2,  a  calm  sea,  of 
striking  eflfect  of  light :  two  choice  works  by  this  excellent  marine 
painter. 

Besides  these,  two  pictures  by  Snyders,  a  hare  by  Weenix, 
four  pictures  by  Poelemburo,  two  landscapes  by  Swaneveldt 
(here  called  Claude),  are  very  worthy  of  notice.  There  are  many 
other  pleasing  pieces. 

Of  the  German  School  I  must  not  omit  to  mention  a  portrait 
of  William  Fitzwilliam,  Earl  of  Southampton,  whole-length,  the 
size  of  life,  ascribed  to  Holbein.  It  is  a  dry  and  tame  perform- 
ance, in  which  that  great  master  had  no  share.  Cupid  and  Psyche, 
by  Adam  Elzheimer,  on  the  contrary,  is,  on  account  of  the  un- 
usual size  of  the  figures  and  remarkable  force  of  the  colouring,  a 
very  important  picture  by  that  rare  and  pleasing  master. 

There  is  nothing  of  great  significance  among  the  drawings,  which 
are  framed  and  glazed,  and  hung  up  in  the  rooma 

Of  the  missals  and  prayer-books  with  miniatures  I  saw  about 
thirty,  which  the  keeper  showed  me  as  the  most  important,  but 
found  only  ordinary  performances,  mostly  of  Flemish  origin,  of  the 
15th  century.  The  most  interesting  was  one  with  Dutch  text,  of 
the  second  half  of  the  14th  century,  the  pictures,  otherwise  not 
very  carefully  executed,  agreeing  in  every  respect  with  the  pictures 
of  Meister  Wilhelm  of  Cologne :  thus  proving  that  a  similar  style 
of  art  was  practised  in  Holland  at  the  same  time. 

Of  the  sculptures,  only  one  of  antique  origin  deserves  mention. 
It  is  a  figure  ill-formed  and  clumsy,  in  a  crouching  position,  with 
the  hands  on  the  knees,  and  on  the  back  the  skin  of  a  panther, 
the  feet  of  which  hang  down  over  the  shoulders.  The  mask-like 
face,  something  resembling  Silenus,  with  much-raised  eyebrows, 
has  whiskers,  mustachios,  and  a  short  beard,  mostly  expressed  in 
regular  curved  lines.  The  whole  indicates  a  peculiar  representa- 
tion of  some  Bacchanalian  being.  The  nose,  lower  lip,  left  hand 
and  knee,  and  half  the  right  knee,  are  new  ;  the  hair  retouched. 

VOL.  III.  2   o 

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450  CAMBRIDGE.  Lbtteb  XXXIU. 

The  workmanship   of  the  portions  that  are  preserred  is  good, 
though  coarse. 

By  the  invitation  of  Professor  \Vhewell  I  dined,  at  four  o'clock, 
with  him,  the  Master  of  Trinity,  and  some  other  Professors,  in  the 
spacious  hall.  Every  one  was  at  liberty  to  choose  from  a  bill  of 
fare.  The  dinner  was  very  well  dressed.  I  was  sorry  that,  being 
vacation  time,  the  large  tables  for  the  students  were  empty. 
There  must  certainly  be  something  very  agreeable  in  this  mode  of 
living  together.  It  indeed  calls  to  mind  the  manners  of  the  con- 
vent, from  which  it  was  first  derived.  Even  now  a  Professor,  when 
he  marries,  is  excluded  from  this  life. 

On  the  following  morning  I  visited  a  collection  of  paintings 
bequeathed  by  a  Mr.  Mesman  to  the  University  in  1834.  Though 
excelling  the  Fitzwilliam  Museum  in  the  nimiber  of  pictures,  of 
which  there  are  246,  it  is  far  below  it  in  value,  for,  with  few 
exceptions,  it  contains  only  pictures  of  little  importance  by  second- 
rate  masters.  Besides  a  Venus  by  Adam  Elzheimer,  most  exqiu- 
sitely  finished,  and  of  extraordinary  fulness  and  depth  of  tone, 
which  was  engraved  by  W.  Hollar,  when  in  the  collection  of  the  cele- 
brated Earl  of  Arundel,  I  can  mention  only  two  admirable  cattle- 
pieces  by  Klomp,  the  pupil  of  Paul  Potter  (Nos.  17  and  25). 

Professor  Peacock,  who  took  me  to  see  this  collection,  showed 
me  also  some  antique  sculptures,  kept  in  a  separate  room;  the 
most  interesting  of  which  is  a  marble  sarcophagus,  found,  in  the 
year  1834,  in  the  island  of  Candia,  and  very  lately  presented  by 
Sir  Pulteney  Malcolm.  The  principal  side,  which  represents  the 
Conquest  of  Bacchus  over  India,  is  distinguished  by  original  and 
rarely  occurring  ideas.  The  god,  leaning  on  Ampelus,  is  here 
standing  in  a  car,  drawn  by  two  Centaurs.  Next  follows  a  satyr 
playing  on  the  cymbals ;  then  Silenus,  supported  by  a  Faun  and  a 
Bacchante,  who,  turning  towards  Bacchus,  calls  to  him.  Of  Üie 
Hercules  accompanying  this,  only  the  lower  half  remains.  He  is 
preceded  by  an  elephant,  on  which  four  Bacchanalian  figures  are 
sitting  at  their  ease,  one  blowing  an  instrument,  and  the  three 
others  with  drinking  vessels;  at  the  head  is  a  Faun  with  a  full  wine- 
skin, and  before  him  a  panther.  Above  is  a  narrow  relief,  with  Fauns 
and  Bacchantes  carousing.  At  the  ends  are  the  infant  Bacchus, 
rocked  in  a  basket  by  an  old  and  a  young  Faun,  and  a  drunken 
Satyr  dragged  along  by  two  Cupids.  The  coarse  characters,  the 
excessive  prominence  of  the  forms,  and  the  partially  rude  work- 
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Letter  XXXIII.  UNIVERSITY  LIBRARY.  451 

manship,  show  it  to  be  of  the  last  half  of  the  2nd  century  of  the 
Christian  era,  and  prove  that,  at  that  time,  sculpture  was  practised 
in  Greece  just  in  the  same  manner  as  at  Rome. 

In  the  hall  of  the  University  Library,  to  which  we  now  pro- 
ceeded, I  noticed,  among  other  fragments  of  antique  scidpture,  the 
colossal  figure  of  a  Ceres,  the  workmanship  and  the  style  of  which 
bear  a  resemblance  to  the  statues  of  the  Parthenon.  It  came  from 
Eleusis,  and  was  presented,  with  some  of  the  other  marbles,  in 
1802,  by  Dr.  E.  Qarke  and  Mr.  J.  M.  Cripps. 

In  the  Ubrary  Professor  Peacock  introduced  me  to  Mr.  Harts- 
home,  the  librarian,  still  a  young  man,  who  had  formerly  lived 
some  time  in  Berlin,  and  who,  in  the  most  obliging  manner,  showed 
me  the  curiosities  of  the  library,  containing  above  100,000 
volumes.  In  the  year  1829  he  published  a  book  on  the  rare 
works  in  the  libraries  of  Cambridge. 

Among  the  2000  MSS.  an  extremely  well-written  and  preserved 
MS.  of  the  four  Gospels,  in  Greek  and  Latin,  is  particularly 
interesting.  It  was  presented  to  the  library  in  1581,  by  the 
celebrated  Thomas  Beza,  who  procured  it  from  the  convent  of  St. 
Irenaeus  at  Lyons.  This  work  is  supposed  by  some  men  of  learn- 
ing to  be  of  the  5th  century  ;  by  others,  however,  to  be  rather  later. 

Here,  too,  are  three  MSS.  containing  representations  of  real  and 
of  fantastic  beings,  and  which  are  known  to  bibliographers  by  the 
name  of  *'  Bestiaries."  They  are  very  interesting,  as  affording  a 
specimen  of  the  extravagant  notions  of  the  middle  ages  respecting 
natural  history.  The  title  and  end  are  missing  in  all  three.  In 
one  of  them,  also  (K  k  4,  25),  some  parts  have  been  cut  out. 
This  one  is  in  small  folio,  and  written  on  parchment.  The  first 
pictiu'e  represents  Alexander  the  Great  in  mediaeval  costume  en- 
throned with  dignity,  in  the  attitude  in  which  the  judges  are  repre- 
sented in  the  middle  ages,  namely,  with  one  leg  thrown  over  the 
other.  This  indicates  a  translation  of  the  work  of  Aristotle  on 
animals,  which  has  doubtless  served  as  the  foundation  of  all  MSS.  of 
this  kind.  In  many  of  the  real  animals  the  characters  are  very  accu- 
rately designated.  Several  pictures  represent  combats  of  animals 
with  each  other  and  with  men.  There  are  also  Centaurs  among 
them.  The  representation  of  the  mode  of  catching  a  whale  is 
particularly  worthy  of  notice.  A  man,  sitting  upon  the  fish,  drives 
a  large  nail  or  wedge  into  it ;  but  a  rope  is  wound  round  this 
wedge,  one  end  of  which  is  held  by  a  man  in  the  ship.     Some  of 

2  G  2 

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452  CAMBRIDGE.  Letter  XXXIII. 

the  pictures  are  merely  drawings  with  the  pen,  many  of  them 
rudely  painted  with  crude  body-colours.  The  mode  of  design 
and  treatment  indicate  the  beginning  of  the  13th  century.  The 
second  manuscript,  also  on  parchment,  in  small  folio,  appears  to 
to  be  of  the  12th  century,  judging  by  the  symmetrical,  arabesque- 
like, decided,  and  neat  manner  of  drawing  with  the  pen,  as  if 
done  by  a  calligraphist.  The  first  five  leaves  only,  as  in  the  pre- 
ceding specimen,  are  coloured.  The  third  MS.,  in  octavo,  is  far 
inferior. 

A  Prayer-book  (Horae  Mariae  Virginis),  in  large  octavo,  written 
on  parchment  in  very  full  characters,  appears  from  the  pictures, 
and  the  borders  adorned  with  flowers  and  fruits,  to  be  a  pretty 
specimen  of  Flemish  miniature-painting  towards  the  end  of  the 
15th  century.  A  note  at  the  end,  stating  that  the  pictures  are 
by  Don  Giulio  Clovio,  is  a  proof  of  the  greatest  ignorance. 

A  copy  of  Landini's  Italian  translation  of  Pliny's  Natural  His- 
tory, published  at  Venice  in  1476,  by  Janson,  is  a  convincing 
proof  to  what  a  degree,  even  after  the  invention  of  printing,  it 
remained  customary  to  ornament  books  with  miniatures,  so  that 
the  serious  occupation  of  learning  might  not  be  without  the 
beautiful  and  cheerful  ornament  of  art.  This  is  a  volume  in 
folio,  beautifully  printed  on  parchment.  At  the  be^ning  of  the 
second  book  the  border  is  most  tastefully  and  richly  adorned  with 
architectonic  miniatures,  according  to  the  fashion  of  that  age, 
and  which,  in  drawing,  modelling,  precisioü  and  delicacy  of  execu- 
tion, and  power  and  fulness  of  the  colours,  are  among  the  finest 
of  this  kind.  On  each  side  is  a  column  of  the  composite  order, 
executed  in  gold,  with  brown  shadows ;  above  and  below,  an  ele- 
gant entablature.  The  light-blue  architrave  is  adorned  with 
masks,  the  violet-coloured  frieze  with  combatants,  a  green  frieze 
with  dolphins.  The  column  of  the  text  in  the  centre  is  treated  as 
a  tablet  fixed  on  to  the  picture  by  fine  red  threads.  There  are 
also  on  the  border  to  the  right  the  most  elegant  jewels  and  corals, 
arranged  in  the  fashion  of  arabesques  on  a  dark-blue  ground. 
The  initial  at  the  head,  an  F,  is  executed  in  gold  and  purple  on 
a  quadrangle  of  a  green  colour,  on  which  are  painted  in  green  a 
boy  and  a  triton,  and  two  heads  with  the  letters  D  A  (Divus 
Augustus)  and  D  F  (Diva  Faustina).  At  the  commencement  of 
each  book  there  is  a  similarly  ornamented  initial,  and  a  smaller 
one  of  the  same  kind  at  the  beginning  of  each  chapter.     Judging 

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Lettee  XXXIII.      TRINITY  COLLEGE  LIBRARY.  453 

from  other  similar  MSS.,  I  am  inclined  to  believe  these  miniatures 
to  be  of  Milanese  origin. 

As  the  building  has  become  too  small  for  the  increasing  num- 
ber of  books,  it  is  intended  to  erect  a  more  spacious  one.  The 
large  sum  that  will  be  required  will  be  chiefly  contributed  by 
voluntary  donations  from  gentlemen  who  have  received  their  edu- 
cation at  Cambridge,  and  hence  cherish  a  lively  interest  in  the 
prosperity  of  the  university.  The  sum  already  subscribed  is  very 
considerable. 

Trinity  College  Library,  which  is  elegantly  arranged  in  a  light, 
spacious  apartment,  contains  the  following  very  remarkable  MSS. 
with  miniatiu*es : — 

An  Evangeliarium  (B  10,  4),  folio,  written  on  parchment,  of 
the  11th  century,  and  an  important  specunen  of  the  manner  of 
painting  in  England,  in  which  the  treatment  of  the  body-colours, 
such  as  the  crimson  tints  generally,  and  the  broken  colours,  indi- 
cate antique  tradition.  The  draperies  are  excessively  fluttering. 
At  the  commencement  is  Christ  enthroned,  with  white  hair,  and  a 
crown  on  his  head.  The  usual  pictures  of  the  four  Evangelists 
are  small.  The  border  of  all  the  pictures,  as  of  the  beginning 
of  the  four  Gospels,  is  richly  adorned  with  gold  beading  and 
coloured  scrolls,  in  the  taste  of  the  Romanesque  architecture. 

The  propensity  of  the  middle  ages  to  the  fantastic,  the  marvel- 
lous, and  the  strange,  could  not  but  find  peculiar  gratification  in 
the  contents  of  the  Apocalypse,  and  accordingly,  next  to  the  Gos- 
pels and  the  Psalter,  there  are  no  MSS.  so  richly  illustrated  with 
pictorial  representations  as  those  of  the  Apocalypse.  This  library 
alone  has  three,  and  one  of  them  the  richest  and  most  remarkaUe 
that  I  have  yet  met  with,  a  folio  volume,  in  two  columns,  with  a 
French  translation,  and  copious  commentary  (R  16,  2).  The 
French  arms  are  on  the  binding.  The  first  four  pages  contain,  in 
nine  pictm^s,  the  life  of  St.  John.  After  these,  almost  every  page 
has  one,  and  many  two  pictures ;  nay,  the  last  five  leaves  contain 
altogether  twenty-two  pictures.  Conception,  drawing,  and  treat- 
ment indicate  the  first  half  of  the  13th  century.  The  invention  is 
much  in  the  spirit  of  the  text,  highly  original,  fanciful,  and  dramatia 
The  various  dragons  and  the  demons,  in  particular,  leave  nothing 
more  to  be  desired.  The  proportions  are  very  long,  the  feet  small 
and  thin.  The  heads  are  of  a  certain  type,  yet  are  not  destitute 
of  expression     The  wicked  are  distinguished  by  large  hooked 

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454  ALTHORP.  Lettkb  XXXIII. 

noses  and  wide  mouths.  The  body-colours  are  very  dark  and  full ; 
blue  and  brown,  in  particular,  are  much  used.  In  the  lights  a 
lighter  local  tone  is  used,  or  advantage  taken  of  the  parchment 
itself.  The  outlines  and  folds  of  the  draperies  are  very  carefully 
and  skilfully  drawn  with  the  pen.  In  the  draperies  and  architec- 
ture, only  the  dawn  of  the  Gothic  taste  appears.  The  grounds 
are  coloured,  mostly  dark  blue  or  brown,  ornamented  with  little 
crosses,  stars,  and  lilies,  in  white,  or  the  light  local  tone.  A  few  only 
have  pretty  arabesques,  after  antique  patterns  ;  others  are  adorned 
with  the  most  beautiful  leaf^gold,  heightened ;  the  last  page  only 
has  the  panelled  ground,  which  afterwards  became  so  common. 
The  glories  and  the  beaded  frames  of  the  pictures  are  gilt  in  the 
same  manner.  Trees,  when  they  occur,  have  still  the  conventional 
shape  of  the  12th  century.  The  whole  is  in  an  admirable  state  of 
preservation.  This  important  specimen  was  presented  to  the  col* 
lege  in  1649,  by  one  Anna  Sadleir. 

The  two  other  MSS.  of  the  Apocalypse,  of  the  second  half  of 
the  13th  century,  are  far  less  important  (B  x,  2,  and  B  10,  6).  In 
the  first  the  Emperor  Domitian  at  the  commencement  is  to  be 
noticed,  also  represented  like  a  judge  on  his  throne,  with  his  right 
leg  thrown  over  the  other. 

In  the  neighbouring  county  of  Huntingdon,  at  the  seat  of 
the  Earl  of  Sandwich,  is  a  collection,  as  I  was  informed,  of  por- 
traits of  the  principal  English  families.  Not  being  able,  however, 
to  ascertfidn  anything  to  the  purpose  regarding  the  different  ma»- 
ters,  and  not  knowing  how  far  this  collection  possessed  any  artistic 
as  well  as  historical  value,  I  did  not  feel  myself  called  upon,  on 
such  uncertain  grounds,  to  visit  it.  I  therefore  proceeded  te 
Northamptonshire. 

During  the  short  time  I  passed  at  Northampton  I  saw  the 
remarkable  church  of  St  Peter's,  which  is  built  in  the  Norman 
style  of  the  12th  century,  and  is  very  advantageously  distinguished 
by  the  simple  plan,  resembling  that  of  the  ancient  Basilicas,  and 
by  its  good  proportions. 

It  was  early  in  the  morning  when  I  arrived  at  Althorp,  the 
seat  of  Earl  Spencer — ^a  seat  which  I  have  not  revisited  since 
1835.  The  exterior  of  the  mansion  is  not  striking;  and  the 
part  of  the  park  which  is  visible  from  the  house  has  no  remark- 
able features.     Lord  Spencer,  to  whom  I  had  a  letter  from  the 

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Letter  XXXUI.    EARL  SPENCER'S  COLLECTION.  455 

Duke  of  Devonshire,  was  unfortunately  absent,  so  that  I  could 
see  nothing  but  the  arrangement,  in  several  rooms,  of  the  cele- 
brated library,  which  has  not  its  equal  in  the  world  for  early 
works,  and  which  is  universally  known  by  Dibdin's  work,  *  -^Edes 
Althorpianae.'  To  reach  wiüi  ease  the  books  on  the  higher 
shelves,  there  are  in  some  of  the  rooms  elegant  steps  rolling  on 
castors,  which  may  be  conveniently  moved.  Of  the  pictures,  of 
which  there  are  about  430,  in  twenty-eight  rooms,  I  was  able 
to  take  but  a  cursory  view,  so  that  I  have  written  down  the  fol- 
lowing observations  on  the  most  valuable,  from  memory,  with  the 
aid  of  a  printed  but  very  insufficient  catalogue,  which  was  given 
me  by  the  Marchioness  of  Exeter. 

The  hall  is  decorated  with  very  large  hunting-pieces,  and  por-* 
traits  of  horses,  most  of  them  the  size  of  life,  of  which,  however, 
only  two  small  pieces  by  Stubbs,  in  point  of  animated  conception 
and  refined  understanding  of  all  the  parts,  can  be  placed  in  the 
rank  of  real  works  of  art.  The  greater  part  of  the  portraits  which 
adorn  the  staircase  and  various  apartments  have  an  historical 
or  family  interest.  This  first  is  especially  the  case  with  the  chalk 
portrsdts,  executed  by  order  of  Lord  Spencer,  of  all  the  members 
of  the  House  of  Commons  who  voted  for  the  Reform  Bill 

As  works  of  art,  the  following  are  distinguished  : — 

Raphael. — A  fragment  of  the  cartoon  of  the  Murder  of  the 
Innocents  ;  11  in.  high,  12i  in.  wide.  It  contains  the  upper  por- 
tion of  the  figure  of  the  woman,  in  one  of  the  tapestries  of  the 
Vatican,  who,  full  of  horror  at  the  dreadful  scene,  is  running  up  a 
flight  of  steps :  executed  in  tempera  on  paper,  with  great  breadth 
and  mastery.  The  very  red  tone  of  the  flesh  indicates  tiie  hand 
of  GiULio  Romano.  The  wall,  which  originally  formed  the  back- 
ground, has  been  painted  over  and  become  sky.  This  is  without 
doubt  a  piece  of  the  original  cartoon. 

An  excellent  copy,  on  panel,  of  Raphael's  celebrated  Holy 
Family,  lately  engraved  by  Longhi,  which  was  painted  for  Lio- 
nello  Signore  da  Meldola,  and  is  now  the  chief  ornament  of  the 
Royal  Gallery  at  Naples.  I  entirely  agree  in  Passavant's  opinion 
that  this  picture,  purchased  of  a  distinguished  family  at  Bologna, 
is  that  which,  according  to  Vasari,  was  executed  by  Innocenzo 
DA  Imola.    The  treatment  and  warm  tone  are  quite  hi& 

Perino  del  Vaoa. — ^Portrait  of  the  celebrated  Cardinal  Pole, 
at  a  very  advanced  age,  with  a  long  white  beard,  in  a  white  dress, 

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456  ALTHORP.  Lettbr  XXXIH. 

with  a  black  collar  and  cap.  He  is  represented  sitting,  and  seen 
nearly  in  front.  To  the  knees.  The  expressive  character  «s 
•  strongly  conceived ;  the  brownish  glowing  colouring  appears  exag- 
gerated in  the  hands. 

Baroccio. — The  Nativity ;  a  small  but  very  choice  picture  of 
the  master. 

Paris  Bordonb. — A  beautiful  young  woman,  in  a  light  morn- 
ing negligee ;  one  hand  on  her  breast.  Half-length.  Here  called 
Titian ;  but,  judging  from  the  conception,  the  reddish  local  tone 
of  the  flesh,  and  the  greenish  shadows,  certiunly  by  this  scholar  of 
Titian. 

2.  Titian  with  his  mistress ;  he  is  holding  a  mirror.  A  different 
composition  from  that  in  the  Louvre.  This  too  is  called  a  Titian, 
but  is  also  by  Bordone. 

SoFONiSBA  Anguisciola. — Her  own  portrait,  playing  on  the 
harpsichord.  Carefully  painted  in  a  delicate  tone,  with  a  refined 
feeling  for  nature. 

GuERciNo. — St  Luke  painting  the  Virgin ;  figures  the  size  of 
life.  Very  modem  in  conception.  The  colouring  warm,  reddish, 
and  clear. 

Carlo  Dolce. — ^The  Marriage  of  St.  Catherine.  A  very  deli- 
cately executed  picture. 

Gaspar  Poussin. — A  small  landscape,  distinguished  by  the 
composition  and  the  freshness  of  the  colouring. 

Holbein. — 1.  A  bust-picture,  half  the  size  of  life,  called 
Henry  VUI. ;  but  the  fine  arched  nose,  the  delicately  formed 
mouth,  difier  from  all  other  portraits  of  this  King,  and  indicate  a 
different  person.  Finished  like  a  miniature,  in  a  tender  brownish 
tone,  with  the  most  refined  truth  of  nature. 

2.  Henry  VIII.,  the  Princess  Mary,  and  Sommers  the  jester ;  a 
coarse  copy  from  Holbein. 

Bernhard  van  Orley. — Bust-picture  of  Anne  of  Cleves ; 
very  cleverly  painted  in  his  rather  reddish  flesh-tone.  This  prin- 
cess appears  here  much  prettier  than  might  be  believed  from 
Henry's  coarse  remarks.  Perhaps  he  alluded  to  the  fiill  oval 
and  the  full  form. 

JoAS  VAN  Clevb. — His  own  portrait,  with  a  brown  beard  and 
black  cap,  pointing  towards  himself.  Painted  in  a  most  masterly 
manner,  in  a  warm,  clear,  brownish  tone,  approaching  the  best 
Venetians,  and  delicately  drawn.    The  ground  of  a  full  green.    In 

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Letter  XXXIII.    EARL  SPENCER'S  COLLECTION.  457 

precision  of  fonns  and  execution  he  stands  between  Holbein  and 
Sir  Anthony  More,  and  we  cannot  blame  him  for  feeling  hurt  that 
the  latter  was  preferred  to  hhn. 

Sir  Anthony  More. — 1.  His  own  portrait,  standing,  in  a  black 
dress  with  purple  sleeves.  To  the  knees.  Close  to  him  the  head 
of  a  large  dog,  which  he  is  touching.  There  is  something  very 
dignified  in  his  appearance.  The  clear  painting  is  very  carefully 
modelled.     Yet  I  cannot  help  preferring  the  portrait  of  Van  Cleve. 

2.  Philip  IL  in  golden  armour.     A  picture  of  great  delicacy. 

3.  Portrait  of  a  lady ;  a  bust-picture,  with  hands ;  in  red  velvet 
and  white  sleeves;  the  head-dress  and  stomacher  embroidered 
with  gold.  This  fine  picture,  which  has  unfortunately  suffered  by 
cleaning,  shows,  in  the  costume  of  the  age  and  in  the  treatment,  the 
hand  of  More.     It  here  passes  for  a  Holbein. 

Janet. — 1.  Francis  II.,  King  of  France,  as  a  boy.  Of  much 
delicacy. 

2.  A  female  portrait,  here  erroneously  called  Mary  Queen  of 
Scots,  as  Dauphiness.  It  is  not  only  too  old,  but  the  face  is  very 
difierent,  and  too  ugly. 

Frans  Pourbus  the  younger. — A  portrait,  said  to  be  that 
of  Henry,  Duke  of  Guise,  called  Le  Balafre ;  a  whole-length,  the 
size  of  life.  This  capital  picture,  which  is  warm  in  colouring  and 
animated  in  conception,  is  certainly  that  of  the  son  of  that  Duke, 
since  Pourbus  did  not  go  to  France  till  after  the  death  of  the 
Balafre. 

Bartholomew  de  Bruyn. — An  altar-piece  with  doors.  Centre 
picture :  St.  Jerome  pointing  to  a  skull ;  a  picture  of  which  there 
are  numerous  repetitions,  of  which  a  very  good  one  was  formerly 
in  the  collection  of  Pastor  Fochem,  at  Cologne,  and  is  now  in 
the  Royal  Gallery  at  Munich.  The  inner  side  of  one  wing,  with 
the  Visitation  of  the  Virgin,  and  the  outer  side  of  the  other,  with 
the  portrait  of  the  donor  and  a  patron  saint,  are  also  here. 
The  last  are  erroneously  supposed  to  be  the  portraits  of  two 
Dukes  of  Milan.  If  the  other  sides  of  the  wings,  now  turned 
to  the  wall,  be  in  a  state  of  preservation,  the  outside  of  the 
first,  doubtiess,  has  another  donor  or  donatrix,  and  the  inside 
of  the  second  some  historical  subject,  perhaps  the  Annunciation. 
This  excellent  picture  by  De  Bruyn,  here  quite  erroneously  called 
Albert  Durer,  is  of  the  earlier  time  of  the  master,  and,  like 
the  St.  Jerome  at  Munich,  has  much   resemblance  with  that 

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458  ALTHORP.  Lettkb  XXXTH. 

Lower  Rhenish  painter  who  painted  the  celebrated  Death  of 
the  Virgin,  which  has  passed,  under  the  name  of  Schoreel, 
from  the  Boisseree  Collection,  into  that  of  the  King  of  Bavaria  at 
Munich. 

RuBENa — 1.  David,  with  the  elders  of  Israel,  presenting  a 
thank-offering  to  Jehovah,  on  the  return  of  the  ark  of  the  covenant 
from  the  house  of  Obed-Edom.  This  sketch  for  a  very  rich  com- 
position of  the  master's  earlier  period  is  in  every  respect  one  of 
the  most  skilful  by  him  that  I  am  acquainted  with.  It  was  painted 
as  a  design  for  tapestry,  as  is  shown  by  two  pUlars,  to  which  four 
angels  are  fastening  the  picture. 

2.  The  Infant  Don  Ferdinand,  Cardinal,  and  Governor  of  the 
Netherlands,  in  the  costume  of  a  cardinal,  holding  a  book  in  his 
right  hand  ;  to  the  knees.  The  head  is  admirably  painted ;  the 
remainder  rather  negligent,  and  inferior  to  the  portrait  of  the  same 
prince  in  the  Gallery  at  Munich. 

Vandyck. — 1.  Daedalus  and  Icarus;  to  the  knees.  The 
youth  seems  to  pay  but  little  attention  to  the  instructions  whidi 
his  father,  who  has  fastened  the  wings  on  him,  is  giving  him.  Very 
carefully  painted  throughout,  and  with  great  truth  in  the  colouring 
of  the  flesh. 

2.  George  Digby,  second  Earl  of  Bristol,  and  William,  first  Duke 
of  Bedford,  both  as  youths ;  whole-length  figures,  the  size  of  life. 
The  first  with  fair  hair,  dressed  in  black  silk,  rests  with  one  arm 
on  the  pedestal  of  a  column ;  the  other,  in  a  rich  red  dress,  rests 
his  right  hand  on  his  hip.  This  masterly  picture  is  not  only  the 
finest  of  all  those  by  Vandyck  at  Althorp,  but  one  of  the  besi 
specimens  of  his  elegant  class  of  works,  representing  p^^ns  of 
distinction. 

3.  The  portrait  of  Rubens  in  a  black  dress ;  the  size  of  life, 
standing.  A  very  elegant  picture.  Inscribed,  "  Ant.  Vandyck 
Eques  Pt." 

4.  Penelope  Wriothesley,  Countess  Spencer ;  whole-length,  in  a 
blue  silk  dress  and  pearls.  The  action  of  walking,  and  the  gambols 
of  a  little  dog,  give  much  life  to  the  picture.  It  has  unfortunately 
been  rather  injured  by  cleaning. 

5.  Ann  Carr,  Countess  of  Bedford,  in  a  red  silk  dress,  the  hands 
crossed  before  her ;  to  the  knees.    Very  delicate. 

6.  Lady  Elizabeth  Thimbleby,  and  Catherine  Countess  of 
Rivers.     The  latter  is  receiving  a  basket  of  flowers  from  a  Cupid 

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Letter  XXXIII.    EARL  SPENCER'S  COLLECTION.  459 

7.  William  Cavendish,  Duke  of  Newcastle,  with  light  hair,  in  a 
black  dress ;  his  hand  on  his  side  ;  whole-length,  the  size  of  life. 
Painted  with  remarkable  care. 

8.  Rachel  Ruvigny,  Countess  of  Southampton,  in  a  kind  of 
apotheosis.  She  is  seen  in  an  ample  blue  robe,  enthroned  in  clouds, 
with  a  sceptre  in  her  right  hand,  her  left  on  a  globe,  and  a  Death's 
head  at  her  feet ;  whole-length,  the  size  of  life.  Not  a  pleasing 
picture. 

Rembrandt. — 1.  The  Circumcision ;  a  small  picture.  In- 
scribed with  the  name  and  1661.  Very  spirited,  and  of  striking 
efiTect. 

2.  Rembrandt's  mother,  seated  at  a  table,  on  which  is  a  large 
book.  The  rich  dress  makes  it  probable,  in  my  opinion,  that 
some  other  lady  is  represented.  To  the  knees,  the  size  of  life. 
The  light  reddish  tone  of  the  flesh,  and  the  very  finished  execution, 
indicate  the  early  period  of  the  master. 

Teniers. — 1-8.  Here  are  only  two  small  and  pleasing  pictures 
of  peasants,  in  his  own  style.  But  it  is  well  known  that  Teniers, 
like  Dietrich  afterwards,  took  pleasure  in  assuming  different  styles, 
and,  as  far  as  the  appearance  is  concerned,  not  without  success. 
Of  this  kind  there  are  here  some  excellent  pictures  in  the  taste  of 
the  school  of  the  Carracci,  representing  the  Triumphs  of  Neptune, 
Venus  and  Galatea,  Perseus  and  Andromeda,  the  Rape  of  Eu- 
ropa, and,  twice,  the  Death  of  Leander.  Of  the  last  subject,  the 
larger  picture  is  very  fine. 

AssELYN.—Two  landscapes,  very  delicate  in  tone  and  execution. 

Philippe  de  Champagne. — Robert  Amaud  d'Andilly,  the 
author :  to  the  knees.  So  true  in  conception,  so  careful,  warm, 
and  clear  in  tone,  that  it  is  but  little  inferior  to  the  renowned 
portrait  of  the  same  person,  in  a  different  view,  in  the  Louvre,  by 
the  same  artist 

MiGNARD. — Julie  d'Angennes,  Duchess  of  Montansier.  One 
of  his  most  pleasing  and  most  finished  pictures. 

Le  Bourguignon. — ^Among  several  pictures,  a  lai^  battle- 
piece  is  particularly  distinguished  by  the  force  of  the  composition 
and  the  clearness  of  the  colouring. 

Sir  Joshua  Reynolds. — Most  of  the  family  portraits  by  him, 
at  this  seat,  belong  to  his  inferior  works.  That  of  the  Mar- 
chioness of  Camden  is  the  most  pleasing,  on  account  of  the  feminine 
gracefulness  which  distinguishes  it 

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460  BROUGHTON  HALL.  Letter  XXXIIL 


BROUGHTON  HALL, 
Formerly  the  seat  of  the  Dukes  of  Montague,  and  now  de« 
scended  to  the  Dukes  of  Buccleuch,  not  far  from  Kettering.  The 
house  itself  is  built  of  brick,  in  the  French  taste  ;  but,  notwith- 
standing its  size,  it  has  no  remarkable  feature.  Now,  too,  it 
bears  the  appearance  of  neglect  in  every  part.  This  extends  to 
the  pictures  on  the  ceiling,  which  are  erroneously  ascribed  to 
Guido  Reni,  and  also,  more  or  less,  to  the  pictures  in  the  various 
apartments ;  of  which,  however,  only  the  following  seemed  to  me 
worthy  of  notice. 

Sir  Peter  Lbly. — Robert  and  Dorothea,  children  of  the  B^l 
of  Leicester.  Very  carefiilly  painted  in  imitation  of  the  taste 
of  Vandyck,  in  cool  reddish  flesh-tones.  A  spaniel  also,  accom- 
panying the  children,  is  excellent. 

Vandyck. — 1,  Two  admirals  of  the  Brudenell  family,  whence 
the  present  Earls  of  Cardigan  descend  ;  in  armour.  Of  very  noble 
conception,  and  delicately  drawn.  The  present  somewhat  heavy 
tone  of  colour  is  the  consequence  of  damp,  which,  from  long 
neglect,  has  gathered  on  the  pictiu-e.  Some  retouches  are  also 
apparent. 

Jan  Verkolie. — ^A  family  picture,  a  man  in  a  flowing  wig,  his 
wife,  a  child,  and  a  dog.  A  good  work  by  this  inferior  artist,  but 
here  wrongly  ascribed  to  William  van  Mieris. 

Post. — Two  small  landscapes  of  American  scenes,  which  form 
the  subjects  of  this  artist's  first  pictures 

Vandyck. — 2.  The  eldest  daughter  of  Villiers,  Duke  of  Buck- 
ingham, in  red  silk  dress,  holding  a  handkerchief  in  the  right 
hand,  the  left  hand  extended.  To  the  knees,  with  landscape  back- 
ground. Delicately  conceived,  and  carefully  treated  in  a  warm 
tone. 

Artois. — A  very  large  landscape,  of  somewhat  decorative 
treatment 

Wilson. — A  landscape,  which  has  imfortunately  sufiered  much 
injury^ 

The  chief  object  of  my  visit  to  Broughton  Hall  was  to  see  two 
cartoons  attributed  to  Raphael,  presented  by  Charles  IL  on  his 
return  from  France,  with  a  series  of  tapestries  from  the  cartoons 
in  Hampton  Court,  to  the  Duke  of  Beaumont  Although,  aft«r 
Tassavant's  verdict  on  these  cartoons,  I  by  no  means  expected  to 


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Letter  XXXüT.  BROÜGIITON  HALL.  461 

find  originals,  yet  they  fell  short  even  of  my  moderate  expecta- 
tions. 

The  one  represents  the  composition  of  the  Almighty  riding  upon 
the  four  attributes  of  the  Evangelists  and  accompanied  by  angels, 
as  seen  in  the  well-known  small  picture  of  the  Vision  of  Ezekiel 
in  the  Pitti  Palace  at  Florence ;  figures  life-size,  but  the  prophet 
and  the  landscape  omitted,  and  in  their  stead  a  choir  of  eleven 
angels  introduced,  which  are  quite  at  variance  with  the  figures 
borrowed  from  Raphael ;  and,  in  the  feeble  dicawing  and  espe- 
cially in  the  character  of  the  heads,  show  a  Netherlandish  imita- 
tion of  Raphael.  Various  traces  of  colour  prove  that  this  cartoon 
was  once  tinted. 

The  second  gives  the  composition  of  Raphael's  Holy  Family, 
painted  for  Francis  I.,  in  the  form  of  a  wide  oblong,  but  with 
very  unfortunate  alterations  and  additions.  The  chief  group 
of  the  Virgin  and  Child,  Elizabeth  and  the  Baptist,  is  entirely 
absent  firom  the  picture.  But  behind  Elizabeth  is  introduced  an 
ugly.  Zachariah,  and  behind  the  Joseph,  here  a  full-length  figure 
next  the  Virgin,  are  two  female  spectators  of  somewhat  vulgar 
character.  Quite  in  the  comer  is  another  head  in  profile.  The 
figure  of  the  angel  strewing  flowers  in  Raphael's  pictures  is  here 
so  altered  as  to  float  almost  horizontally  in  the  air.  Here  also  the 
figures  added,  though  otherwise  drawn  with  a  certain  mastery  in 
black  chalk,  betray  in  character  a  Netherlandish  master,  and  show 
in  many  parts  the  traces  of  having  been  coloured. 

I  am  convinced  that  both  these  cartoons  were  executed  by  Ne- 
therlandish artists,  as  patterns  for  the  tapestry  manufactories  at 
Arras,  Toumay,  and  other  towns,  where  the  tapestries  in  the 
Vatican,  firom  the  Hampton  Court  cartoons,  were  worked.  I  have 
felt  it  the  more  incumbent  on  me  thus  to  express  my  opinion  on 
these  cartoons,  having  found  that,  in  spite  of  the  verdict  of  so 
eminent  a  connoisseur  of  Raphael  as  Passavant,  they  were  still 
regarded  in  most  circles  as  the  original  works  of  the  great  master. 

As  regards  the  set  of  tapestries  from  the  Hampton  Court  car- 
toons, already  mentioned  as  preserved  here,  the  execution  of  the 
heads,  and  the  drawing  in  general,  show  but  little  understanding. 
In  the  Charge  to  Peter,  also,  only  three  figures  from  the  cartoon 
are  retained;  and  in  the  Death  of  Ananias  very  considerable 
and  unfortunate  alterations  are  noticeable. 

Besides  these  there  are  many  tapestries  of  later  date ;  while 

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4G2  GLENDON  HALL.  Leteeb  XXXHI. 

three  mentioned  by  PassaTant  from  Andrea  Mantegna's  Triumph 
of  Csesar,  in  Hampton  Court,  I  did  not  succeed  in  seeing. 

At  Geddington,  in  the  neighbourhood  of  Kettering,  I  saw  one 
of  the  crosses  erected  by  Edward  L  at  each  resting-place  of  the 
body  of  his  queen  Eleanor.  It  is  triangular  in  plan,  rising  like  a 
slender  tabernacle  in  the  early  Gothic  style.  The  lower  part  is 
richly  decorated,  while  the  upper  is  adorned  with  three  small 
statues,  one  on  each  side,  of  very  good  style,  and  sufficiently 
finished  for  architectural  sculpture.  Considering  that  this  cross  is 
about  550  years  old,  the  preservation  is  very  good ;  the  upper 
point  only  appears  to  have  fallen  off  Crosses  of  similar  form 
are  at  Northampton  and  Waltham. 

Glendon  Hall,  the  seat  of  the  Booth  family,  with  a  collection  of 
pictures,  is  also  near  Kettering.  If  some  only  of  the  pictures  be 
rightly  named,  they  must  be  well  worthy  of  a  visit  I  am  indebted 
to  the  Rev.  Mr.  Berkeley  for  the  following  list : — 

Leonardo  da  Vinci. — Lucretia. 

Albano. — 3.  Morning  and  Evening,  and  a  wild-boar  hunt 
(probably  with  Adonis). 

Carlo  Dolce. — ^The  head  of  the  Magdalen. 

Nicolas  Poüssin. — Boys  catching  birds. 

Gaspar  Poussin. — ^A  landscape  (from  Stowe). 

MuRiLLo. — ^A  Spanish  boy. 

Holbein.— Portrait  of  Queen  Catherine  Parr. 

Cornelius  Jansen. — 2.  Portraits  of  a  man  and  woman. 

Vandyck. — 3.  Lord  Holland,  the  Countess  of  Pembroke,  and 
the  head  of  an  old  man. 

Rembrandt.— 2.  "The  enraged  Prisoner''  (probably  a  repe- 
tition or  copy  of  the  Prince  of  Geldern  in  prison,  at  the  Berlin 
Museum),  and  the  head  of  an  old  man  (both  from  Stowe). 

Velvet  Breughel  and  Rothenhammer. — ^The  Queen  of 
Sheba. 

Albert  Cuyp. — A  cattle-piece. 

Philip  Wouvermans. — A  dancing  party. 

Wilson. — ^A  landscape. 

Northamptonshire  contains  also  the  following  seats  with  collec- 
tions of  pictures : — 

Ashby  Castle,  seat  of  the  Marquis  of  Northampton. 

Aynho,  seat  of  W.  Ralph  Cartwright,  Esq.,  M.P. 

Kellmarsh  Hall,  seat  of  W.  Hanbury,  Esq. 

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Letter  XXXIII.  WOBURN  ABBEY.  463 

Sulby,  seat  of  George  Payne,  Esq. :  a  small  collection  contain- 
ing choice  pictures  of  the  Netherlandish  school. 

On  entering  Bedfordshire  I  hastened  to  Wobum,  and  thence 
to  Wobum  Abbey,  the  seat  of  the  Duke  of  Bedford,  which  I  have 
not  revisited  since  1835. 

The  inequalities  of  the  ground  in  the  park,  the  fine  trees, 
sometimes  forming  large  thick  masses,  sometimes  small  delicate 
groups,  and  sometimes  standing  singly,  agreeably  interrupt  the 
more  open  scenery,  and  afibrd  a  variety  of  picturesque  viewsL  The 
very  extensive  mansion,  which  surrounds  a  spacious  quadrangular 
courtyard,  has  no  very  striking  effect,  on  account  of  its  moderate 
elevation,  its  want  of  architectural  features  and  of  external  orna- 
ment ;  but  the  grounds,  with  the  extensive  buildings,  the  riding- 
school,  the  stables,  the  statue  gallery,  the  tennis-court,  and 
other  buildings  in  the  vicinity  of  the  mansion,  are  very  imposing. 
As  Wobum  Abbey  is  accessible  to  the  public  only  on  certain 
days,  Dean  Hunt,  who  is  acquainted  with  the  Bedford  family, 
gave  me,  when  at  Holkham,  a  letter  to  the  housekeeper,  who  rules 
alone  in  the  absence  of  the  Duke.  Accordingly,  the  very  respect- 
able-looking, corpulent  woman,  who,  in  her  black  silk  gown,  came 
mstling  with  much  state  to  meet  me,  suffered  herself  to  be  in- 
duced to  show  me  about  the  house.  But  this  visit  was  the  most  un- 
comfortable of  all  that  I  have  had  in  England.  With  the  curtains 
closed,  and  the  gloomy  weather,  a  Cimmerian  darkness  prevailed 
in  the  rooms,  which,  at  my  eamest  entreaty,  she  dispelled  for  a 
few  moments  only  by  drawing  the  curtains  aside.  But  if  I  ven- 
tured to  look  attentively  at  a  picture,  she  already  had  her  hand, 
with  very  significant  looks,  on  the  door  of  the  next  apartment.  In 
tins  manner  the  whole  inspection  was  over  in  an  hour  I  The  fol- 
lowing notes  on  many  articles  of  virtu,  as  well  as  on  the  paintings, 
are  therefore  neither  so  accurate  nor  so  detailed  as  I  would  will- 
ingly give. 

In  a  corridor,  which  runs  round  the  courtyard,  a  considerable 
number  of  small  bronzes  in  glass  cases  are  preserved,  most  of 
which  are  copies  of  well-known  antique  sculptures,  but  some  are 
valuable  originals.  Among  these  are — a  very  small  figure,  appa- 
rently a  Juno,  some  bacchanalian  figures,  especially  a  very  ani- 
mated Faim  on  an  ass,  and  a  bird.  Of  about  a  dozen  painted 
Greek  vases,  four  of  the  manufactory  of  Nola  are  distinguished  by 
good  workmanship  and  preservation ;  but  the  subjects  are  of  a 

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464  WOBÜRN  ABBEY.  Letter  XXXIII. 

common  kind.  Here  are  also  some  very  pretty  bronze  copies  of 
celebrated  antique  marble  vases. 

The  number  of  pictures  is  very  considerable,  including  the 
richest  collection  that  I  have  seen  in  England  of  portraits  of  emi- 
nent English  characters,  from  the  time  of  Henry  VIIL  to  our 
days.  Of  those  ascribed  to  Holbein  none  appeared  to  me,  in  this 
unfavourable  and  hasty  view,  to  be  genuine.  Among  these  I 
would  willingly  have  examined  more  closely  portraits  of  Jane 
Seymour,  Philip  IL,  and  Queen  Mary,  small  whole-length  figures, 
ascribed  to  Sir  Anthony  More,  but  which  are  too  feeble  and 
poor  in  the  drawing,  and  too  pale  in  the  flesh-tones,  for  him. 
Several  portraits  by  Mark  Gerards  appear,  on  the  contrary,  to 
be  genuina  But  the  portraits  by  Vandyck  outshine  all  the  rest ; 
I  must,  therefore,  mention  them  more  particularly. 

Vandyck.—!.  Portrait  of  Francis  Russell,  fourth  Earl  of  Bed- 
ford, in  a  black  silk  dress,  standing  in  an  easy  attitude,  with  the 
left  hand  on  his  side :  a  whole-length,  the  size  of  life.  By  far 
the  finest  picture  by  the  master  here.  It  is  dated  1636,  and  com- 
bines a  remarkably  noble  conception  with  the  deep,  warm,  golden 
tone  and  the  finished  execution  peculiar  to  Vandyck  at  that  time. 

2.  The  next  to  it  in  value  is  the  portrait  of  Ann  Carr,  the  Earl's 
consort ;  the  companion  picture.  She  is  painted  in  a  white  silk 
dress.  Great  beauty  of  feature  is  united  with  the  delicacy  with 
which  Vandyck  conceived  his  female  portraits,  and  with  the  most 
careful  execution. 

3.  Portrait  of  the  Duchess  of  Ormond,  in  a  rich  dress.  Whole- 
length,  the  size  of  life.     A  later  picture  of  great  elegance. 

4.  Portrait  of  Aubertus  Mirseus,  court  chaplain  and  librarian  to 
the  Archduke  Albert,  and  well  known  as  a  theological  and  histo- 
rical writer.  He  is  already  in  advanced  years,  sitting  in  an  arm- 
chair. Near  him  is  a  table,  on  which  are  papers,  a  bust,  and  a 
table-clock.     This  very  animated  portrait  is  engraved  by  Pontius. 

5  and  6.  The  portraits  of  Daniel  Mytens  and  his  wife.  Both  are 
painted  sitting,  elegantly  dressed  in  black.     To  the  knees. 

Of  a  number  of  family  portraits  by  Sir  Joshua  Reynolds,  those 
of  the  Duke  and  Duchess  of  Bedford,  and  of  another  lady,  belong 
to  such  of  his  good  pictures  as  have  retained  their  colours.  Several 
others  are  fieuled,  and  have  an  unpleasant  ghost-like  appearance. 

In  the  library  are  portraits  of  various  distinguished  painters  by 
themselves,  several  of  which,  so  far  as  the  height  at  which  they 

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Lkttbr  XXXra.    DÜKE  OF  BEDFORD'S  COLLECTION.  465 

hang  and  the  scanty  light  allowed  me  to  ohserve,  were  very  pro- 
mising.    I  was  more  particularly  struck  with  the  following  :— 

Rembrandt,  1,  when  young,  in  a  furred  dress  and  a  gold  chain. 
Albert  Cuyp;  very  glowing  and  vigorous:  the  magnificent 
dress,  however,  makes  it  very  doubtful,  in  my  opinion,  whether  it 
be  his  own  portrait.  Michael  Miereveldt;  Sir  Anthony 
More  ;  two  of  the  Bassanos  ;  Paul  Veronese,  painted  by  his 
son,  Carlo  Cagliari.  Here,  too,  I  found  the  portrait,  a  very 
good  likeness,  of  Mr.  Rogers,  the  poet,  who  has  shown  me  so  much 
kindness. 

Of  the  other  pictures  I  chiefly  remember — 

Annibale  Carraccl— a  scriptural  subject,  of  pretty  large 
size,  and  very  carefully  and  warmly  coloured. 

Claude  Lorraine.— View  of  the  Castle  of  St.  Angelo  and 
the  bridge  over  the  Tiber.  This  beautiful  picture  appeared  to  me 
in  many  parts  to  deviate  from  Claude's  style,  but,  considering  the 
benighted  condition  of  the  room  in  which  it  hung,  I  do  not  ven- 
ture an  opinion. 

Gaspar  Poussin. — Two  large  landscapes,  of  grand  composi- 
tion, but  the  colouring  rather  dark. 

Velasquez. — A  male  portrait;  whole-length.  As  far  as  I 
could  see  it  promised  much. 

MuRiLLO. — ^A  number  of  angels  flying.  A  large  picture,  with- 
out style  in  the  composition,  but  very  pleasing  for  Üie  warm  and 
bright  colouring. 

Rubens. — Abel  dead,  and  partially  undraped,  lying  on  the 
ground  in  a  foreshortened  attitude.  Near  him  his  dog  looking 
pitifully  at  him.  The  background  a  landscape.  The  beautifiil 
gradation  of  the  tints  in  the  exceedingly  transparent  and  glowing 
flesh-tones  is  especially  to  be  admired. 

Rembrandt. — 2.  An  old  Rabbi  with  a  gold  chain  round  his 
neck.  Astonishing  in  the  impasto,  and  of  great  effect,  but  one 
of  the  coarser  works  of  the  master. 

Teniers. — One  of  the  works  which  show  him  as  the  greatest 
master  in  his  line.  In  the  foreground  are  seen  the  preparations 
for  a  rural  festival.  Four  enormous  kettles,  six  casks,  and  a 
quantity  of  provisions  are  spread  on  the  ground.  The  very  nu- 
merous guests  have  already  seated  themselves  in  many  picturesque 
groups,  which  extend  to  the  background  of  the  landscape,  and  are 
taking  their  morning  repast.    An  air  of  cheetfiilness  and  freshness 

VOL.  III.  2   H 

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466  WOBÜRN  ABBEY.  hsmsBL  XXXOI. 

prevails  throughout  the  picture  ;  the  arrangement  shows  the  con- 
summate skill  of  the  artist*  Notwithstanding  the  variety  and 
warmth  of  the  several  local  tints,  the  whole  is  executed  in  a  most 
delicate  and  harmonious  silvery  tone,  and  with  a  perfection  of  the 
aerial  perspective  in  the  gradations,  and  a  lightness  and  spirit  in 
the  touch,  which  are  not  common  even  with  Teniers  himself.  The 
date  1646  proves  that  it  is  of  the  best  time  of  the  master.  I  saw  this 
valuable  picture  in  the  Exhibition  of  the  British  Institution. 

Albert  Cuyp. — ^A  flat  country  traversed  by  a  river,  broken  by 
trees  and  houses,  some  of  which,  with  a  church,  iare  on  an  eminence. 
In  the  foreground  is  a  boy,  who  has  fallen  asleep,  with  his  sheep, 
and  two  gentlemen  with  horses ;  one  of  the  men,  doubtless  the  artist 
himself,  is  drawing.  The  whole  subject  floats  in  a  warm  sunny 
light  CarefuUy  executed  in  admirable  impasto,  and  of  very  clear 
colouring.  In  this  collection  there  are  also  some  other  good  pic- 
tures by  CüYP :  the  finest  of  which  should  be  a  view  of  the  Maas 
frozen  over,  with  numerous  figures,  for  which  the  Duke  paid  1200 
guineas.  But  either  it  is  not  at  Wobum,  or,  being  a  small  picture, 
I  overlooked  it  in  the  darkness,  and  in  the  speed  with  which  die 
lady  in  black  silk  drove  me  along.  For  the  same  reason  I  did  not 
observe  a  hunting-piece  by  Paul  Potteb,  inscribed  1613. 

In  one  room  there  are  twenty-four  pictures  by  Canaletto, 
which  he  painted  expressly  for  the  place.  IVo  of  them  are  of 
considerable  size  and  extraordinary  beauty. 

Two  rooms  contain  a  large  number  of  works  by  the  most  eminent 
living  English  painters.  Here  I  saw  Pilgrims  in  sight  of  Rome,  by 
Sir  Charles  Eastlake.  It  appeared  to  me  more  devout  in 
feeling,  more  warm  in  tone,  and  more  careful  in  the  execution, 
than  his  last  picture  of  a  similar  subject ;  only  the  ground  has 
become  dark.  By  Sir  Augustus  Calcott  also  here  is  a  large 
sea-piece  ;  on  the  coast  numerous  well-designed  figures.  A  Sale 
of  Fish,  by  Collins,  successfully  approaches  the  style  of  Calcott 
Chevy  Chase,  an  early  picture  by  Sir  Edwin  Lands^seb,  is  rather 
extravagant  in  the  attitudes,  and  less  true  than  his  pictures  usually 
are.  A  female  portrait,  by  Sir  Thomas  Lawrence,  is  one  of 
his  finest  works. 

Being  shown  by  a  man-servant  into  the  ante*-room  of  the  Gal- 
lery of  Antiquities,  I  was  received  by  a  gardener,  who  proved  to 
be  very  civil,  so  that  I  could  look  at  the  works  at  my  ease,  a  privi- 
lege i  prized  the  more  after  the  treatment  I  had  just  receivedt 

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Letter  XXXTTT.    DUKE  OF  BEDFORD'S  COLLECTION.  467 

In  the  cwitre  of  this  ante-room  stands  a  marble  vase,  4  ft.  7  in. 
high,  3  ft.  4  in.  in  diameter,  found  in  Adrian's  Tiburtine  villa. 
It  is  adorned  with  bacchanalian  genii,  happily  designed  in  alto- 
rilievo.  One,  dancing,  is  treading  the  grapes  in  a  vessel ;  two 
others  are  bringing  fresh  grapes ;  another,  with  a  wine-skin,  is 
dancing.  The  workmanship  is  indifferent,  and  many  parts  have 
been  restored.  The  lower  part  of  the  vessel  is  adorned  with  acan- 
thus-leaves. Around  the  edge  runs  a  wreath  of  vine-leaves  and 
grapes.  In  a  splendid  work  which  the  Duke  has  caused  to  be 
executed,  it  is  represented  in  the  fourth  plate.*  I  avail  myself  of 
this  work  in  the  following  remarks : — 

The  Gallery  of  Antiques  has  a  very  noble  effect.  It  is  138  ft 
long,  25  ft.  wide,  and  22  J  ft.  high,  and  well  lighted  by  eight  large 
semicircular  windows  on  one  side;  in  the  centre  is  a  circular 
cupola,  of  well-proportioned  height,  supported  by  eight  antique 
pillars  of  costly  marbles,  with  Corinthian  capitals  of  the  ridiest 
form.  Two  of  the  pillars  are  of  African  breccia,  two  of  Cipol- 
lino,  two  of  Bigio,  one  of  Fior  di  Persico,  and  one  of  a  very 
rare  alabaster.  At  one  end  of  the  gallery  is  the  Temple  of 
Liberty,  at  the  other  the  Temple  of  the  Graces.  The  sculptures 
are  placed  partly  along  the  wall  opposite  to  the  windows,  partly 
in  two  rows  in  the  middle. 

The  Lanti  vase,  the  most  splendid  object  in  the  whole  collec- 
tion, is  placed  in  a  kind  of  niche  formed  by  the  rotunda.  This 
beautiftd  marble  vase  is  6  ft.  2  in.  in  diameter,  and  6  ft.  in  height, 
so  that  it  is  nearly  equal  to  the  Warwick  vase,  the  diameter  of 
which  is  only  8 in.  more.  The  general  form  is  the  same;  the 
handles,  too,  are  formed  in  the  same  manner,  only  they  do  not 
imitate  vine-branches  surrounding  the  whole  vase,  but  are  fluted 
from  the  lower  part  to  the  middle ;  and  the  upper  end  runs  into 
delicate  acanthus-leaves,  and  soon  terminates  with  a  shoot  that 
joins  it.  Like  the  Warwick  vase,  it  is  adorned  with  bacchanalian 
masks ;  only  here  they  are  not  of  arbitrary  arrangement,  but 
regularly  disposed  at  equal  distances,  and  all  eight  in  front. 
Except  two  they  are  all  bearded.  Some  of  them  are  of  a  merely 
animal  character ;  others,  especially  a  bearded  Bacchus,  have  a 
more  elevated  type.     Many  parts  of  these  masks  have  been  re- 

*  Oatline  Engravings  and  Descriptions  of  the  Woborn  Abbey  Marbles.  1823. 
One  ToL  folio.  The  text  by  Dr.  Hunt.  A  copy  of  this  work,  which  is  only  given  to 
the  Duke's  friends,  is  in  the  Royal  Library  at  Berlin. 

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468  WOBURN  ABBEY.  Leptkr  XXXUI. 

stored,  others  retouched;  those  which  are  well  preserved  are  of 
good  workmanship.  This  vase,  which  was  found  in  Adrian's 
villa  at  Tivoli,  was  formerly  purchased  of  the  Lanii  family  by 
Lord  Cawdor,  at  the  sale  of  whose  collection  it  was  purchased  by 
Francis  Duke  of  Bedford,  undo  of  the  present  Duke.  (See  pi. 
XV,  xvi.) 

The  centre  of  the  rotunda  is  adorned  by  a  large  antique  tazza, 
of  a  beautiful  breccia,  formerly  in  the  Villa  AldobrandinL  Among 
the  other  splendid  vessels  there  are  one  of  granite,  one  of  porphyry, 
and  some  modem  ones  of  the  most  beautiful  syemte,  in  which  the 
black  hornblende  is  strikingly  contrasted  with  the  perfectly  white 
quartz. 

I  proceed  now  to  the  few  statues  in  the  collection. 

A  youthful  Bacchus,  with  the  broad  fillet  covering  the  uj^)er 
half  of  the  forehead,  and  the  ivy-wreath  with  berries.  Upon  the 
stump  of  a  tree,  on  which  he  leans,  a  panther-skin  is  thrown,  and 
near  it  are  grapes  and  a  serpent.  This  statue,  which  is  of  an  ele- 
vated character  and  good  workmanship,  was  purchased  in  Italy  by 
the  Earl  of  Upper  Ossory,  and  after  his  dedth  presented  by  his 
nephew.  Lord  Holland,  in  1822,  to  the  Duke.  (See  pi.  xvii.  xviii.) 

A  torso,  2i  ft.  high,  of  very  delicate  workmanship,  here  called 
an  Apollo,  seems  to  me,  firom  the  character  of  the  forms,  to  be 
rather  a  Bacchus.  It  was  found  in  the  year  1815  on  the  Appian 
Way,  and  sold  to  the  Duke  by  Mr.  Mllingen.    (See  pi.  xxiii.) 

The  statue  of  a  Venus,  without  the  head,  arms,  and  part  of  the 
feet,  is  a  work  of  great  elegance.  It  differs  from  other  more  cele- 
brated statues  of  Venus,  by  its  very  slim,  maidenly  proportions, 
and  by  a  remarkable  delicacy  and  slendemess  of  the  waist  It  is 
also  of  very  good  workmanship;  yet  it  does  not  appear  to  me 
quite  to  deserve  the  great  reputation  which  it  enjoys  in  England. 
The  legs  are  not  only  excessively  long  in  proportion  to  the  delicate 
body,  but,  above  the  knees^  are  too  large.  The  chest  seems  too 
projecting,  and  as  it  were  swollen.  The  same  may  be  said  of 
parts  of  the  back.     (PI.  xxvi.) 

A  Minerva,  brought  from  Italy  by  the  Marquis  of  Tavistock,  is 
an  indifferent  statue,  restored  in  many  parts. 

The  terminal  figure  of  a  young  Faun,  in  bronze,  1  ft  2  m.  high. 
The  character  of  the  head,  looking  upwards  in  the  excess  of  bac- 
chanalian enjoyment,  is  one  of  the  most  spirited  and  animated 
things  of  the  kind  that  can  be  seen.    The  workmanship,  though 

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Lkptkb  XXXIIL       collection  OP  SCULPTURE.  46& 

not  so  finished  in  the  details  as  in  other  small  bronzes,  is,  how- 
ever, in  a  very  good  styla  The  whites  of  the  eyes,  the  small 
horns,  the  teeth,  &c.,  are  of  silver.  This  figure  was  found  at 
Pompeii  in  1815,  in  the  presence  of  the  Duke,  to  whom  it  was 
presented  by  Queen  Caroline  Murat  (PI.  xxL) 

Among  a  considerable  number  of  busts,  one  of  Apjoninus  Pius 
is  distinguished  above  all  by  a  noble  conception  and  very  care- 
fidly  understood  execution,  combining  precision  of  the  forms  with 
softness.  (PI.  xxiv.  a.)  Here  are  also  good  busts  of  Augustus, 
Tiberius,  and  Adrian. 

No  private  collection  in  England  that  I  am  acquainted  with  can 
compare  with  this  for  fine  reliefs. 

The  moßt  interesting  of  all  is  a  marble  sarcophagus,  found  at 
Ephesus,  of  unusual  size,  of  which  one  side  and  one  end,  the 
greater  part  of  the  second  side,  and  at  least  a  fragment  of  the 
other  end,  are  preserved,  so  that  it  has  been  possible  to  put  it 
together  in  its  original  form ;  for,  though  the  workmanship  is  of 
a  late  period,  and  very  coarse,  the  subjects  represented  are  worthy 
of  notice.  On  the  end  which  is  preserved  we  see  the  dead  body  of 
Patroclus  brought  in,  while  Achilles  sits  by  moiuning,  with  two 
attendants.  To  the  right,  on  one  of  the  sides,  is  Achilles  about  to 
fasten  the  dead  body  of  Hector  to  his  chariot ;  figures  of  Greeks 
around  are  looking  on.  On  the  left,  Priam — a  wretched  figure — 
turning  his  face  aside,  and  the  Trojans  plunged  in  grief.  The 
other  side  contains,  on  the  right  hand,  a  balance,  in  one  scale  of 
which  lies  a  dead  body,  probably  Hector,  and  in  the  other  some- 
thing is  piled  up,  doubtless  intended  for  gold,  to  ransom  the  body 
from  Achilles ;  on  the  right  is  Ulysses  leading  away  a  disconsolate 
female — probably  Andromache — and  a  child — ^probably  Asty- 
anax.     By  the  side  of  the  female  is  a  Trojan  in  a  Phrygian  cap. 

A  sarcophagus  relief  of  great  height,  with  seven  Muses,  Apollo, 
and  Minerva.  The  presence  of  these  deities,  as  umpires,  and  the. 
head-dress  of  the  Muses,  with  the  feathers  of  the  Sirens,  indicate 
the  contest  between  them  and  the  Muses,  in  which  the  latter  were 
victorious.  The  long  proportions  and  the  stifi^  attitudes  show  it  to 
be  of  a  late  period.  (PL  v.) 

A  sarcophagus  relief,  of  very  great  height  and  length,  with  the 
Triumph  of  Bacchus  as  conqueror  of  India.  A  rich  composition. 
The  arrangement,  which  is  in  several  planes  of  distance,  is  so 
overladen  and  destitute  of  style  as  to  indicate  a  late  period.   Such 

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470  WOBUKN  ABBEY.  Lkpteb  XXXm. 

specimend  are,  however,  often  interesting,  on  accotmt  of  some 
peculiarity  in  the  subjects.  Thus  we  here  see,  besides  Bacchus  in 
the  car  drawn  by  panthers,  two  figures  in  barbaric  costume,  both 
with  one  hand  tied  behind  the  back,  upon  an  elephant.  In  firont 
is  Hercules  with  a  drinking-cup  in  his  right  hand,  and  the  dub  in 
his  left,  appearing  here,  as  on  the  sarco[^iagus  from  Crete,  as  the 
Indian,  and,  at  the  same  time,  as  *^  tiie  driidcer  " — ^Bibax. 

A  sarcophagus  relief,  also  very  large,  with  Adiilles  in  the 
idand  of  Scyros,  betraying  himself  at  tiie  right  of  the  weapons. 
Some  good  motives  are  here  retained  from  earlier  models.  The 
work  itself  is  late  and  indifferent  Purchased  in  the  year  1815 
from  the  Aldobrandini  collection.    (PI.  vii) 

A  sarcophagus  relief,  with  the  hunt  of  the  Calydoman  boar. 
On  one  ride,  Atalanta,  who  has  discharged  her  arrow  at  the  beast, 
and  Meleager,  who  is  killing  it,  with  other  hunters.  On  the  other 
ride,  Atalanta  holding  the  head  of  the  boar,  which  Meleager, 
who  stands  by  her,  has  presented  to  her ;  at  her  feet,  Ciqpid.  Or- 
dinary workmanship  ;  about  the  end  of  the  2nd  century.  (PL  viü.) 

A  sarcophagus  relief  of  extraordinary  size,  with  Diana  and  En- 
dymion.  A  very  rich  comporition,  disposed  in  different  planes 
of  distance,  on  the  principles  of  painting,  with  large  and  small 
figures  arbitrarily  and  confusedly  mixed  together.  Worthy  of 
notice  is  Tellus  reposing  on  the  ground,  with  a  sheaf  of  com, 
in  the  manner  of  the  celebrated  statue  of  the  Nile  in  the  Vatican, 
surrounded  by  Genii,  with  fruits  and  goats ;  and  small  represen- 
tations of  Apollo  with  the  Quadriga,  and  Diana,  in  the  car  drawn 
by  cows,  in  the  background,  while  in  the  foreground  she  is 
viriting  Endymion.  (PI.  ix.) 

A  sarcophagus  relief  of  very  considerable  extent,  with  the  hunt 
of  the  Calydonian  boar,  a  composition  of  fifteen  figures.  Among 
the  hunters,^  Castor,  Pollux,  and  Areas  are  distinguished;  in 
other  respects  the  design  resembles  the  preceding.  The  figures 
are  Aort  with  large  heads.  The  poor  motives  correspond  with 
the  late  and  indiflSsrent  workmanship.   (PI.  x.) 

A  kind  of  gr3rphon,  with  a  lion's  head,  and  horns,  tearing  a 
stag,  which  has  fallen  down  at  the  foot  of  a  tree.  This  relief, 
about  2)^  ft;,  high,  and  3^  ft;  wide,  which  was  purchased  in  1815, 
from  the  Aldobrandini  villa,  is  distinguished  by  tiie  beauty  and 
truth  of  action  in  the  dying  animal,  and  by  good  workmanship. 

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LmxR  XXXni.    COLLECTION  OF  SCULPTURE.  471 

A  sarcophagus  relief.  In  front,  Baochanti  striking  the  cymbals ; 
behind,  Silenus  supported  by  Fauns ;  then  Bacchus  and  Ariadne 
reposing  at  their  ease  in  the  car  drawn  by  panthers.  The  style 
and  design  belong  to  a  better  time  than  the  ordinary  workman- 
ship. Brought  by  Lord  Cawdor  from  Sicily,  where  it  formed  the 
fi*ont  of  a  fountain.     (PL  xii.) 

Two  portions  of  a  sarcophagus  relief  joined  together,  about  4  ft 
high,  with  the  story  of  Phaedra  and  Hippolytus.  On  the  right 
hand  is  Phsedra  sitting,  looking  after  Hippolytus,  who  withdraws 
disdainfully.  On  the  left  is  fiUppolytus  with  his  companions  pre- 
paring to  go  out.  Some  of  the  motives  are  of  an  earlier  period 
than  the  stiff  inanimate  workmanship.    (PL  xiil) 

A  small  relief  in  marble  is  very  remarkable,  representing  tiie 
Evil  Eye  (the  '*  malus  oculus"  of  the  ancient  Romans,  the  **  occhio 
cattivo''  of  the  Italians),  by  the  look  of  which  diseases  and  other 
evils  are  said  to  be  produced.  Above  is  a  large  eye ;  below, 
a  Hon,  a  serpent,  a  scorpion,  a  orane,  and  a  raven.  Over  the  eye 
is  a.  small  figure  striking  with  a  trident,  and  another  seated,  seen 
from  behind,  with  a  Phrygian  cap.     (PI.  xiv.) 

A  small  terra-cQtta  also  deserves  to  be  mentioned.  In  the  centre 
is  the  mask  of  Jupiter,  on  the  right  that  of  Neptune,  on  the  left 
that  of  Pluto,  of  rather  undefined,  yet  noble  forms ;  below,  in 
sloping  arrangement,  tiie  thunderbolt,  the  trident,  and  the  bident 

Here  are  also  several  works  of  modem  sculpture. 

The  statue  of  Psyche,  inquisitively  opening  the  box,  which  she 
has  fetched  from  the  infernal  regions,  by  Sir  Richard  Westma- 
coTT,  in  the  year  1822,  is  a  very  carefully-executed  work,  but 
mannered  in  action,  and  devoid  of  styla     (PI.  xxxv.  and  xxxvi.) 

Hero  and  Leander,  a  relief  by  the  same  master  (pi.  xxxiv.),  is 
composed  more  according  to  the  laws  of  painting  than  of  sculps 
ture.  Another  (pL  xxxiii.).  Hector  reproving  Paris,  with  its  stiff, 
often-recurring  lines,  is  too  destitute  of  the  variety,  grace,  and 
easy  flow  whidi  tiie  eye  requires  in  sculpture.  It  is  not  easy  to 
conceive  Hector  so  broad  and  thi<^  set 

Yet  Chantrey  has  ccmceived  him  in  a  similar  manner,  in  a  relief, 
also  stiff  in  the  attitudes,  in  which  he  is  seen  lifting  Astyanax  in  his 
arms,  and  imploring  the  blessing  of  the  gods  upon  him.  (PL  xxix.) 
How  much  nobler  is  the  slender  Hector  of  the  highly  gifted 
Flaxman  imitated  from  tiie  paintings  on  vases  I  Another  relief 
also  by  Chantrey  is  particularly  devoid  of  style — ^Penckpe  looking 

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472  WOBÜRN  ABBEY.  Lepeeb  XXXm, 

at  the  bow  of  Ulysses,  and  irresolute  whether  she  shall  ^Te  it  to 
the  suitors  for  the  triaL  With  her  are  Euryclea  and  four  female 
attendants.     (PL  xxx.) 

Two  reliefe  by  Thorwaldsen  form,  by  the  correctness  of  the 
style  and  the  beauty  of  the  leading  lines,  an  agreeable  contrast 
with  the  preceding.  One  of  them,  Briseis  taken  away  finom 
Achilles  (pi.  xxxi.),  was  purchased  by  the  Duke  firom  the  artist  at 
Rome  in  1815.  The  looking  back  of  Briseis,  as  she  is  led  away 
by  the  heralds,  is  very  happily  conceived,  as  well  as  the  action  of 
Patrodus,  who  deäres  her  to  follow,  by  which  the  action  is  con- 
nected. The  manner  in  which  Achilles  expresses  his  anger  seems 
to  me,  on  the  other  hand,  to  be  too  passionate  and  violent,  and 
the  thick-set  figure  of  the  son  of  Thetis  not  worthy  of  the  greatest 
and  handsomest  of  all  heroes.  He  is,  however,  very  nobly  con- 
ceived in  the  other  excellent  relief,  in  which  Priam  begs  of  him  the 
body  of  Hector.    (PI.  xxxii.) 

A  small  temple  of  the  Graces,  of  a  circular  form,  is  adorned  in 
front  with  two  Ionic  pillars  of  Verde  Antico.  It  was  built  by  the 
late  Duke  in  1815,  from  a  design  by  Mr.  JeflFery  Wyatt  In  the 
two  niches  of  the  vestibule  are  two  marble  statues.  One  by 
Thorwaldsen,  representing  the  Duke's  eldest  daughter.  Lady 
Georgiana  Elizabeth  Russell,  as  a  child  four  years  of  age  (j>L 
xliii.),  is  extremely  pleasing  from  the  simple  design  and  the 
natural  infantine  expression.  The  other,  by  Chantrby,  repre- 
senting Lady  Louisa  Jane  Russell,  a  sister  of  the  above,  who  is 
caressing  a  dove,  has  a  most  studied  and  afiected  expres^on.  The 
drapery,  which  is  drawn  up,  is  treated  in  the  manner  peculiar  to 
this  artist,  which,  though  popular  in  England,  is  devoid  of  style. 
(PL  xix.)  In  the  interior  of  the  temple,  which  is  lighted  from  above, 
is  a  highly  finished  copy  of  Canova's  Graces,  of  which  there  is 
another  at  Munich,  in  the  collection  of  the  Duke  of  Leuchten- 
berg. But  however  attractive  the  tender  and  masterly  finish  of 
the  dazzling  white  marble,  the  pretty  but  insipid  character  of  the 
heads  cannot  gratify  a  taste  familiar  with  the  antique ;  the  limbs, 
also,  are  too  destitute  of  the  requisite  indication  of  the  bony 
structure,  an  indication  which  is  perfectly  compatible  with  the 
greatest  softness,  nay,  by  which  it  produces,  through  the  idea  of 
contrast,  a  far  more  pleasing  and  striking  impression. 

I  again  walked  through  the  gallery  to  look  at  the  Temple  of 
Liberty  at  the  other  end.     The  portico,  with  four  elegant  Ionic 

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Lettbr  XXXm.     COLLECTION  OP  SCULPTURE.  473 

marble  columns,  has  a  fine  effect  firom  its  admirable  proportions. 
(PL  xxxvii.)  It  is  an  imitation  of  the  small  Temple  of  Ceres, 
according  to  the  details  given  by  Stuart,  which  stood  on  the 
Ilyssus,  near  Athens,  though  no  trace  of  it  now  remains.  The 
pediment  is  adorned  with  a  relief  by  Flaxman.  Liberty,  under 
the  figure  of  a  dignified  female,  is  enthroned  in  the  centre ;  on 
her  right  hand  Peace,  a  very  graceful  figure,  with  a  lamb ;  in  the 
angle  a  lion  reposing ;  on  her  left  hand  genii  with  the  emblems 
of  Plenty.  An  inscription  on  the  firieze  informs  us  that  Francis 
Russell,  brother  and  predecessor  of  the  late  Duke,  commenced 
this  temple  shortly  before  his  death,  and  that  John  Russell,  the 
late  Duke,  completed  it  in  1803.  On  entering  under  the  portico 
you  see,  at  the  two  ends,  the  busts  of  the  elder  and  the  younger 
Brutus,  copied  firom  the  antique.  In  the  interior  of  the  temple, 
the  walls  of  which  are  adorned  with  yellow  Veronese  marble,  very 
like  the  giallo  antico,  and  the  ceiling  with  gut  coffers,  are  the 
following  busts  placed  on  brackets : — in  the  centre  that  of  Fox, 
larger  than  life ;  at  the  sides  those  of  Earl  Grey,  the  Earl  of 
Lauderdale,  Lord  Robert  Spencer,  Lord  Holland,  General  Fitz- 
patrick,  and  Mr.  Hare,  ail  firiends  of  Fox,  and  supporters  of  his 
liberal  policy.  Two  tab!  es  of  costly  kinds  of  marble,  and  two 
bronze  tripods,  also  adorn  this  place.  This  temple  proved  to  me 
that  the  powerful  family  of  the  Russells  had  long  participated  in 
the  principles  of  the  Whigs. 

I  then  went  out  into  the  beautiful  flower-garden,  to  look  at  the 
exterior  of  the  building.  On  the  frieze  of  the  Temple  of  Liberty 
are  genii  intended  to  represent  the  different  stages  of  civilization — 
a  relief  by  Sir  Richard  Westmacott  ;  and  on  the  firieze  of  the 
Temple  of  the  Graces  similar  genii,  by  the  same  artist,  dancing 
and  playing  on  musical  instrumenta  In  the  garden  are  bronze 
copies  of  the  celebrated  statues  of  the  Fighting  and  the  Dying 
Gladiator. 

Covered  galleries  of  considerable  length,  which  run  along  the 
buildings,  and  are  covered  with  climbing  plants  and  paved  with 
granite,  afford  both  in  rainy  and  hot  weather  an  admirable  oppor- 
tunity of  enjoying  the  fresh  air  without  inconvenience. 

I  was  much  interested  with  the  hothouses.  One  of  ihem  is 
devoted  to  the  numerous  variety  of  heaths,  of  which  many  very 
beautiful  specimens  were  just  in  blossom.  The  collection  of  cactuses 
and  geraniums  is  also  uncommonly  rich.    In  another  hothouse 

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474  LUTON  HOUSE.  Liamm  XXXm. 

are  palms  and  other  rare  tropical  planta  An  endoeed  part  of 
the  garden  is  appropriated  to  yarious  species  of  grasses^  the  Duke 
being  the  greatest  landowner  in  Ekigland,  and  one  of  the  most 
zealous  and  eminent  agriculturista  The  extensive  pleasmre- 
gronnds  are  adorned  with  the  finest  vegetation.  Among  ftther 
cedars,  a  lofty  cedar  of  Lebanon  is  espedally  distingoished. 
Passing  through  the  garden,  I  came  to  the  aviary,  which  is  cele» 
brated  throughout  England«  The  number  of  rare  and  beautiful 
birds  is  indeed  very  great :  among  many  others^  I  noticed  two 
black  swans,  the  most  splendid  gold  and  silver  pheasants,  and 
several  birds  of  prey.  Lastly,  the  farm,  in  the  Chinese  style,  is 
well  worth  seeing.  The  park,  animated  by  hundreds  of  deer,  is 
said  to  contain  2600  English  acres. 

This  county  also  contwis  a  small  but  choice  collection  of  pic- 
tures at  AmpthiU,  the  seat  of  the  Earl  of  Ossory.  Also  a  rich 
and  admirable  collection  of  objects  of  art,  of  the  middle  ages  and 
of  the  period  of  the  Renaissance,  majoHca,  &a,  at  Coleworth,  not 
fsir  from  Wobum,  the  seat  of  HoUingworth  Maguire,  Esq. 


LUTON  HOUSE. 
With  the  exception  of  several  late  purdiases,  this  collection  was 
formed  by  the  great-grandfather  of  the  present  Marquis,  John 
Stuart,  Earl  of  Bute,  the  celebrated  &vourit«  and  for  many  years 
prime  minister  of  King  George  IIL  Its  greatest  attraction  con- 
sists in  a  number  of  excellent  pictures  of  the  Dutch  and  Flemish 
schoola  Of  all  the  collections  formed  in  England  before  the  first 
French  Revolution,  it  is  the  most  important  in  works  of  this  class ;  so 
that  for  productions  of  many  of  the  first  masters  it  may  vie  even  with 
the  finest  collections  formed  since  that  Revolution — ^such  as  those 
of  Sir  Robert  Peel,  Lord  Ashburton,  and  the  Marquis  of  West- 
minster ;  nay,  it  contains  very  fine  works  of  several  good  masters 
of  whom  there  are  no  specimens  at  all  in  those  collecti€»i&  In 
the  Italian  school,  it  is  true,  there  is  no  lack  of  the  greatest 
names,  if  those  alone  were  sufficient  There  are,  however,  many 
good  pictures  of  the  Venetian  and  of  the  later  Bolognese  and 
Roman  schoola  The  French,  Spanish,  and  German  schools  have 
also  some  good  picturea    I  now  proceed  to  notice  them  separately. 

Nethbrlandish  School. 
Here  is  a  very  remarkable  picture  of  the  15th  century,  under 


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Läptbb  XXXin.    MARQUIS  OP  BUTE'S  COLLECTION.  475 

the  name  of  Lucas  van  Letden — the  Virgin,  with  the  Child, 
St.  Anne,  and  two  angels,  worshipped  by  the  donor,  who  is  intro- 
duced by  St  Peter  Martyr.  The  forms  are  meagre,  the  features 
poor,  the  execution  in  all  the  parts,  especially  in  the  landscape, 
very  careful. 

JoAS  VAN  Clevs. — ^An  admirable  portrait  of  a  man,  here  erro- 
neously ascribed  to  Holbeia 

Frans  Pourbus  the  father.— Two  portraits;  very  clear  and 
powerful  in  colouring,  and  careful  in  execution. 

RuBEN& — 1.  A  beautifiil  little  boy,  supposed  to  be  a  son  of 
Rubens,  sitting  on  a  kitchen  dresser,  looking  wistfully  at  his  nurse, 
with  his  hand  stretched  out  to  a  basket  of  grapes.  On  the  dresser 
is  a  dish  with  apricots,  and  on  the  floor  of  the  pantry  a  quantity 
of  different  kinds  of  vegetables.  The  animated  expression,  and  the 
lightness  and  power  of  the  colouring,  render  this  a  very  pleasing 
picture ;  it  has  been  engraved  in  mezzotinto  by  Earlom.  5  ft  6  in. 
high,  5  ft  8  in.  wide.     The  fiiiit  is  by  SNYDSRa 

2.  The  masterly  and  carefully-treated  sketch  for  the  eele- 
brated  Adoration  of  the  Kings,  in  the  church  of  St  John  at  Mechlin ; 
1  ft  8  ia  high,  1  ft  24  in.  wide ;  known  by  the  engraving  of 
Vostermann. 

3.  A  very  spirited  sketch  for  a  triumphal  arch  erected  at  Ant- 
werp in  1635.  The  architrave  is  supported  by  the  allegorical 
figures  of  Envy,  Discord,  Concord,  and  Peace.  Above  are  the 
emblems  of  War  and  Peace. 

Vandyck. — Portrait  of  William  Howard,  Viscount  Stafford, 
when  young,  in  an  elegant  black  dress ;  3  ft  4  ia  high,  2  ft  10  ia 
wida  Spirited  in  conception,  and  carefiiUy  finished,  but  less  clear 
in  colouring  than  usual ' 

Janson  van  Ceulen. — ^The  portraits  of  De  Witt  and  his  wife. 
Painted  in  the  rather  pale  but  delicate  flesh-tones  of  this  artist,  and 
very  true  to  natura 

Jacob  Jordaen& — 1.  Pan  between  two  nymphs.  The  heads 
of  the  nymphs  are  far  nobler,  and  the  impasto  more  solid  and 
more  careful  than  usual,  without  losing  his  usual  deamess. 

2.  A  girl  with  fruit :  of  great  freshness  and  animatioa 

Van  den  Eckhout. — 1.  Haman  carried  in  triumph.  An  ex- 
cellent picture,  of  unusual  solidity  of  impasto  for  this  able  scholar 
of  Rembrandt.     Inscribed  with  his  name  and  1665. 

2.  Merrymaking  in  a  guard-house ;  an  officer  giving  his  hand 

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476  LUTON  HOUSE.  Lburb  XXXIII* 

to  a  girl.  The  painter  appears  to  advantage  in  this  style,  which 
is  unusual  for  him,  and  imitated  from  Terburg.  The  colouring, 
inclining  to  brownish,  is  of  remarkable  depth  and  clearness  ;  the 
execution  careful 

Jan  Victor. — ^The  blind  Tobit  blaming  his  wife  for  taking 
the  kid.  Very  expressive.  The  warm,  masterly  chiaroscuro 
indicates  the  successful  follower  of  Rembrandt 

Sir  GrODFREY  Kneller. — ^Portrait  of  Sir  John  Robinson.  Far 
more  elevated  and  true  in  conception  than  usual,  more  carefully 
finished,  and  so  warmly  coloured  that  we  recognise  the  scholar  of 
Rembrandt 

PoELEMBURO. — ^A  Riposo ;  of  most  delicately  blended  execu- 
tion, and  soft,  warm  harmony. 

Of  pictures  of  familiar  life,  in  the  older  form,  by  Jan  Breug- 
hel, ViNCKEBOOM,  Roland  Savary,  Van  der  Meulen,  Jan 
Griffier,  here  are  several.  But  the  higher  class  of  artists  are 
far  better  represented.    Such  are — 

Gerard  Terburo. — ^The  portraits  of  a  gentleman  in  his 
library,  in  a  black  silk  dress,  and  of  his  lady,  a  young  woman, 
richly  dressed,  in  her  dressing-room ;  whole-lengths,  each  2  ft  5  in. 
high,  1  ft  1 1  in.  wide.  These  prove,  by  the  refined  conception  and 
great  elegance  of  treatment,  the  excellence  of  Terburg  in  this  his 
usual  department.  We  here  find  the  same  delicate  and  harmoni- 
ous silvery  tone  as  in  his  conversation  pieces,  but  the  impasto  is 
less  solid,  and  the  execution  rather  slighter. 

Gabriel  Metzu. — ^An  old  woman  ütting  before  a  house-door, 
feeding  a  spaniel ;  a  man  sitting  on  the  threshold,  looking  on. 
This  picture,  firom  the  celebrated  Braamcamp  collection,  is  very 
elegantly  executed  in  the  cool  tone  of  the  artist's  later  period. 
1  ft.  7  in.  high,  1  ft  1  in.  wide.     It  is  unhappily  rather  injured. 

Gerard  Dow. — ^An  old  man  with  a  white  beard,  seated  in  deep 
meditation  in  an  arm-chair ;  his  right  hand,  in  which  he  holds  a 
pen,  resting  on  an  open  book.  There  is  something  unusually  noble 
in  this  piece,  which  is  most  harmoniously  painted,  with  extraordi- 
nary skill,  in  a  delicate  silvery  tone. 

Frans  van  Mieris. — ^A  mother  reprimanding  her  daughter, 
who  stands  weeping  at  a  table,  in  consequence  of  the  discovery  of  a 
letter.  Inscribed  with  his  name,  and  finished  with  his  usual  deli- 
cacy, but  otherwise  not  pleasing.     5iin.  high,  4iia  wide. 

PiETER  VAN  Slinoelandt. — ^A  kitchcu  with  all  kinds  of  uten- 


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Lepier  XXXni.    MARQUIS  OF  BUTE'S  COLLECTION.  477 

sils,  with  a  young  and  very  pretty  girl  busy  scouring  a  kettla  This 
little  picture,  8  ia  high  and  7  in.  wide,  is  far  more  powerful  and 
warm  in  tone,  and  more  spirited  in  execution,  than  the  usual  pro- 
ductions of  this  master. 

A.  DE  Pape. — A  woman  peeling  apples ;  a  man  standing  by  her. 
In  this  harmonious,  well-finished  picture,  De  Pape  nearly  approaches 
Gerard  Dow. 

Jan  Vebkolie. — A  young  gentleman  and  a  young  lady,  with 
a  page.  In  keeping,  warmth,  and  clearness  of  tone,  and  sohdity 
of  execution,  a  capital  specimen  of  this  otherwise  secondary  master. 
Inscribed  1707. 

Peter  db  Hooge. — A  room  scene  ;  a  man  disputing  with  the 
landlady  about  the  bill ;  two  gentlemen  in  conversation  with  a 
lady ;  a  table  near  the  window ;  the  sun  shining  through  the 
curtains.  Inscribed  "P.  D.  H.  1658."  In  hght,  clearness,  and 
force  of  chiaroscuro,  a  first-rate  work  of  the  master.  From  the 
Braamcamp  collection.     2  ft.  4  in.  high,  2  ft;.  1  in.  wide. 

Jan  Steen. — 1.  A  cock-fight ;  a  composition  of  twelve  figures, 
full  of  spirited  motives.  An  old  man  holding  out  his  hand  to  a 
young  man,  to  receive  payment  of  a  bet,  at  which  another  is 
laughing.  In  transparency  of  colouring,  in  spirited,  and,  at  the 
same  time,  careful  execution,  this  is  one  of  the  finest  works  of  the 
master.    2  ft  10  in.  high,  3  ft.  9  in.  wida 

2.  Military  stragglers  plundering  a  farm.  Most  powerfully  im- 
pressive by  its  dramatic  truth.  The  desperation  of  the  farmer,  who 
would  fain  attack  the  soldiers  with  a  pitchfork,  but  is  held  back  by 
his  wife  and  child ;  the  insolence  of  the  soldiers,  one  of  whom  cocks 
his  musket,  while  another  fires  at  some  pigeons,  form  a  striking 
contrast  with  two  monks,  who,  while  engaged  in  eating  and  drink- 
ing, endeavour  to  make  peace«  Also  very  carefully  executed. 
1ft.  8i  in.  high,  1  ft.  8  in.  wide. 

3.  A  girl  in  white  silk,  and  otherwise  elegantly  dressed,  listening 
with  pleasure  to  a  richly-dressed  young  man  playing  on  the  lute. 
An  old  man,  behind  a  pillar,  is  watching  them.  In  such  pictures, 
which  he  rarely  painted,  Jan  Steen  very  nearly  equals  Metzu  in 
transparency,  power,  and  delicacy,  while  he  excels  him  in  dramatic 
interest.     1  ft.  3  in.  high,  1  ft.  wide. 

4.  An  ugly  old  woman  brii^ing  a  letter  to  a  young  woman 
elegantly  dressed  in  silk.  The  figure  of  King  David,  who  is  seen 
through  the  door,  on  a  terrace,  indicates  that  Bathsheba  is  the 

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478  LÜTON  HOUSE.  Lhttkb  XXXin, 

person  here  repreBented.     Lees  important  than  the  preceding. 

1  ft  3  in.  high,  1  ft.  0+  in.  wide. 

Tbnieks. — 1.  Three  card-players^  and  two  lookers-on,  form  the 
principal  group.  In  the  background  are  five  figures  at  the  fireade. 
A  {Mcture  of  the  finest  quality,  painted  in  a  light  golden  tone, 
with  wonderful  transparency,  harmony,  and  care,  and  at  the  same 
time  in  an  uncommonly  fine  state  of  preservation.  1  ft.  9|  in.  hi^, 

2  ft.  1  in.  wide. 

2.  Stragglers  plundering  a  farm-house.  A  woman  hastening  to 
give  a  purse  in  order  to  save  her  husband,  whom  a  soldier  is  threat- 
ening to  shoot  Very  interesting  for  these  and  other  spirited  and 
dramatic  motives,  but  not  so  delicate  in  tone  and  touch.  1  h, 
7  in.  hi^  2  ft  1  in.  wida     Engraved  by  Tardieu. 

8.  In  the  foreground  of  a  hilly  landscape,  the  tone  of  which  is 
remarkably  clear,  several  country-people  are  amusing  themselves. 
The  figures,  as  in  most  of  Teniers'  large  landscapes,  are  rather 
coarsely  treated.     5  ft.  1  in.  high,  6  ft  7  in.  wide. 

Of  the  imitators  of  Teniers,  here  are  two  rich  pictures  by 
Van  Herp. 

Adrian  Brouwer. — 1.  Card-players.  A  rather  large  picture 
by  this  master,  who  is  distinguished  by  warm  harmony  of  tone  and 
delicacy  of  touch. 

2.  A  party  merrymaking.  In  such  'subjects  this  freest  of  all 
the  Dutch  painters  is  almost  too  vulgarly  true. 

Adrian  Ostade.— 1.  A  lawyer  sitting  in  his  office,  with  his 
spectacles,  reading  a  paper.  The  head  is  very  lifelika  The  effect 
of  the  bright  light  entering  through  the  window  is  masterly.  In- 
scribed 1671.    1  ft.  2i  ia  high,  1  ft.  wide.    It  is  unhappily  injured. 

2.  A  schoolmaster  hearing  a  boy  say  his  lesson ;  another  boy 
standing  by.  To  ihe  knees.  Very  attractive  for  humour,  and 
delicately  finished,  in  a  clear  golden  tone.     8  ft;,  high,  7^^  ft.  wide. 

3.  Two  Boors  playing  at  backgammon ;  a  third  looking  on.  A 
pleasing  little  picture  of  the  master.     9^  in.  high,  8^  in.  wide. 

Here  is  also  a  pretty  picture  of  a  man  and  his  wife,  by  Ostade's 
scholar,  Cornblis  Beoa. 

Brarenbüro. — St.  Nicholas'  Day,  on  which  the  children  m 
Holland  receive  presents.  Full  of  pleasing  motives,  more  delicate 
in  the  execution,  and  less  warm  'm  the  tone,  than  usual. 

Jan  le  Due — A  party  of  officers  and  ladies.  Admirable  in 
keejnng,  and  of  great  refinement  of  execution. 

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Läpd»  XXXin.    MARQUIS  OF  BUTE'S  COLLECTION.  479 

Adrian  Van  de  Veu)e. — A  rich  landscape,  with  a  dear 
piece  of  water  on  one  dde ;  in  the  foreground  a  Bhepherdeas  and 
an  old  shepherd  with  their  little  flock.  This  little  picture,  only 
7i  in.  high  and  9^  in.  wide,  is  so  expressiye  of  rural  repose,  and 
80  delicately  finished,  that  I  prefer  it  to  many  of  the  largest  jno- 
tures  of  this  master. 

Berghem. — 1.  A  yery  rich  landscape,  with  steep  rocks  and 
lo%  trees.  Under  them,  Berghem's  farourite  woman  on  the 
mule,  and  other  figures.  Though  the  sun  is  already  low,  the 
general  tone  of  the  picture  is  cool ;  it  is  superior  to  most  of  the 
large  works  of  the  master  in  transparency  and  careful  execution 
of  all  the  parts.     About  6  ft,  high,  7  ft.  wide. 

2.  A  mountainous  landscape,  animated  with  numerous  figures 
of  people  and  cattle,  a  piece  of  water  rushing  between  rocks.  A 
warm,  harmonious,  evening  tone  is  diffiised  oyer  eyery  object 
This  rich  picture  is  yery  carefully  finished  in  all  its  parts.  3  ft 
8^  in.  high,  4  ft.  3  in.  wide. 

3.  A  winter  landscape.  Numerous  figures  and  two  horses  on 
a  firozen  riyer,  oyer  which  is  a  rustic  bridge.  The  cold  wintry 
tone  is  as  admirably  carried  out  as  in  Berghem's  winter  landscape 
in  the  Berlin  Museum.     1  ft.  3>in.  high,  1  ft.  8  in.  wide* 

Carel  Dujardin. — 1.  A  mountainous  landscape,  a  young 
man  leading  a  loaded  mule,  and  wading  through  a  piece  of  water, 
with  a  goat,  a  sheep,  and  a  dog.  On  the  bank  stands  a  cow  ;  in 
the  distance  is  an  aqueduct  This  picture,  inscribed  with  the 
master's  name  and  1653,  is  remarkable  for  warmth  of  tone  and 
careful  and  delicate  finish.     1  ft  2i  in.  high,  1  ft.  5  in.  wide. 

2.  A  landscape,  with  the  angel  exhorting  Tobit  to  lay  hold  of 
the  fish  in  the  foreground.  The  composition  of  this  litüe  picture, 
which  is  exquisitely  finished  in  the  most  delicate  silyery  tone, 
8  in.  high,  10  in.  wide,  is  founded  on  the  well-known  engraying 
of  the  Cheyalier  Goudt,  from  Elzheimer. 

Albert  Cuyp. — 1.  A  chef-d'oeuyre  by  this  master.  In  the 
foreground  are  seen  a  town  and  an  eminence ;  on  the  other  side  of 
a  riyer  runs  a  road  with  bfty  trees,  under  which  are  a  herdsman 
with  a  few  cows,  and  a  gentieman  on  an  admirably  foreshortened 
grey  horse.  Not  fsir  off  a  shepherd  with  his  flock.  On  the  other 
side,  a  sportsman  about  to  fire  at  some  ducks.  A  warm  morning 
sun,  which  illumines  eyery  object,  completes  the  pleasing  effect  of 
a  dieerful  rural  scene.    Few  of  Cuyp's  large  pictures  are  so  accu- 

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480  LUTON  HOUSE.  LiamER  XXXIII. 

rately  finished  in  the  details,  or  unite  such  admirable  impasto  with 
such  transparency.     5  ft.  high,  8  ft.  wide. 

2.  Three  cows  lying  down  and  a  horse  standing,  with  a  boy,  in 
a  meadow.  The  background  a  pretty  country.  1  ft;.  1 1  in.  high, 
2  ft.  41-  in.  wide. 

3.  Five  cows  standing  in  a  piece  of  water,  and  one  lying  on  its 
bank.  On  the  river  are  two  boats,  and  on  the  opposite  side  a 
church.  The  warm  evening  sun  throws  a  strong  light  on  every 
object  The  companion  to  the  preceding.  Both  of  the  same  time 
as  the  large  picture,  and  works  of  consummate  skill. 

4.  Orpheus  sitting  under  a  tree,  attracting  the  animals  by  his 
performance  on  the  violin.  Those  next  to  him  are  such  as  were 
the  most  familiar  to  Cuyp,  such  as  a  cow,  a  horse,  a  dog,  a  cat,  a 
hare.  Those  with  which  he  was  less  acquainted,  elephants,  tigers, 
&c.,  are  seen  only  at  a  great  distance.  The  drawing,  as  well  as 
the  decidedly  brown  tone  of  the  flesh,  indicate  the  early  time  of 
the  master.     About  4  ft;.  8  in.  high,  7  ft.  wide. 

Philip  Wouvermans. — A  large  hunting-party  of  gentlemen 
and  ladies  on  horseback,  halting  before  an  inn.  On  the  ground  a 
dead  stag.  A  picture  of  the  highest  class  for  the  beauty  of  the 
composition  and  the  delicacy  of  the  treatment,  only  the  too  red 
sky  injures  the  harmony.     1  ft.  11  in.  high,  2  ft.  9i-  in.  wid& 

WiLDENS. — ^A  very  beautiftil  landscape  by  this  scholar  of 
Rubens,  which,  in  conception  and  treatment,  has  some  resem- 
blance with  the  older  style  of  Breughel  and  Savary. 

Lucas  Van  Uden. — An  extensive  view.  In  conception  and 
power  approaching  nearer  to  his  master,  Rubens,  than  any  other 
work  by  this  excellent  painter  with  which  I  am  acquainted,  and 
at  the  same  time  more  carefully  executed  in  his  own  manner. 
The  figures  with  which  Teniers  has  adorned  the  picture  are 
nearly  equal  to  Rembrandt  in  warmth  and  impasto. 

Jan  Van  Goyen. — A  view  of  Scheveningen,  remarkable  for 
size,  richness,  admirable  conception,  and  drawing. 

Waterloo. — View  of  an  extensive  plain.  The  truth  of  tiie 
conception,  and  the  delicate  though  rather  grey  tone,  eminently 
distinguish  this  artist,  who  so  rarely  painted,  but  whose  etchings 
are  the  delight  of  all  lovers  of  the  arts. 

Jacob  Ruysdael. — 1.  A  rude  rocky  country  with  lofty  fir-trees, 
a  hill  crowned  with  a  ruin,  and  a  waterfall  rushmg  between  rugged 
cliffi.    A  few  sheep  only  animate  the  lonely  scene.    This  picture» 

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Letter  XXXIII.    MARQUIS  OF  BUTE'S  COLLECTION.  481 

treated  with  great  breadth  and  mastery,  is  of  astonishing  power 
and  effiect,  and  a  chef-d'oeuvre  of  its  kind.  Ruysdael  evidently 
took  Everdingen  for  his  model,  who  had  seen  such  scenery  in  his 
residence  in  Norway.    4  ft.  high,  5  ft.  10  in.  wide. 

2.  A  flat  country,  with  a  rapid  stream  in  the  foreground. 
Under  one  of  the  trees  which  break  the  level  scene  are  two  shep- 
herds with  some  sheep.  In  the  distance,  lighted  by  a  sunbeam,  a 
village  church  and  some  houses.  Very  pleasing  for  its  truth  of 
nature.     2  ft:.  2  ia  high,  2  ft.  6  in.  wide. 

3.  The  interior  of  the  new  church  at  Amsterdam,  with  figures 
by  WouvERMANS.  This  unique  picture,  from  the  Braamcamp 
collection,  is  not  a  mere  curiosity,  but  a  true  masterpiece  as 
respects  delicate  linear  and  aerial  perspective,  and  wonderfully 
charming  in  the  cool,  harmonious  tone  peculiar  to  Ruysdael.  As 
this  great  master  in  his  few  sea-pieces  rivals  the  best  pictiu^s  of 
the  first  marine  painters,  so  he  here  equals  the  most  celebrated 
painters  of  architecture. 

HoBBEMA. — 1.  A  village,  with  a  road  through  it  richly  planted 
with  trees,  and  the  ground  rather  hilly.  In  lighting,  delicacy  of 
aerial  perspective,  power  and  truth  of  effect,  as  well  as  in  size  (3  ft. 
2  in.  high,  4  ft.  3  in.  wide),  a  capital  work  of  the  master,  with  nu- 
merous figures  by  Abraham  Storck. 

2.  On  the  right  hand  a  water-mill,  on  the  left  a  piece  of  clear 
water  with  a  foot-bridge  over  it,  which  a  peasant  is  crossing.  On 
a  hill  some  farm-houses  between  trees.  A  very  carefully-painted 
picture,  and  truly  rural.     2  fL  2|  in.  high,  2  fL  7  in.  wide. 

SwANEVELDT. — A  large  landscape.  A  remarkably  beautiftil 
composition,  very  clear  in  colouring,  and  careftil  in  execution. 

Jan  Hackaert. — ^A  mountainous  landscape,  with  a  river.  In 
the  foreground  a  road.  Figures  and  animals  by  the  spirited  hand 
of  Adrian  Van  db  Veldb.  A  masterpiece  by  this  rare  master, 
combining  great  truth  with  grandeur  of  conception.  4  ft.  high, 
5  ft.  wide. 

AssELTN. — ^A  landscape  deserving  notice. 

Artus  Van  der  Neer. — 1.  A  winter  landscape,  in  the  after- 
noon light.  A  frozen  piece  of  water  is  animated  by  numerous 
figures  skating,  or  otherwise  diverting  themselves.  A  masterpiece 
in  keeping  and  in  the  clear  delicate  tone. 

2.  A  smaller  winter  landscape,  of  similar  merit. 

William  Van  de  Vblde. — A  naval  battle  between  the  Eng- 

voL.  III.  2  I    r^^^^i^ 

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482  LUTON  HOUSE.  Letter  XXXJII, 

lish  and  Dutch  fleets ;  the  sea  calm ;  in  the  background  a  ship  on 
fire.  Far  more  powerful  in  effect  than  most  of  the  similar  pic- 
tures by  this  master.     About  3  ft.  high  and  7  ft.  wide. 

Van  der  Hetden. — The  view  of  a  market-place,  with  a 
church;  enliyened  by  many  very  spirited  figures  by  Adrian 
Van  de  Velde.  A  picture  of  the  first  class  in  the  high  finish 
of  the  detidls,  and  in  the  keeping  of  the  powerful,  deep,  and  warm 
general  tone.     1  ft.  6  ia  high,  2  ft.  wide. 

2.  A  landscape,  with  fortifications  and  buildings.  The  figures 
again  by  Adrian  Van  de  Velde,  but  the  vessels  on  a  canal 
by  William  Van  de  Velde  ;  so  that  three  excellent  masters 
are  here  united  without  injury  to  the  harmony  of  the  very  trans- 
parent little  picture.     1  ft.  3^  ia  high,  1  ft.  6|  in.  wide. 

Here  are  also  choice  works  by  other  excellent  painters  of  archi- 
tecture— Pieter  Neefs,  Jan  Steenwyck,  and  Berkhetden. 

Of  the  flower-painters  here  is  a  good  picture  by  Abraham 

MiGNON. 

A  few  pictures  of  the  German  School  are  also  here. 

Holbein. — James  King  of  Scotland,  with  his  wife  Margaret, 
daughter  of  Henry  VII.  King  of  England,  sister  of  Henry  VHI. ; 
also  the  court  jester.  As  far  as  the  ruined  state  of  the  picture 
allows  a  judgment  to  be  formed,  it  may  be  a  genuine  picture  of 
the  earliest  period  of  Holbein's  residence  in  England. 

Henry  VIH.,  exactly  like  the  picture  by  Holbein  at  Warwick 
Castle,  only  less  finished.  K  by  Gerard  Horebout,  as  stated 
here,  it  is  a  copy  from  Holbein. 

Adam  Elzheimer. — Jacob  returning  to  Canaan.     Larger  thaa 
most  of  his  pictures,  and  rather  hard,  but  still  of  great  merit 
Italian  School. 

Andrea  del  Sarto. — ^The  Virgin  with  the  Child  on  her  arm, 
holding  the  terrestrial  globe ;  also  a  female  saint  A  picture  of 
the  artist's  latest  period,  which  is  much  defaced  by  cleaning  in 
some  parts. 

Garofalo. — ^A  Riposo.  A  good-  picture,  of  an  extrayagantly 
brownish-red  in  the  flesh,  by  anotiier  able  master  of  the  school  of 
Ferrara,  several  of  whose  pictures  I  hare  seen  without  being  able 
to  discover  his  name. 

BoNiFAZio. — St.  Jerome  in  the  Desert ;  half-length,  the  size  of 
life.  Very  carefully  painted,  and  in  the  poetical  landscape,  and 
the  clearness  and  warmth  of  the  flesh,  very  like  Titian. 

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Letter  XXXTIL    MARQUIS  OP  BUTE'S  COLLECTION.  483 

Paris  Bordone. — 1.  The  Centurion  of  Capernaum,  accom- 
panied by  his  soldiers,  beging  Christ  on  his  knees  to  heal  his 
servant  Behind  Christ  are  the  disciples.  Whole-length  figures, 
the  size  of  life.  Besides  the  usual  merit  of  admirable  colouring, 
this  masterpiece  has  more  expressive  heads  and  more  style  in  the 
composition  than  usual. 

2.  The  portrait  of  a  young  woman  has  all  that  delicacy  which 
sometimes  causes  such  pictures  to  be  ascribed  to  Titiaa 

Tintoretto. — 1.  A  picture,  representing  an  old  man  being 
crowned,  the  subject  of  which  is  unknown  to  me.  Painted  with 
much  care,  warmth,  and  clearness. 

2.  Portrait  of  a  Doge.  In  his  brown,  full  tone ;  very  spirited. 
In  the  background  a  dark  landscape.     Erroneously  called  Titian. 

Paul  Veronese. — 1.  A  female,  a  very  noble  figure,  with  one 
foot  on  a  ball,  supported  by  Hercules  and  attended  by  Cupid. 
Near  her  a  crown  and  sceptre ;  over  her  head  a  star.  Very 
carefully  finished  in  a  warm  clear  tone. 

2.  The  Marriage  of  St.  Catherine.  A  good  picture,  but  painted 
in  his  less  esteemed  reddish  flesh-tones. 

3  and  4.  Two  small  figures  in  chiaroscuro,  which  I  mention  as 
proofs  of  the  extraordinary  skill  of  the  master  in  this  style,  in 
which  he  painted  so  much  in  his  early  period. 

Of  the  four  pictures  ascribed  to  Corrbqgio,  1  only  observe  that 
one  is  a  very  good  old  copy  of  the  celebrated  Magdalen  at  Dres- 
den, and  another  a  valuable  picture  by  Padovanino. 

Here  are  also  two  pictures  ascribed  to  Parmigianino,  which  I 
cannot  admit  to  be  his. 

Prospero  Fontana. — ^A  Holy  Family ;  figures  the  size  of  life. 
This  mannered  master  enjoyed  the  highest  reputation  at  Bologna 
when  tiie  Carracci  were  becoming  celebrated,  and  was  one  of  their 
most  violent  opponents.  I  should  not  have  mentioned  this  picture 
if  it  had  not  been  much  superior  to  most  of  his  works  in  its  greater 
truth,  warm  colouring,  and  careful  execution. 

Guercino. — ^The  Assumption  of  the  Virgin.  The  characters 
Are  more  noble  but  less  energetic  than  usual ;  the  colouring  warm 
and  light ;  the  execution  very  careful. 

Domenico  Feti. — ^The  Virgin  and  Child  under  a  tree,  from 
which  an  angel  is  plucking  fruit  The  remarkable  transparency 
of  the  tone,  the  beautiful  landscape,  and  very  careful  execution, 
render  this  a  capital  picture  by  the  master. 

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484  LUTON  HOUSE.  Letter  XXXDL 

Sassoferrato. — 1.  The  Virgin  holding  the  Child,  who  is  stand- 
ing, and  whose  hand  is  kissed  by  Joseph.  A  very  pleasing  picture, 
which  agrees  with  one  in  the  Berlin  Museum,  but  is  smaller. 

2.  The  Virgin  holding  the  Child,  who  is  asleep.  Very  power- 
ful in  the  colouring,  and  the  original  of  the  numerous  copies  scat- 
tered all  over  Europe.     Erroneously  called  Elizabeth  Sirani. 

3.  The  Virgin  praying.  A  good  example  of  this  picture,  of 
which  there  are  so  many  repetitions. 

Carlo  Maratti. — ^The  Holy  Family.  An  uncommonly  pleasing 
picture,  warm  and  clear  in  the  colouring,  and  careful  in  the  exe- 
cution.    Figures  the  size  of  life. 

Salvator  Bosa. — Jason  pouring  the  narcotic  juice  on  the 
dragon  guarding  the  golden  fleece.  A  spirited  composition  ;  but 
differing  from  the  well-known  etching  by  this  majster.  It  has 
become  very  dark. 

Claude  Lorraine. — 1.  A  sunset  in  a  beautiful  country.  Soft 
and  delicate  in  the  keeping. 

2.  The  companion — a  seaport,  with  the  sun  rising  in  a  mist — 
is  of  great  effect.  Inscribed  with  the  name.  The  execution 
not  so  careful,  and  the  impasto  not  so  solid,  as  in  other  pictures 
by  him. 

Gaspar  Poussin. — 1  and  2.  Two  small  but  beautiful  land- 
scapes. 

Tempesta. — 1  and  2.  Two  large  landscapes;  of  rich,  noble 
Italian  scenery,  very  poetically  conceived,  and  the  details  very 
accurately  made  out,  only  rather  cold  in  tone. 

Of  the  Spanish  School  here  is  only  the  portmt  of  Pope 
Innocent  X. — Pamfili — by  Velasquez,  sitting  in  an  arm-chair. 
The  noble,  and,  at  the  same  time,  very  animated  conception,  the 
masterly  broad  treatment,  and  the  true,  delicate,  reddish  tone  of 
the  flesh,  justify  the  high  approbation  which  older  writers  on  the 
arts  have  already  bestowed  on  this  picture. 

French  School. 

Nicolas  Poussin. — 1  and  2.  Two  large  landscapes,  in  the 
most  elevated  taste ;  one  of  which  is  rendered  doubly  attractive  by 
the  admirable  lighting ;  the  other  is  rather  dark  in  parts. 

Sebastian  Bourdon. — A  rich  landscape,  proving  that  this 
master  successfully  imitated  Nicolas  Poussin,  as  well  in  his  rare 
pictures  of  this  kind  as  in  his  more  numerous  historical  works. 

Lenain. — The  artist's  own  studio.      He  is  painting  a  male 

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LirrTKR  XXXm.    ARCHITECTURE  IN  ENGLAND.  485 

portrait  Besides  the  sitter,  there  are  three  other  persons.  Ex- 
tremely pleasing  for  its  truth  to  nature  and  conscientious  execution. 

Le  Bourguignon. — ^A  landscape,  in  an  unusually  light  tone 
for  him,  and  of  very  careful  completion. 

Robert  TourniJire,  called  Robert  de  la  Haye. — A  lady 
and  a  gentleman  playing  cards.  For  a  painter  of  the  first  half  of 
the  18th  century,  an  extraordinary  performance  in  the  manner  of 
Metzu ;  for,  though  the  colouring  is  pale,  it  exhibits  much  feeling 
and  great  delicacy  of  execution. 

Lastly,  of  the  English  School,  here  are  the  portraits  of  Lord 
Bute  and  his  lady,  and  also  that  of  the  same  nobleman  with  his 
secretary,  by  Sir  Joshua  Reynolds.  They  are  distinguished 
for  solidity  of  treatment,  truthful  conception,  and  powerful  co- 
louring. 

After  having  seen  so  many  of  the  most  remarkable  buildings  of 
the  different  periods  of  Gothic  architecture  in  England,  I  am  now 
able  to  form  some  comparison  between  them  and  edifices  of  the 
same  style  on  the  Continent  After  the  Norman  Conquest,  France, 
as  is  well  known,  exercised,  for  five  centuries,  a  most  decided 
influence  on  the  language,  manners,  and  fine  arts  in  England,  and 
the  same  is  evident  in  its  architecture.  Not  only  do  single  build- 
ings show  this  influence — ^for  instance,  Westminster  Abbey,  in 
all  the  parts — but  the  pointed  arch  everywhere  exhibits  that 
slender  form,  copied  from  French  examples,  which  flows  gradually 
into  the  perpendicular  line  of  the  walls  or  pillars;  whereas,  in 
Gothic  buildings  in  Germany,  the  arch  commences  sooner,  and 
its  apex  forms  a  blunter  point.  Many  peculiarities,  which  occur 
only  in  isolated  churches  in  France,  were  more  generally  intro- 
duced and  approved  in  England.  For  instance,  the  tower,  which 
rises  in  the  centre  of  the  transept ;  the  square  form  and  the 
blunt  termination  of  most  towers ;  the  low  portal,  with  the  high 
window  over  it ;  and  lastly,  the  lowness  of  the  roof  in  general, 
which  does  not  rise  externally  like  a  high  gable,  but  is  kept 
within  the  height  of  the  side  walls.  Owing  to  this  last  cir- 
cumstance, the  effect  of  the  exterior  is  more  pleasing  than  in 
most  of  the  Gothic  churches  of  the  Continent ;  but,  on  the  other 
hand,  that  of  the  interior  is  less  striking.  A  distinguishing 
peculiarity  of  the  English  Gothic  buildings  is  the  early  appli- 
cation and  perfection  of  the  groined  roof,  in  which,  instead  of 

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486  ARCHITECTURE  IN  ENGLAND.    Leeekk  XXXIH. 

single  strong  ribs,  which  follow  the  main  lines  of  the  construction» 
more  delicate  members  are  spread  in  elegant  patterns  oyer  the 
whole  surface  of  the  roof.  As  on  the  Continent,  we  find  also  in 
England  great  variety  and  originality  of  invention  in  the  ground- 
plans  and  fistgades  ;  on  the  other  hand,  we  remark  here,  in  all  the 
ornamental  part,  in  the  perforated  work,  and  in  the  forms  of  the 
windows,  a  certain  poverty  and  monotony,  and  in  the  profiles  a 
certain  scantiness,  which  bear  no  comparison  with  the  ridmess 
and  beauty  of  invention  of  the  French,  and  still  less  with  that  of 
the  German  edifices.  Lastly,  even  the  most  considerable  Gothic 
buildings  in  England  are  of  moderate  size  compared  with  the  prin- 
cipal monuments  of  that  style  in  France  and  Germany,  such  as 
the  Cathedrals  of  Rouen,  Rheims,  Metz,  Strasburg,  and  Cologne ; 
and  therefore  their  efiect  is  far  less  striking.  But  the  English, 
as  I  have  before  observed,  are  most  decidedly  superior  to  all 
other  nations  in  the  rich  and  elegant  forms  which,  in  the  15th 
and  16th  centuries  for  instance,  they  introduced  into  Grothic 
architecture;  whereas,  everywhere  else,  it  degenerated  at  that 
time  into  clumsy  and  heavy  monstrosities,  or  into  an  unhappy 
intermixture  of  ornamental  forms  borrowed  from  Italian  archi- 
tecture. Lastly,  there  is  no  country  in  which  Gothic  architecture 
for  castles  and  convents  attained  sudi  an  original  and  generally 
adopted  form  as  in  England. 


THE  END. 


LONDON  :  PaiNTED  BT  W,  CLOWES  AND  SONS,  STAHVOBD-STREIT, 
▲MO  CHARDfa  CRO^ 


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