From the Library of 
 Frank Simpson 
 
OR, 
 
 A LIST OF THE PICTURES 
 
 IN 
 
 BLENHEIM PALACE; 
 
 WITH 
 
 ©tcmxand JjUmitrhs uxib Jlksiratibx Ifcrfes. 
 By GEORGE SCHARF, F.S.A., 
 
 SECRETARY TO THE NATIONAL PORTRAIT GALLERY. 
 BY AUTHORITY OP HIS GRACE THE DUKE OP MARLBOROUGH. 
 
 Part I. 
 
 LONDON: 
 
 DOKKELL & SON, 15, CHAKING CKOSS. 
 
 1862. 
 
When Europe freed confess' d the saving pow'r 
 
 Of Marlb'rough's hand, Britain, who sent him forth 
 
 Chief of confed'rate hosts to fight the cause 
 
 Of liberty and justice, grateful rais'd 
 
 This palace, sacred to her leader's fame ; 
 
 A trophy of success with spoils adorn'd 
 
 Of conquer'd towns, and glorying in the name 
 
 Of that auspicious field where Churchill's sword 
 
 Vanquish'd the might of Gallia, and chastis'd 
 
 Rebel Bavar. Majestick in its strength 
 
 Stands the proud dome, and speaks its great design." 
 
 Lytt ELTON. 
 
 LONDON : PRINTED BY WILLIAM CLOWES AND SONS, STAMFORD STREET, 
 AND CHARING CROSS. 
 
 TH£ GETTY CENTER 
 
CONTENTS OF PART I. 
 
 Page 
 
 Introduction .. « .. .. .. .. .. .. .. 5 
 
 The Hall 11 
 
 Dining Eoom .. .. .. .. .. .. .. 22 
 
 The Large Drawing Room .. .. .. .. .. .. 31 
 
 Smaller Drawing Eoom .. .. .. .. .. .. 39 
 
 The Grand Cabinet .. .. .. .. .. .. 54 
 
 The Saloon, or Inner Hall .. .. .. .. .. .. 67 
 
 State Apartments .. .. .. .. .. .. .. 70 
 
 The Large Library .. .. .. .. .. .. .. 77 
 
 The Chapel 82 
 
 The Titian Room 83 
 
 b 2 
 
Digitized by the Internet Archive 
 in 2014 
 
 https://archive.org/details/catalogueraisonnOOscha 
 
INTRODUCTION. 
 
 Blenheim Palace, bestowed by the munificence of the Crown 
 upon John Duke of Maklboeough as a recognition of his in- 
 estimable services to his country, is an enduring monument of 
 the glory of the British arms. There is but one other man — the 
 late Duke of Wellington — whose career can be put in compari- 
 son with Marlborough's. Marlborough was born a soldier, and 
 even at school began his military studies. At an early age, 
 • while a subaltern in the Guards, he served as a volunteer in an 
 expedition against Tangiers, then a dependency on the British 
 crown, and highly distinguished himself in the sallies and skir- 
 mishes of the siege. In the reign of Charles II. he was sent 
 with an auxiliary force to assist Louis XIY. to subdue the 
 United Provinces. There, under Turenne, Conde, and Vauban, 
 he learnt the art of scientific warfare, and gained so high a re- 
 putation that Turenne predicted he would some day be a great 
 man. 
 
 Charles II. raised him to the Scotch peerage as Baron Churchill 
 of Aymouth; James II. made him an English peer with the 
 title of Baron Churchill ; and William III. created him Earl of 
 Marlborough. Marlborough's vacillating and insincere conduct 
 to his early patron, James II., and also to William III., has ]aid 
 him open to just and great reproach. His conduct in this 
 respect can neither be justified nor excused. In common with 
 some other eminent men of that day, he seems at times to have 
 doubted whether the deposition of James and the settlement of 
 the crown upon William and Mary was beneficial to the country, 
 and no doubt his attachment to his early patron much influenced 
 his conduct. It would, however, be unjust to judge Marlborough 
 by the standard of the political morality of the present day. 
 Great allowance must be made for the circumstances in which 
 men were then placed. They were scarcely prepared finally to 
 abandon James for a foreigner so personally unpopular as the 
 
6 
 
 INTRODUCTION. 
 
 Prince of Orange, whose cold and repulsive manners and marked 
 favouritism to his Dutch adherents had much disgusted the 
 English, who looked upon his troops in the same light as they 
 would have done upon French soldiers. 
 
 James was an obstinate bigot, bent upon reintroducing the 
 Eoman Catholic religion into England; Marlborough was a 
 sincere and consistent Protestant. When James entered upon 
 his ill-advised course the Duke wrote him a firm but respectful 
 letter, pointing out in plain terms the danger of his proceedings, 
 and warning him of their fatal consequence. Another letter of 
 his to Lord Gal way on the same subject is still extant, in which he 
 stated that if James persisted in his design of overturning the 
 constitution and religion of his country, he would leave his 
 service. He did not, however, do so. William III. having joined 
 the Continental league against France appointed Marlborough 
 to the command of the British forces in the Netherlands, where 
 in a remarkable manner he contributed to the victory of Wal- 
 court. In 1690 he was recalled from Flanders to assume a 
 command in Ireland, then in open rebellion in favour of James. 
 In the following year he was sent again to Flanders to act under 
 the immediate orders of William, Upon some suspicion he was 
 arrested, brought back to England, and lodged in the Tower. 
 The cause of this imprisonment is still involved in mystery, but 
 the suspicion was probably ill-founded, for he was soon released 
 and restored to William's favour. 
 
 In 1698 the King, as the strongest proof he could give of his 
 confidence in the Duke, appointed him preceptor to the Duke 
 of Gloucester, son of Princess Anne and heir-presumptive to the 
 crown, and accompanied the appointment with this gracious ex- 
 pression — " My Lord, make my nephew to resemble yourself, 
 and he will be everything which I can desire." Shortly before 
 the death of the King he had appointed Marlborough ambassador 
 and commander-in-chief of the allied forces in Flanders, and he 
 retained those appointments when Queen Anne mounted the 
 throne. The next ten years were the most distinguished in 
 Marlborough's life, and most eventful in the history of this 
 country. In 1702 he took Kaiserworth, Yenloo, and Liege, 
 lluremont and Stoevenswart, fortresses supposed to be almost 
 impregnable, having been fortified by Vauban and garrisoned 
 
INTRODUCTION. 
 
 7 
 
 by the best troops. For these services he was created Duke of 
 Marlborough, with a pension of 5000Z. a year, payable out of 
 the revenues of the Post Office. On the 2nd of August in the 
 same year he gained at Blenheim one of the most important 
 and complete victories recorded in history. Immediately after- 
 wards the House of Commons presented an address to the 
 Queen soliciting her to consider of proper means for perpetuat- 
 ing the memory of the great services performed by the Duke. 
 The Queen informed the House that in conformity with their 
 application she proposed to convey to the Duke of Marlborough 
 and his heirs the interest of the crown in the manor and honour 
 of Woodstock and the honour of Wootton ; and she caused an 
 order to be issued for erecting, at the royal expense, a splendid 
 palace, which, in memory of the victory, was to be called the 
 Castle of Blenheim. About the same period the Emperor Leo- 
 pold created the Duke a Prince of the Holy Eoman Empire 
 with the title of Prince of Mindelheim. 
 
 In 1705 an Act of Parliament vested in the Duke and his 
 posterity the palace and the honour and manor of Woodstock, 
 and the honour of Wootton, comprising altogether about 5000 
 acres. This is all the property which was derived from the 
 crown, and consists of little more than the park ; the remaining 
 part of the Duke's great estates was acquired by descent or 
 purchase. 
 
 The victories of Eamilies, Oudenarde, Malplaquet, and Bou- 
 chain, gained between 1706 and 1711, give additional lustre to 
 his name, and tended in an especial degree to establish and con- 
 solidate the Protestant religion. In short, it has been justly 
 said that " he never fought a battle he did not win, or besieged a 
 town he did not take." 
 
 Notwithstanding these unexampled services no man has been 
 the subject of more calumny and abuse than the great Duke. 
 In proof of this we need only refer, among others, to a state- 
 ment made by a late eminent writer, who describes him as a 
 man "whose education had been so much neglected that he 
 could not spell the most common words in his own language." * 
 This unjust slander is completely refuted by the Duke's de- 
 spatches and his private letters, which show that he was a pro- 
 
 * 1 Macaulay, 461. 
 
8 
 
 INTRODUCTION. 
 
 ficient in Latin, French, and English composition. He was 
 educated at St. Paul's School ; and if it should be said that he 
 passed through it without distinction, so did the Duke of Wel- 
 lington through Eton. The writer alluded to has not hesitated 
 to transfer to his own pages the shameless productions of the 
 'New Atalantis;' and the forgotten libels of Mrs. Manley are 
 cited as true against the Duke of Marlborough, while she is 
 denounced as an habitual liar when speaking of William III. 
 and his adherents. Considerable weight ought to be attached 
 to the opinion of contemporaries. The celebrated Lord Peter- 
 borough, one of his most eminent military rivals and political 
 opponents, said when speaking of him, "He was so great a 
 man that I have forgotten his faults." This is not the place to 
 enter more minutely into the charges — many of them quite 
 unfounded — alleged against the great Duke ; but the mode in 
 which the character of his wife has been assailed claims an 
 observation. She was indeed proud, imperious, and domineer- 
 ing; but she 'passed her whole life — even the portion spent in 
 the licentious court of Charles II. — with a reputation perfectly 
 unsullied ; yet the same writer has insinuated that she was 
 guilty of an intrigue with the Duke of Shrewsbury upon no 
 better authority than an anonymous and worthless lampoon. 
 And in speaking of her he uses language which for its coarse- 
 ness has long been discarded from decent society. He calls her 
 " an abandoned liar ;" and says that " even where there is no 
 motive for lying she makes it necessary to read every word 
 written by her with suspicion." He produces no proof of so 
 grave a charge. A living writer (Lord Mahon, now Earl Stan- 
 hope) has well said that " unjustly to lower the fame of a poli- 
 tical adversary and unjustly to raise the fame of an ancestor, to 
 state any fact without sufficient authority, or draw any character 
 without thorough conviction, implies, not merely literary failure, 
 but moral guilt." No one can deny that Macaulay wrote of 
 Marlborough with the bitterness of a political adversary.* 
 
 Professor Alison in his 'Life of Marlborough' truly says, 
 "More perhaps than any other man Marlborough was the 
 architect of England's greatness, for he at once established on 
 
 * Sec an article of great ability and research, 'Lord Macaulay and Marl- 
 borough,' Blackwood's Magazine, June, 1859. 
 
INTRODL ction. 
 
 9 
 
 a solid basis the Protestant succession, which secured its reli- 
 gious freedom and vanquished the formidable enemy which 
 threatened its national independence. His mighty arm be- 
 queathed to his country the honour and happiness of the 18th 
 century — the happiest period, by the admission of all historians, 
 which has dawned upon the world since that of the Antonines 
 in ancient story." 
 
 A very inadequate idea would, however, be formed of Marl- 
 borough's character, abilities, and services, if the view of them 
 were limited to his military career, great and glorious as it was. 
 He was quite as much distinguished as a minister as he was as a 
 general, although of necessity the effect of his counsels showed 
 itself in a less ostensible way. Lord Bolingbroke (in his ' Letters 
 on the Study of History/ p. 299) says, " By his (King William's) 
 death the Duke of Marlborough was raised to the head of the 
 army, and, indeed, of the confederacy, where he, a new, a 
 private man, a subject, acquired by merit and by management 
 a more deciding influence than high birth, confirmed authority, 
 and even the crown of Great Britain, had given to King Wil- 
 liam. Not only all the parts of that vast machine the Grand 
 Alliance were kept more compact and entire, but a more rapid 
 and vigorous motion was given to the whole, and instead of 
 languishing out disastrous campaigns we saw every scene of the 
 wars full of action. All those wherein he appeared, and many of 
 those wherein he was not then an actor but abettor of their 
 action, were crowned with the most triumphant success. I take 
 with pleasure this opportunity of doing justice to that great 
 man, whose faults I knew, whose virtues I admired, and whose 
 memory, as the greatest general and as the greatest minister that 
 our country or any other has produced, I honour." 
 
 The manor of Woodstock, which, as we have seen, was settled 
 upon the Duke of Marlborough and his posterity, possessed a royal 
 residence as early as the time of King Ethelred, who began his 
 reign in 866, and held a parliament there. His brother, the great 
 Alfred, who succeeded him in 872, occasionally resided at Wood- 
 stock Palace, and made there a translation of * Bcethius de Con- 
 solatione Philosophise,' of which the MS. still remains among 
 the Cottonian MSS.* The park, one of the finest and oldest in 
 
 * Plot s Hist. Oxon. 357. 
 
10 
 
 INTRODUCTION. 
 
 England, abounds with trees of great age and size. One of 
 the oaks, though little more than a ruin, is traditionally known 
 as " King Alfred's Oak," and the scenery is singularly beautiful 
 and picturesque. The palace, designed by Sir John Yanbrugh, 
 is a magnificent pile of building, and from its massive form and 
 strength seems intended and adapted to remain a fit monument 
 of him on whom it was bestowed to the latest posterity. The 
 gardens and pleasure-grounds, of unrivalled beauty, contain 
 about 300 acres. They were originally laid out by Wise while 
 the house was being built, and at the beginning of the present 
 century were re-arranged under the superintendence of the cele- 
 brated Capability Brown, and are justly considered his chef 
 d'oeuvre. He converted the river Glyme into a magnificent 
 lake, over which a fine bridge was built by Sir William 
 Chambers. 
 
 The noble collection of pictures which the palace contains 
 was begun by the great Duke, who was a lover of the arts. He 
 found time during the distractions of war to purchase and send 
 home some of the finest works of Eubens and Vandyke.* Others 
 were presented to him by the Emperor of Germany and the 
 cities of Antwerp and Brussels. On his return to England at 
 the conclusion of the war he was a patron of Sir Godfrey Kneller 
 and other celebrated artists, and subsequent members of the 
 family have enriched the collection by works of Sir Joshua 
 Reynolds and other eminent painters. 
 
 The subjoined Catalogue has been prepared by a gentleman 
 highly distinguished for his accurate knowledge and great dis- 
 crimination in the fine arts, and will doubtless be found a great 
 acquisition to those who have an opportunity of viewing the 
 magnificent collection of pictures to which it relates, and which 
 may truly be said to be in some respects unrivalled in this and, 
 perhaps, in any other country. 
 
 William Whateley. 
 
 * See ' Marlborough Dispatches,' vol. iii., p. 208. 
 
 March, 1860. 
 
s 3 f 
 
 I i 4 
 
 £ & ^fcl S3 & & & 
 
 mm 
 
 1 34 f 1 1 1 4 3 i ! ^ 
 
 T 
 
 ijliifjL j i 
 
CATALOGUE, 
 
 ETC. ETC, 
 
 THE HALL. 
 
 The ceiling is adorned with a large allegorical painting of elliptical 
 form, in a deep gold border, by Sir James Thornhill, commemorating 
 the victory of Blenheim in 1704. 
 
 It represents in the centre a handsome Corinthian facade, with 
 a noble arch seen beyond a grand flight of steps, and a terrace, 
 on which John Duke of Marlborough kneels before a seated figure 
 of Britannia. His dress, in imitation of the classic style, consists 
 of a blue cuirass, helmet, &c. Britannia, clad in white, seated 
 upon a globe, rests one hand upon a lance and with the other 
 extends a wreath towards the hero. A shield, bearing the device 
 known as " the union jack," although merely indicated in stone 
 colour, lies at her side. 
 
 At the feet of the Duke is a figure holding fire and sword ; and a 
 winged genius near him displays a large plan of the battle, with 
 the disposition of the troops marked in red lines on it, and the 
 names " Blenheim " and " Danubius " inscribed in large clear cha- 
 racters. Mars and Hercules are seated below it in attitudes of 
 wonder. Above the figure of the Duke, a female in white, holding a 
 torch, is seated on a cloud. Higher still may be seen a youthful 
 figure, curbing a white steed, surrounded by personifications of the 
 quarters of the globe ; and above all a winged female, with trumpet 
 and wreath betokening fame and glory, hovers in the air. Numerous 
 other figures are introduced upon the steps, displaying various em- 
 blems ; among them, a mirror, a broken column, a spear, banners, 
 cornucopias, &c. On the extreme edge of the composition (towards 
 the entrance door of the Hall) a female, personifying History, in- 
 scribes with a pen in a large volume, " ANNO MEMORABILI, 
 1704." Her feet are turned in a different direction from all the rest. 
 
 Sir James Thornhill was paid at the rate of twenty-five shillings 
 per square yard for the decorations in this Hall. The architec- 
 ture is of the Corinthian order : the ceiling 07 feet above the pave- 
 
 Blenheim. 
 
12 
 
 THE HALL — continued. 
 
 nient, and the terminal statues placed in the upper arches are fabri- 
 cations in accordance with the taste which prevailed at the com- 
 mencement of the last century. The ornamental trophies, &c, were 
 painted by a son of John Hakewell, who was employed as a foreman 
 to Mr. Thornhill, serjeant painter to the King, and son of Sir James. 
 
 Blenheim Palace was commenced in 1705, and remained un- 
 finished when the Duke died in 1722. Towards the expenses of 
 its erection the sum of 240,000?. was contributed from the Privy 
 Purse, the remainder (60,000Z.) being supplied by the Duke and 
 Duchess, making altogether a total of 300,000/. 
 
 Sir John Vanbeugh 1 was the architect. 
 
 He died March 26, 1726, at the age of 60. He also built King's 
 Weston, near Bristol ; Duncombe Park House ; Oulton Hall, Che- 
 shire ; and Castle Howard. Vanbrugh was the author of several 
 dramatic pieces which enjoyed great success in their day, and he 
 also held the appointment of Clarencieux King of Arms in 1703. 
 
 1 The opinions of two distinguished men, Sir Joshua Reynolds and Sir Uvedale Price, with 
 regard to the artistic merit of Sir John Vanbrugh, may not be unacceptable in this place. 
 
 Sir Joshua remarks : — " I pretend to no skill in architecture. I judge of the art now 
 merely as a painter. When I speak of Vanbrugh, I mean to speak of him in the language 
 of our art. To speak then of Vanbrugh in the language of a painter, he had originality 
 of invention, he understood light and shadow, and had great skill in composition. To 
 support his principal object he produced his second and third groups or masses. He per- 
 fectly understood in his art what is the most difficult in ours, the conduct of the back- 
 ground, by which the design and invention is set off to the greatest advantage. What the 
 background is in painting, in architecture is the real ground on which the building is 
 erected ; and no architect took greater care than he that his work should not appear crude 
 or hard ; that is, it did not abruptly start out of the ground without expectation or 
 preparation. This is a tribute which a painter owes to an architect who composed like 
 a painter, and was defrauded of the due reward of his merit by the wits of his time, who 
 did not understand the principles of composition in poetry better than he, and who knew 
 little, or nothing, of what he understood perfectly — the general ruling principles of archi- 
 tecture and painting. His fate was that of the great Perrault ; both were the objects of 
 the petulant sarcasms of factious men of letters, and both have left some of the fairest 
 ornaments which to this day decorate their several countries — the facade of the Louvre, 
 Blenheim and Castle Howard." — Reynolds's Thirteenth Discourse, delivered at the Royal 
 Academy, December, 1786. 
 
 Sir Uvedale Price, author of the well-known work on the Picturesque, observes : — 
 " Reynolds is the first who has done justice to the architecture of Vanbrugh, by showing 
 that it was not a mere fantastic style without any other object than that of singularity, 
 but that he worked upon the principles of painting, and that he has produced the most 
 painter-like effects. It appears to me that at Blenheim Vanbrugh conceived and executed 
 a very bold and difficult design, that of uniting in one building the beauty and magnificence 
 of the Grecian architecture, the picturesqueness of the Gothic, and the massive grandeur 
 of a castle ; and that, in spite of many faults, for which he was very justly reproached, 
 he has formed, in a style truly his own, and a well-combined whole, a mansion worthy 
 of a great prince and a warrior. His first point appears to have been massiveness, as the 
 foundation of grandeur; then, to prevent the mass from being a lump, he has made 
 various bold projections of various heights, as foregrounds to the main building; and 
 lastly, having been forcibly struck with the variety of outline against the sky in many 
 Gothic and other ancient buildings, he has raised on the top of that part where the 
 slanting roof begins in any house of the Italian style, a number of decorations of various 
 characters. These, if not new in themselves, have at least been applied by him in a 
 new and peculiar manner, and the union of them gives a surprising splendour and mag- 
 nificence, as well as variety, to the summit of that princely edifice." 
 
 Blenheim. 
 
THE HALL — continued. 
 
 13 
 
 (iRAND STAIRCASE, BEYOND THE ARCADE, ON THE LEFT SIDE 
 
 OF THE HALL. 
 
 First picture on ascending the stairs. 
 
 CLOSTERMAN. 1 — Large family picture inscribed " John and 
 Sarah, Duke Duc ss . of Marlborough, with their children, John 
 Marquis of Blandford, D>. Henrietta, L y . Ann, D. Eliz th ., L v . 
 Mary Churchill." The members of the family are assembled 
 beneath a rich hanging curtain, on a raised dais, with a long 
 step extending along the entire front of the picture. 
 
 The Duchess is represented in a blue and silver dress, 
 lined with yellow, seated in the centre of the picture, taking 
 a white egg-plant out of a basket held by the eldest daughter. 
 On the extreme right, 2 Lady Anne Churchill is gathering 
 a blossom from a large orange-tree, in front of which, with 
 his foot on the step, stands the youthful Marquis of Bland- 
 ford. His blue dress contrasts effectively with the bright 
 scarlet of his sister. Apart from the rest, and on the ex- 
 treme left, the Duke is seated, whilst Lady Elizabeth, a 
 lovely child, stands between him and the Duchess, inviting, 
 by very graceful action, her attention to the Duke. The 
 fifth child, Lady Mary Churchill, is seated on the step in 
 front playing with a spaniel. 
 
 All the figures are of life-size. The general tone of the 
 picture is subdued and dark, but very rich in colour. 
 Painted on canvas. 
 
 It is remarkable that, with only one exception, every 
 figure looks directly at the spectator. 
 
 This picture is particularly mentioned by Horace Walpole 
 in his ' Anecdotes of Painting.' 3 " He (Closterman) painted 
 the Duke and Duchess of Marlborough and all their children 
 in one picture, and the Duke on horseback ; on which subject, 
 however, he had so many disputes with the Duchess, that 
 the Duke said, ' It has given me more trouble to reconcile 
 my wife and you than to fight a battle.' " 
 
 1 For an account of each painter see the Biographical Notes appended to the end of 
 the Catalogue. 
 
 2 In using the terms right and left it may be well at this point to state that throughout 
 this Catalogue I mean the right and left of the spectator standing before the picture. It is 
 the reverse of heraldic language. When describing the action of any particular figure, 
 I use his or her right or left with especial care. — G. S. 
 
 3 Page 602, vol. ii. < Anecdotes of Painting in England, by Horace Walpole, with 
 additions by the Rev. James Dallaway, and additional Notes by li. N. Wornum.' 3 vols. 
 8vo., London, 1849. This, being the latest edition, is, unless otherwise specified, the one 
 always referred to in this Catalogue. 
 
 Blenheim. 
 
14 
 
 THE HALL — continued. 
 
 This picture was most probably painted about the begin- 
 ning of the year 1698, for the inscriptions do not designate 
 any of the daughters as married. The eldest, on attaining the 
 age of 18, was united to Francis the son of Lord Godolphin, 
 in 1698 ; and Closterman himself was painting at Madrid 
 towards the close of the same year. 4 The youthful Marquis 
 appears here to be about 12 years of age. 
 
 The following are the persons represented in the 
 picture : — 
 
 John Churchill, Duke of Marlborough. Born June 24, 1650 ; died 
 1722. 
 
 Sarah Jennings, Duchess of Marlborough. Born 1660; married 1678 ; 
 died 1744. 
 
 John Churchill, Marquis of Blandford. Born January 13, 1686; died of 
 the smallpox at Cambridge, March, 1702, where a cenotaph is erected to his 
 memory in King's College Chapel. 5 
 
 Lady Henrietta Churchill, the eldest daughter. Born 1681 ; married 
 Francis, Earl of Godolphin ; and, in accordance with the Parliamentary settle- 
 ment of the honours, succeeded at her father's death as Duchess of Marlborough. 
 Her son William became Marquis of Blandford, but died two years before his 
 mother, in 1731, aged 33. She died in 1733, when the title and honours 
 passed to the Sunderland line. 
 
 Lady Anne Churchill, the second daughter. Married Charles Spencer, Earl 
 of Sunderland, 1701, and died during her father's lifetime in 1716, leaving a 
 son Charles, who, on the demise of his aunt, the Duchess Henrietta, in 1733, 
 inherited the title of Duke of Marlborough, and succeeded to the property and 
 estates of Blenheim on the death of the Duchess Dowager in 1744. 
 
 Lady Elizabeth Churchill, the third daughter, who died before her sister 
 Anne, in 1714, married Scroop, Earl of Bridgewater. 
 
 Lady Mary Churchill, the fourth daughter. Married John, Duke of Montagu. 
 
 4 See page 149 of Lord Mahon's " Spain under Charles II., or Extracts from the Cor- 
 respondence of the Hon. Alexander Stanhope, British Minister at Madrid, 1690-99. From 
 the originals at Chevening." London, 8vo., 1844 (2nd Edition). The letter is dated 
 Madrid, November 12, 1698. 
 
 5 The cenotaph, a handsome marble sarcophagus, surmounted with a vase of fire, is in 
 one of the chapels or chantries on the south side. The dates above given are copied from 
 this monument. A second son, Charles, died at an early age. His figure appears on the 
 monument in Blenheim Chapel. 
 
 The second large family picture. (To the left of the preceding.) 
 
 HUDSON. — Charles Spencer, second Duke of Marlborough, K.G., 
 and his family, a composition of seven figures, the size of 
 life. Painted on canvas. 
 
 The scene is laid under a handsome Ionic colonnade, 
 with a view of Blenheim in the distance. The picture is 
 divided, by columns, into three compartments, in the centre 
 of which appear the Duke and Duchess, with their youngest 
 daughter. The Duchess, attired in white satin, is seated on 
 a pink covered chair, holding a round blue hat in her lap, 
 Blenheim. 
 
THE HALL — continued. 15 
 
 and extending her left hand to the youngest son, who stands 
 in the right compartment, equipped for riding, holding his 
 pony, and supported by his sister, Lady Diana, wearing a 
 rich blue satin dress. The youthful Marquis of Blandford, 
 with a bat on his shoulder, and his second brother, stand 
 in the left-hand compartment, as if starting for a game at 
 cricket. 
 
 This picture is considered the chef-d'oeuvre of Hudson, who, 
 although the most eminent painter of his day, is now 
 chiefly remembered as the master of Sir Joshua Reynolds. 
 Walpole 1 speaks of it as a " capital work." It is executed 
 in a most refined manner, highly finished, and in a very 
 delicate silvery tone. The costumes are worthy of attention, 
 and the whole work bears the impress of faithful portraiture. 
 Painted on canvas. 
 
 The following are the persons represented in the 
 picture : — 
 
 Charles Spencer, second Duke of Marlborough and third Marquis of 
 Blandford, and fifth Earl of Sunderland, K.G., son of Anne, Countess 
 of Sunderland, second daughter of John, Duke of Marlborough. (See ante, p. 14.) 
 Succeeded to the title of Duke of Marlborough, 1733 ; died at Munster, 1758. 
 
 Elizabeth, Duchess of Marlborough, daughter of Thomas, second Lord 
 Trevor. Married 1732 ; died 1761. 
 
 George, Marquis of Blandford. Born 17 38. 2 
 
 Lord Charles Spencer. Born 1740 ; married the only daughter of Vere 
 Beauclerk, Lord Vere of Hanworth, on which occasion the celebrated collection 
 of antique gems came into the family by presentation from Lady Elizabeth 
 Germaine. (See post, page 33, note 2 .) 
 
 Lord Robert Spencer. Born 1747. Purchased the Ansidei Raphael 3 at 
 Perugia in 1764, and presented it to his brother, the Duke of Marlborough. 
 (See also page 136.) 
 
 Lady Diana Spencer. Born 1734 ; married, firstly, in 1757, Viscount 
 Bolingbroke and St. John, and, secondly, in 1768, the Hon. Topham Beauclerk, 
 grandson of the first Duke of St. Albans. Lady " Di " was an admirable 
 artist ; some of her crayon drawings are still preserved in the family, and 
 Horace Walpole treasured many of her works in his celebrated collection at 
 Strawberry Hill. He built an additional apartment to that residence in 1776 
 for the express purpose of receiving seven drawings by that lady from his 
 tragedy of the 'Mysterious Mother.' It was called the Beauclerk Closet. 4 
 
 Lady Elizabeth Spencer. Born 1737 ; married, in 1756, Henry, Earl 
 of Pembroke. 
 
 1 'Anecdotes of Painting,' vol. ii. p. 708. 
 
 2 Represented as Duke of Marlborough in the large family picture by Sir Joshua 
 Reynolds painted in 1778. (See post, page 34, and also page 26.) 
 
 3 See post, page 40. 
 
 4 See Horace Walpole's own description of Strawberry Hill, p. 503 of his Works, vol. ii. 
 4to. edition, London, 1798. For Lady Diana's crayon drawings at Blenheim, see post, 
 page 178. 
 
 Blenheim. 
 
16 
 
 THE HALL — continued. 
 
 To the left. Over the door leading to Passage. 
 
 VAN SOMER. — Henry Prince of Wales, son to King James I., 
 and elder brother to Charles I. 
 
 He was born at Stirling Castle in 1594, and died at St. 
 James's Palace, London, 1612, when in his 19th year. He 
 caught a violent cold during the preparations for a great 
 feast on his taking possession of the royal palace of Wood- 
 stock, which had been assigned to him by his father. 
 
 Full-length figure, life size, clothed in red, standing by a 
 table on which he rests his right hand. The dark-green 
 table-cover is bordered with fleurs de lis and white and red 
 roses. The George is suspended by a blue ribbon round 
 his neck ; a dark-brown curtain is wrapped round a column 
 on the left side of the picture ; a landscape in the distance. 
 Very rich and brown in general tone. Painted on canvas. 
 
 RIGHT SIDE OF HALL. 
 
 Over door of opposite Passage. 
 
 PANTO JA DE LA CRUZ. — The Infanta Isabella Clara Eugenia, 
 daughter of Philip II. of Spain, afterwards Archduchess of 
 Austria. She is represented in early life, standing by a table 
 on which her right hand rests. The other hand, holding a 
 glove, is kept in a sling. Her dress is red, embroidered with 
 sprigs and ornaments of silver. The outer mantle is of dark 
 green satin, faced with red. Painted on canvas. 
 
 Isabella Clara Eugenia was born 1566 ; she married the 
 Archduke Albert, son of the Emperor Maximilian II., in 
 1598, and received as dowry from her father the Netherlands, 
 which she governed conjointly with her husband. After his 
 death in 1621, Kubens, the great painter, who had been 
 induced to settle in Antwerp, under their patronage, instead 
 of returning to Italy, was admitted among her councillors. 
 She exchanged her widow's weeds for the habit of the 
 monastic order of St. Clara, and died 1633. 
 
 Her portrait at an advanced period of life is in one of the 
 private apartments. 
 
 The name of the tawny tint known to French dyers and grooms as the " Couleur 
 Isabelle" originated with this princess. She vowed at the commencement of the 
 memorable siege of Ostend not to wear any new linen till the city was taken. The 
 siege lasted three years, from 1601 to 1604. 
 
THE HALL — continued. 
 
 17 
 
 In centre of the wall behind the arcade of the Great Hall, facing the Staircase. 
 
 Above. 
 
 PIETRO DA CORTONA. — The Eape of the Sabines. 
 
 A grand and spirited composition. Dr. Waagen, 1 vol. iii., 
 page 126, expresses his opinion that this picture is one of 
 the painter's best and most careful works, exhibiting unusual 
 force of colouring and careful execution. Figures the size 
 of life. Painted on canvas. 
 
 1 Much valuable information will be found on the pictures in this and other col- 
 lections in England in Dr. Waagen's ' Treasures of Art in Great Britain,' 
 4 vols. 8vo., London, 1854-7. 
 
 To the left of the preceding. 
 
 BASSANO. — A Patriarch on Horseback welcomed by his people 
 amidst flocks and herds. Tents and mountains in the 
 distance. 
 
 Painted on canvas. 
 
 To the right of the Rape of the Sabines. 
 
 PAOLO VERONESE (School of).— Esther before Ahasuerus. 
 Painted on canvas. 
 
 Below the Rape of the Sabines. 
 
 WOOTTON. — Two lads with game. One is seated, gun in hand, 
 near a rose-bush, under a vase, at the end of a wall ; a stag 
 and hare lying at his feet. The other lad is bringing in a 
 buck. Figures the size of life, admirably painted, and, were 
 it not for certain peculiarities in costume, might almost be 
 taken for a Snyders or a Jan Fy t. Painted on canvas. 
 
 To the left of the preceding. 
 
 PHILIP ROOS, commonly called ROSA DA TIVOLI.— Goats 
 and dogs in a landscape. A large and rich composition. 
 Painted on canvas. 
 
 Blenheim. 
 
 * 
 
18 
 
 THE HALL — continued. 
 
 To the right of the Two Lads with Game. 
 SNYDERS. — A Stag-hunt. Dogs overtaking a stag running to 
 the left. The hinder parts of a second stag bounding away 
 are just visible. A dog falls wounded in front. A similar 
 picture in the Dresden Galleiy. Very dark and subdued in 
 tone. Painted on canvas. 
 
 Above the Gallery crowning the central arch three full-length Portraits are visible. 
 
 In the centre. 
 
 E. LILLY.— Queen Anne. A majestic standing figure, holding 
 her sceptre in the right hand, and the left raised to her 
 breast. An ample mantle of purple velvet and ermine is 
 thrown very artistically round the figure, and supported by 
 a chain of pearls. The head is not enriched with ornament 
 of any kind. The collar of the Order of the Garter hangs 
 round her neck. The crown on a Bible, and the golden 
 orb, are on a table to the right. The background is filled 
 with rich architecture. On the base of a column to the left 
 is inscribed " E. Lilly. Fecit. 1703." 1 This excellent picture 
 is painted with great care and delicacy, in very silvery tones. 
 The hand on the breast is very beautifully finished. Painted 
 on canvas. Hitherto this picture has been assigned to Sir 
 Peter Lely ; but not only is the style of painting quite dif- 
 ferent from that which distinguishes his works, but the 
 signature and date above quoted sufficiently disprove any 
 share Sir Peter might have been supposed to have possessed 
 in it. Lely died in 1680. I find the mention of Edward 
 Lilly, as painter of a portrait of Queen Anne, which J. 
 Simon engraved in mezzotint, in Noble's continuation of 
 Granger, vol. ii. page 2. 
 
 An old copy of this picture was in the Manchester Exhibi- 
 tion of 1857, No. 230 D. of the Portrait Gallery, and there 
 attributed to Closterman. 
 
 This Princess, daughter of James II., and the last of the 
 Stuart dynasty, was born at Twickenham 1665. She ascended 
 the throne in 1702, and died 1714. 
 
 1 See Plate of Monograms and Inscriptions, No. 30. 
 
 To the right of the preceding. 
 
 KNELLER. — Prince George of Denmark, consort of Queen Anne. 
 An imposing figure, full-length, in robes of the Garter, life- 
 size ; painted with great spirit and facility. Although very 
 sketchy in many parts, it may be regarded as an excellent 
 example of Kneller's method of painting. The Prince holds 
 his hat in the right hand, and wears the Garter. 
 Blenheim. 
 
THE HALL — continued. 
 
 19 
 
 George, Prince of Denmark, was born at Copenhagen 
 1653, and married to the Princess Anne 1683. He died 
 1708. Painted on canvas. 
 
 To the left of central Picture. 
 
 MARC GEERARDS. — Frances Howard, Countess of Essex and 
 Somerset. Full length, life-size ; standing on a Persian 
 carpet by a crimson chair, resting her left hand on a cushion 
 laid across the arms of it. A pair of gloves lie on the cushion. 
 A fan, with yellow feathers, hangs from her girdle on the right 
 side. The dress is of green satin, with white satin mantle. 
 A chain of red beads with yellow bows hangs from her 
 shoulders. The lace of her cuffs and of her ruff is, in ac- 
 cordance with the taste of the day, dyed a deep yellow 
 colour. This fashion went out suddenly, in consequence of 
 a Mrs. Turner, during her trial for participation in the 
 murder of Sir Thomas Overbury, and at her execution also, 
 wearing lace of that colour. 1 
 
 The infamous Countess of Somerset, deeply implicated in 
 the poisoning of Sir Thomas Overbury, was eldest daughter 
 of the Earl of Suffolk, and was married, at the age of 13, to 
 the Earl of Essex, son to Eobert Devereux, Queen Elizabeth's 
 favourite. Having conceived a passion for Eobert Carr, 
 Viscount Eochester, she determined to marry him, and sought 
 a divorce, which was obtained in opposition to the advice of 
 Eochester's friend, Sir Thomas Overbury, who was, in con- 
 sequence, committed to the Tower and taken off secretly by 
 poison, September 1613. As the Earl of Essex was not 
 averse to the separation, Carr was created Earl, and Frances 
 Howard became Countess, of Somerset. In May 1616 they 
 were imprisoned for being accessory to the murder of Sir 
 Thomas Overbury. Four accomplices were executed, but 
 the Earl and Countess received the King's pardon, and spent 
 the rest of their guilty lives in great misery. 
 
 The Countess of Somerset died 1632, aged 39. 
 
 This picture is dated 1618, in black figures, on the dark 
 brown background above the chair. Painted on canvas. 
 
 1 SirSymonds d'Ewes, in his Autobiography, tells the story thus:— "Mrs. Turner had 
 first brought up that vain and foolish use of yellow starch, coming herself to her trial in a 
 yellow band and cuffs ; and therefore, when she was afterwards executed at Tyburn, the 
 hangman had his band and cuffs of the same colour, which made many after that day of 
 either sex to forbear the use of that coloured starch, till at last it grew generally to be de- 
 tested and disused." — i. 79 ; Lond. 8vo., 1845, ed. Halliwell. See also Amos's « Great Oyer 
 of Poisoning,' p: 46. 
 
 Blenheim. 
 
20 
 
 THE HALL — continued. 
 
 Over the door leading into the central Saloon. 
 
 A white marble bust of John, Duke of Marlborough, by Kysbrack, 
 between the following inscriptions in gold letters on black 
 marble : — 
 
 ECCE VIRUM STABILES CUI GENS AUGUSTA PENATES 
 
 CUI FRACTAS TANDEM GALLIA DEBET OPES. 
 HIO VETEREM ANGLIACiE VIRTUTI INSTAURAT HONOREM 
 
 SEU RES CONSILIO SEU SIT AGENDA MANU 
 NON ANIMO AUGUSTUS MELIOR NON JULIUS ARMIS 
 
 SEU MULCET GENTES ILLE VEL ILLE DOMAT. 
 
 " Behold the man to distant nations known, 
 
 Who shook the Gallic, fix'd the Austrian throne, 
 
 New lustre to Britannia's glory gave ; 
 
 In councils prudent, as in action brave. 
 
 Not Julius more in arms distinguish'd shin'd, 
 
 Nor cou'd Augustas better calm mankind." 
 
 Four beautiful statues, in Florentine bronze, decorate the Hall. 
 They were cast from celebrated antique statues preserved in the 
 Tribune of the Ducal Gallery at Florence, by Maximilian Soldani 
 Benzi, in the year 1711. 
 
 They are all inscribed on the back of their bases 
 
 MAXIMILIANVS • SOLDANI ■ BENZI ■ FLORENTI/E ' 1711. 
 
 In the niche to the left of the door leading into the Grand Saloon. 
 
 1 » The clapping Faun or Satyr. He is playing cymbals and lifting 
 his foot, to which a musical instrument, called scabellum, is 
 attached. 
 
 In the niche to the right of the door. 
 
 2. The Venus de' Medici. The work of Cleomenes, an Athenian 
 
 sculptor. 
 
 Flaxman observes of this statue, " The Venus de Medici was so 
 much a favourite of the Greeks and Romans, that a hundred ancient 
 repetitions of this statue have been noticed by travellers." It is, how- 
 ever, only an indirect copy of a still earlier work, the celebrated Venus 
 of Cnidos, sculptured by Praxiteles, which perished in a conflagration 
 at Constantinople, a.d. 475. 
 
 On an isolated pedestal in front of the Venus. 
 
 3. The Scythian Slave sharpening his knife to flay Marsyas when 
 
 vanquished by Apollo, and called by the Italians the Arrotino 
 or Grinder. 
 
 On a pedestal in front of the Faun. 
 
 4. Two "Wrestlers or Pancratiastce contending in the Gymnasium. 
 
 Some antiquaries consider them to have belonged to the series 
 Blenheim. 
 
THE HALL — continued. 
 
 21 
 
 of statues of Niobe and her Children, which are also preserved 
 at Florence. 
 
 The originals of the above statues were transferred from Rome 
 to Florence in 1680. The earliest accounts mention them as exist- 
 ing in the Villa Medici, on the Pincian Hill at Eome. 
 
 On a table on the right side of the Hall. 
 
 Alexander the Great, a large marble bust, said to have been 
 found at Herculaneum. The hair, in accordance with all the au- 
 thentic representations of this hero, rises in distinct locks from the 
 forehead. The head of Medusa is sculptured on the front of his 
 breastplate, and the mantle is gathered and fastened by a fibula 
 on his left shoulder. The head, with the exception of a small 
 piece on the tip of the nose, is quite perfect. But a band of 
 marble has been injudiciously inserted in the neck, which gives 
 a false proportion to that part of the bust. The execution of 
 the countenance is exceedingly delicate, and the rich flow of the 
 abundant locks, shading the upper part of the face, recalls the 
 effect produced in many of the busts of Antinous. The folds of 
 his mantle, gathered on his left shoulder, are both conceived and 
 executed with remarkable grandeur. The piece of marble inserted 
 in the neck is veined and of a bluer character than the rest, which 
 is of a very delicate white tint. The surface of the flesh portions 
 retains a slight polish. There is a fillet round the head, which 
 restrains the hair and increases the fulness of the curls escaping 
 beyond it. 
 
 4 On a table on the opposite side. 
 
 A vase of white marble, adorned round the outside with bas-relief 
 figures, in imitation of an antique style of art known by the 
 term pseudo-archaic. The figures form a procession round the 
 vase, advancing towards a small statue on a lofty pedestal, 
 led by Apollo, with a lyre and clad in long robes, as Musa- 
 getes or leader of the Muses, followed by Artemis or Diana, and 
 Leto or Latona, Hephaistos or V T ulcan with a long torch, two 
 Bacchantes, Zeus or Jupiter with thunderbolt and sceptre 
 surmounted by an eagle, and Hera or Juno veiled and 
 holding a long sceptre. These eight figures seem to repre- 
 sent some festive celebration of a victory. 
 
 The handles of the vase are formed of double satyr's heads 
 with beards and long ears. The lower part and stand are 
 ornamented with fluting. Height of the vase 2 feet 8 inches ; 
 extreme width of diameter 2 feet 3 inches. 
 Blenhkim. 
 
22 
 
 DINING ROOM. 
 
 DINING ROOM. 
 
 (Over the Fireplace.) 
 
 RUBENS —Three Females (the Three Graces) 1 gathering fruit. 
 One of them receives a branch of apricots from Cupid, who 
 is up in the tree gathering them. 
 
 A picture of peculiarly mellow colouring. The fruit was 
 painted by Snyders. 
 
 No. 838 of Smith's Catalogue Raisonne. Painted on canvas. 2 
 
 1 Sometimes called the Hesperkles, who were daughters of Atlas and Hesperis. A 
 
 picture of this subject by Rubens, " The Three Graces with Fruit," was in the 
 collection of the Duke of Buckingham, No. 11, 3 feet by 2 feet 6 in. Vertue 
 adds in a note (page 1 6 of his catalogue) that Sir James Thornhill bought the 
 picture at Paris after the Duke's death. 
 
 2 As a cornucopia is held by the right-hand figure, this may probably be the picture 
 
 entitled Three Nymphs with a Cornucopia, No. 164 of the Catalogue of Rubens' 
 effects taken after his decease in 1640. 
 
 The Catalogue Raisonne of the works of the most eminent Dutch, Flemish, and 
 French masters, by John Smith, is a valuable collection of materials for the 
 connoisseur, and is frequently referred to in these pages. It comprises, with the 
 Supplement, 9 vols. 8vo., published between 1829 and 1842. 
 
 (To the right of the preceding.) 
 
 RUBENS. — Andromeda chained to a rock, with both hands above 
 her head. Cupid flies over her with a torch, and Perseus, 
 mounted on the winged steed Pegasus, descending upon the 
 sea-monster, appears in the background. 
 
 A narrow upright picture. No. 832 of Smith's Catalogue. 3 
 Painted on panel. 
 
 3 This picture was left in the artist's studio at his death in 1640, and was num- 
 bered 85 of the Catalogue of his effects. 
 
 (To the right, and over door leading into Passage.) 
 
 RUBENS, — Lot reclining under a curtain canopy, attended by his 
 daughters. A present from the Emperor of Germany to the 
 great Duke of Marlborough. Painted on canvas. 
 No. 839 of Smith's Catalogue. 
 
 Blenheim. 
 
DINING KOOM — continued. 
 
 23 
 
 (To the right of Fireplace, below the Andromeda.) 
 
 RUBENS. — His own Portrait, with that of his second wife, Helena 
 Forment, 4 and their infant child. Full-length figures. They 
 are represented walking together in a garden before a sum- 
 mer-house and fountain. He supports her hand, which holds 
 the leading-strings of the child. A parrot biting at a rose- 
 tree, in the right-hand corner, is painted with remarkable 
 freedom and brilliancy of effect. This picture was presented 
 to the great Duke of Marlborough by the city of Brussels. 
 Painted on panel. 
 
 No. 831 of Smith's Catalogue. 
 
 4 The name of this lady has generally been written Forman. The early Dutch writer 
 Weyerman, vol. i. page 291, sm. 4to., 'The Hague,' 1729, adopts this also; re- 
 marking that Florent le Comte calls her Helena Fourment, and M. Felibien, 
 Helena Fourmont ; whilst Immerzeel, in his ' Biography of Flemish Painters,' 
 3 vols. 8vo., Amsterdam, 1842, spells the name Forment. The learned Mr. 
 R. N. Wornum, in his National Gallery Catalogue, also adopts Forment ; but 
 Mr. Sainsbury, in his recent work upon Rubens, London, 1859, page 156, writes 
 Fourment. 
 
 WALL FACING THE GRAND SALOON. 
 
 (To the left, above.) 
 
 RUBENS. — Bacchanalian subject with numerous figures the size 
 of life. In the centre, the bloated Silenus staggers forward 
 supported by Pan and a negro ; a noisy crowd following, 
 whilst a tiger leaps up at a vine-branch. The redeeming 
 part of this gross composition is a group of children with 
 fruit in the foreground. This picture, in which the rout and 
 rabble of such a crew as attended Milton's Comus is tho- 
 roughly portrayed, contains nevertheless a greater amount 
 of artistic force and facility than any other which Eubens 
 executed of similar subjects. Dr. Waagen praises it highly, 
 and Smith, in his Catalogue Eaisonne (where it stands No. 
 833), awards it a very prominent rank. He estimated its 
 value, thirty years since, at 5000 guineas. An inferior 
 repetition of this composition is at Milton House. Engraved 
 in mezzotinto by Hodges. Painted on canvas. 
 
 (Over the Door leading into the Drawing Room.) 
 
 VAN DYCK. — Lady Morton and Mrs. Killigrew, celebrated 
 beauties. The lady holding a chaplet of flowers is Mis. 
 Blenheim. 
 
24 
 
 DINING KOOM — continued. 
 
 Killigrew. 6 A very fine repetition of the celebrated picture 
 at Wilton House, near Salisbury, the seat of the Earl of 
 Pembroke. Compare Smith's Catalogue of Van Dyck's Works, 
 No. 841. 
 
 6 This picture appears to be the same as the one called " The Duchess of Portsmouth 
 and Mrs. Ellen Gwyn by Van Dyck" in ' The English Connoisseur,' published in 
 1768, vol. i. page 18. Dr. Waagen speaks of it, page 128, as a Lely, and in the 
 following terms : " Though flatter and more motley than Van Dyck, this picture 
 nevertheless proves, by its delicate clear colour and elegant design, that Lely 
 sometimes successfully endeavoured to rival that master." In 1823 this picture 
 was attributed to Sir Peter Lely (see J. P. Neale's ' Views and Description of 
 Blenheim,' page 9); but before that period (see the 'Beauties of England and 
 Wales,' vol. xii. part 2, page 404, published in 1813) the picture had always been 
 assigned to Van Dyck. 
 Anne Countess of Morton, niece to George Villiers, Duke of Buckingham, and daughter 
 to Sir Edward Villiers, married Robert Douglas, Lord Dalkeith, who afterwards 
 succeeded his father as Earl of Morton. She was a great favourite with 
 Charles I. and his Queen, and appointed Governess to their daughter Henrietta, 
 afterwards Duchess of Orleans. Lady Morton conveyed this Princess in disguise 
 from Oatlands to France in 1646. Waller presented the following verses to her 
 on New Year's Day, 1650, a?tat. 45, at the Louvre : — 
 " Madam ! new years may well expect to find 
 
 Welcome from you, to whom they are so kind ; 
 
 Still as they pass they court and smile on you, 
 
 And make your beauty, as themselves, seem new. 
 
 To the fair Villars we Dalkeith prefer, 
 
 And fairest Morton now as much to her : 
 
 So like the sun's advance your titles show, 
 
 Which as he rises does the warmer grow." 7 
 
 Madame Killigrew, " Kate Killigrew," was daughter of Lord Stafford, and Maid 
 of Honour to Queen Henrietta Maria upwards of eight years. She was intro- 
 duced to Her Majesty by the Prince of Wales in 1646 (Bromley's Royal Letters, 
 page 135). In the Nicholas Correspondence appended to Evelyn's Letters, the 
 Queen of Bohemia, writing to Sir Ed. Nicholas, August 31st, 1654, mentions the 
 death of " poore Killigreue." She was succeeded in attendance upon the Queen 
 by Anne Hyde, afterwards Duchess of York and mother of Queen Anne. — See 
 Evelyn's Diary and Correspondence, Bohn's edition 1859, vol. iv. page 206. 
 
 7 Waller's Poems, page 42, and notes by Fenton, Bell's edition, page 182. 
 
 (To the left of the door, below the Bacchanalian picture.) 
 In the centre. 
 
 RUBENS. — Meleager 8 presenting the wild boar to Atalanta. 
 
 This picture has been engraved, the reverse way, in line, 
 and on a small scale, by Cornelius Bloemart. Painted on 
 panel. 
 
 No. 841 of Smith's Catalogue Eaisonne. 
 Exhibited at the British Institution in 1861. 
 
 8 Meleager, the son of (Eneus, having slain the wild boar which Diana had sent to 
 ravage the plains of Calydon in his father's territory, gave the head and skin to 
 Atalanta, the daughter of the king of Arcadia. — Ovid's ' Metamorphoses*' 
 book viii., lines 426 et seq. 
 
 Blenheim. 
 
DINING KOOM— continued. 
 
 25 
 
 (To the left of the preceding picture.) 
 
 VAN DYCK. — Half-length portrait of King Charles I., life-size, 
 dressed in black satin, with the George suspended from the 
 neck by a blue ribbon. The head is seen somewhat turned 
 to the right. The right hand is introduced. Painted on 
 canvas. King Charles was born 1600; succeeded to the 
 throne 1625, and died 1649. 
 No. 256 of Smith's Catalogue. 
 
 (The companion picture.) 
 
 VAN DYCK. — Queen Henrietta Maria, half-length, life-size, dressed 
 in white satin, adorned with coral red. The figure is turned 
 to the left, her right hand taking up some roses which lie 
 on a table. The curtain and table-cover are both of a deep 
 yellow colour. The royal crown is placed beside her on a 
 window-sill. A ring is attached to the bracelet at her wrist. 
 
 Very grey and low in tone, but a remarkably fine picture. 
 A similar picture is at Windsor Castle, with a green curtain 
 and table cover. It may therefore be supposed that in this 
 instance the blue colour, which would have qualified the 
 yellow, has faded. A repetition of the Windsor picture is 
 at Middleton Park, Oxfordshire. In these instances the 
 crown is laid on the table near the roses. 
 
 Painted on canvas. No. 257 of Smith's Catalogue. 
 
 Henrietta Maria, daughter of Henri IV. of France and 
 Marie de Medicis, was born 1609, and married to King 
 Charles of England in 1625. She quitted England in 1642, 
 and with the exception of a few very short visits, 9 spent the 
 remainder of her days abroad, and became subject to extreme 
 privation. She died at Colombe, near Paris, 1669, aged 60. 
 
 9 Woodstock was the favourite country palace of this Queen, where she regularly 
 maintained a chapel for her paiticular religion. The youthful features in this 
 portrait indicate that it was painted soon after her arrival in England : they 
 merit the praises which Waller bestows in his poem addressed to the Queen, occa- 
 sioned upon sight of Her Majesty's picture, beginning, — 
 
 " Well fare the hand which to our humble sight 
 Presents that beauty which the dazzling light 
 Of royal splendour hides from weaker eyes ; 
 And all access, save by this art, denies." 
 
 (Between the Drawing-room door and window.) 
 Above. 
 
 COS WAY. — George Spencer Churchill, fourth Duke of Marl- 
 borough, born 1766, and died 1840. A Bust -portrait, in 
 crimson fancy costume, and represented as seen within an 
 oval frame. He appears as Marquis of Blandford in the 
 Blenheim. 
 
26 
 
 DINING KOOM — continued. 
 
 large Family picture in the adjacent Drawing Eoom. En- 
 graved in mezzotinto by W. W. Barney. 
 
 He first assumed, by letters patent, the family-name of Spencer Churchill (see 
 page 34). 
 
 (Next below it.) 
 
 KNELLER. — Sarah Jennings, Duchess of Marlborough, repre- 
 sented to the waist, wearing a yellow classic breastplate, as 
 Minerva. The countenance is very pleasing, and without 
 any head-dress, or redundance of hair, which was so much 
 the fashion at that period. The turn of the head, as may 
 be observed in all her portraits, is especially beautiful. 
 Painted on canvas, and of a square form (see ante, page 14). 
 
 (Below the preceding.) 
 
 GAINSBOROUGH.— John Eussell, fourth Duke of Bedford, K.G. 
 He succeeded his brother in the Dukedom, 1732, and died 
 1771. This picture is highly commended by Passavant in his 
 ' Kunstreise durch England,' &c, page 178, ed. Frankfurt, 
 1833. Very thinly and boldly painted. Signed, at full length, 
 with the painter's name in the left-hand corner. 1 Painted on 
 canvas. Life-size, represented as seen in an oval frame. 
 
 The portrait of his daughter Caroline Duchess of Marlborough is in the large family- 
 picture, page 34. For a miniature of Gertrude his Duchess, see post, page 112. 
 1 See plate of Monograms and Signatures, No. 36. 
 
 ON THE OPPOSITE WALL. 
 
 (Between the window and the door leading into the Saloon.) 
 Above. 
 
 KNELLER.— John Churchill, first Duke of Marlborough, E.G., 
 represented in steel armour, half-length. A square picture. 
 
 (Below the preceding.) 
 
 VAN LOO. — Charles Spencer, second Duke of Marlborough, K.G., 
 in red coat, with hat under arm (see ante, page 15) and left 
 hand thrust into his waistcoat. The ribbon of the George is 
 of an intensely dark blue. This picture has been attributed 
 to Hudson ; but the strong colours, and an engraving by W. 
 James from a similar picture belonging to Lord Trevor, 
 decide the question. 
 
 (Below the preceding.) 
 
 REYNOLDS. — George Spencer, third Duke of Marlborough, died 
 1817. He is represented looking over his left shoulder to 
 the spectator (see ante, page 15). This picture, according to 
 an entry in Sir Joshua Reynolds's own pocket-book, was 
 painted November, 1764. 
 Blenheim. 
 
DINING ROOM — continued. 27 
 
 (Over the Door leading into the Grand Saloon.) 
 
 J. B. WEENIX. — A sea-port in Spain, with the figures of a mer- 
 chant, his wife and children in the foreground. Bales of mer- 
 chandise occupy a prominent place in one corner. On the 
 left a municipal officer seems taking account of goods which 
 are being weighed in large scales. Ancient walls and clusters 
 of ruined columns, together with a large pedestal surmounted 
 . with a group of a lion attacking a horse, seem to designate 
 a city which held considerable importance in ancient times, 
 and of which the prosperity, to judge by the throngs of 
 people who are represented as making their way to and from 
 the distant shipping, has in no way diminished. This picture 
 may be regarded as a most comprehensive and favourable 
 example of the varied talents of a very rare master, whose 
 name, however, is generally familiar to us through his son Jan 
 Weenix, the well-known painter of Dead Game. The Louvre 
 contains only one specimen of the father, Jan Battista. The pic- 
 ture attributed to him in the Orleans Gallery was not generally 
 accepted as genuine. A fine picture by this master is in the 
 gallery at Stafford House, dated 1651 ; and another, dated 
 1649, is engraved in the Leuchtenberg Gallery, No. 162. 
 
 Among the merchant's marks 1 on the bales in front of this 
 picture may be recognized the monogram of Peter van 
 Bredael, who was a celebrated painter of subjects of a 
 similar class at this period. He may probably have assisted 
 Weenix in the execution of it. 
 
 This picture is particularly noticed in Nagler's Life of 
 J. B. Weenix in his valuable Kiinstler-Lexicon. 2 He con- 
 jectures it to be the same as the " Italian seaport with archi- 
 tectural ruins," which Descamps mentioned as a chef-d'oeuvre 
 in the house of M. vander Linden van Slingelandt at Dort. 
 Descamps 3 wrote his Lives of the Painters about 1750. Dr. 
 Waagen 4 also speaks of it as a "large and very carefully 
 executed picture by this rare master." Painted on canvas. 
 
 1 See plate of Monograms and Signatures, No. 26. 
 
 2 Nagler, Dr. G. K., Kiinstler-Lexicon, 22 vols. 8vo. Miinchen, 1835-51. 
 
 3 Descamps, vol. ii. p. 314. 4 Waagen, vol. iii. p. 122. 
 
 (To the right of door, above.) 
 
 RUBENS. — Venus and Cupid endeavouring to restrain Adonis 
 from the chase. This magnificently rich picture was pre- 
 sented by the Emperor of Germany to the first Duke of 
 Marlborough. Considered altogether this picture is perhaps 
 one of the finest examples of the power of the master, whether 
 in form, composition, or colour, that can be seen anywhere. 
 Described in Smith's Catalogue, No. 834, and by Dr. Waagen 
 at page 131. Painted on canvas. 
 Blenheim. 
 
28 
 
 DINING ROOM — continued. 
 
 (Below this picture, over the sideboard, are three Holy Families.) 
 The first to the left. 
 
 RUBENS. — Madonna and Child, a group of two figures only. The 
 
 Child, with face in profile, stands upon a parapet in front of 
 
 the Virgin. There is a repetition of this very excellent 
 
 picture in the Munich Gallery. Engraved by Mechel whilst 
 
 in the Dusseldorff collection in 1776. 1 It is No. 836 of 
 
 Smith's Catalogue, and mentioned by Dr. Waagen, page 126. 
 
 Painted on panel. 
 
 1 1 La Galerie Electorale de Dusseldorff,' par Nicolas de Pigage, Basle, oblong fol. 
 1778. PI. xxi. No. 278. 
 
 (In the centre.) 
 
 RUBENS. — Holy Family, a composition of four figures, including 
 St. Elizabeth and St. Joseph. 
 
 The infant Saviour stands in the Virgin's lap, having one 
 foot in her left hand. This composition with full-length 
 figures is engraved in line by S. A. Bolswert. Another 
 engraving, to the knees only and omitting the figure of 
 Elizabeth, was engraved in line by Alex. Voet. 
 
 Painted on canvas. 
 
 A superb picture, painted on panel, of this Madonna with 
 the Child alone, was in the possession of Mr. Hart Davis, 
 and now belongs to Edmund Foster, Esq., of Clewer Park. 
 
 (To the right of centre.) 
 RUBENS. — A Holy Family, a composition of three figures. The 
 infant Saviour seated on a white cushion in his mother's lap, 
 while Joseph, with his face seen directly in profile, completes 
 the group. The reflected lights on the face of the Virgin 
 deserve notice for their extreme clearness. 
 
 Painted on panel, and described by Smith in his Catalogue, 
 No. 835. 
 
 ON WALL FACING THE WINDOWS. 
 (To the left of the fireplace, above.) 
 VAN DYCK. — Time, or Saturn, represented as an old man with 
 wings, clipping the wings of Cupid. The boy struggles in 
 his arms. A skull, the capital of a column, and the scythe 
 of Time are on the ground. Painted on canvas in very low 
 tone. Described among the works of Van Dyck in Smith's 
 Catalogue, No. 262; mentioned by Dr. Waagen, page 122. 
 Engraved in mezzotint by M'Ardell and Valentine Green. 
 
 For note on a sketch from this by Sir Joshua Reynolds, see page 49. 
 
 Blenheim. 
 
DINING ROOM — continued. 
 
 29 
 
 (Beside the preceding.) 
 
 RUBENS. 4 — A Bacchanalian subject of very different execution 
 from that of the preceding pictures. The reeling Silenus, 
 attended by a noisy rabble, advances towards an intoxicated 
 female satyr lying in the foreground, with two young cubs 
 of her own species. 5 
 
 4 Attributed by some connoisseurs to Van Dyck. 
 
 5 Apparently a repetition of a picture now at Munich, No. 265 of the Glyptothek, 
 
 and engiaved in the Galerie Electorale de Dusseldorff, No. 242, PI. 18. 
 
 (Below. To the left.) 
 
 RUBENS. — Anne of Austria. 1 A life-size portrait, to the knees, 
 of Anne of Austria, daughter of Philip III., King of Spain, 
 Queen of Louis XIII. and Regent of France during the 
 minority of her son Louis XIV. She is represented seated in 
 a magnificent apartment, probably the " Salle des Caryatides " 
 of the Louvre ; a rich green curtain embroidered with golden 
 fleurs de lis is suspended behind her chair. The white ruff 
 is very large and fan-shaped, and a black lace ornament and 
 veil surround her light-brown hair. Her white delicate 
 hands are somewhat ostentatiously shown upon her black 
 dress, which accords remarkably with a passage in the sub- 
 sequent description by Madame de Motteville. 
 
 Her right hand holds a small brown muff. The com- 
 plexion is very pink and fresh, cheeks and lips pale ver- 
 milion, eyeballs pale grey, and hair flaxen shaded with grey. 
 
 This picture is probably the one which is numbered 167 
 in the Catalogue of Rubens's effects taken after his death in 
 1640, and described "A portrait of the Queen-consort of 
 Louis XIII." It corresponds exactly with the engraving 
 by S. Louys, inscribed " Anna Ludovici XIII Uxor Galliarum 
 et Navarrae Eegina. P. P. Rubens pinxV Another engrav- 
 ing of her by Hondius, much older looking, also exists. It 
 is inscribed ^etat. xxvi., dated 1627. There was also a pic- 
 ture by Rubens of the Queen Regent of France sitting under 
 a canopy, in the collection of the Duke of Buckingham. 
 1 ft. 9 in. by 2 ft. See the catalogue published by Vertue, 
 page 15. 
 
 Anne of Austria, daughter of Philip III. of Spain, and 
 niece of Isabella Clara Eugenia (see ante, page 16), was born 
 at Valladolid, September 1602, and married, November 1615, 
 to Louis XIII. At the commencement of her widowhood, May 
 
 1 This portrait, hitherto called Catherine de Medicis, does not accord, either in 
 portraiture or costume, with the known pictures of that infamous princess, and 
 whom, as Dr. Waagen observes, Rubens would have been too young to paint 
 during her lifetime. 
 
 Blenheim. 
 
30 
 
 DINING ROOM — continued. 
 
 1643, and during the minority of her son, Anne assumed the 
 government of France under the influence of Cardinal Mazarin. 
 During this period the Queen Eegent contributed much to the 
 enrichment and decoration of the Louvre. She died 1666. 
 
 The insolence of the Duke of Buckingham towards this 
 lady during the arrangements for the marriage of the King's 
 sister with Charles I. of England, led, as is well known, to 
 an unfortunate war between the two nations. 
 
 The following interesting description of the personal ap- 
 pearance of Anne of Austria is preserved by. Madame de 
 Motteville :— 
 
 " Elle me parut, lorsque je vins la saluer en 1639, aussi 
 belle qu'aucune de celles qui composaient son cercle. Elle 
 se coiffait selon la mode d'une coiffure ronde, frisee clair et 
 mettait beaucoup de poudre. Ses cheveux etaient devenu 
 d'une couleur un peu brune, et elle en avait une grande 
 quantite. Elle n'avait pas le teint delicat, ay ant meme le 
 defaut d'avoir le nez gros, et de mettre a la mode d'Espagne 
 trop de rouge ; mais elle etait blanche, et jamais il n'y eu 
 aussi belle peau que la sienne. Ses yeux etaient parfaitement 
 beaux .... la couleur melee de vert . . . . Sa bouche etait petite 
 vermeille .... Ses mains et ses bras avaient une beaute sur- 
 prenante, et toute l'Europe en a ou'i publier les louanges ; 
 leur blancheur, sans exageration, avait celle de la neige," &c. 2 
 
 " 2 Vol. xxxvi. page 318, of Petitot. Collection des Me'moires relatifs a l'Histoire 
 de France depuis Henri IV. jusqu'a 1763. Paris, 8vo. 1824. 
 
 (To the right of the preceding.) 
 
 RUBENS. — A full-length portrait of Helena Forment, the second 
 wife of Rubens, descending the steps of a mansion, and 
 attended by her page, most probably her son, cap in hand. 
 A coach and horses wait at a distance in the courtyard, 
 beyond which is a view of the street. Her costume is black 
 satin slashed with white and adorned with lilac bows. The 
 black head-dress, and the veil, surmounted with a peculiar 
 tuft, were worn by ladies of high station during this period 
 of the Spanish rule in the Netherlands, and may be seen in 
 several pictures by Eubens. See the same costume in the 
 Peter Neeffs picture, described page 63. This superb por- 
 trait has been engraved by Earlom. It is mentioned by 
 Dr. Waagen, page 126, and described in Smith's Catalogue 
 Eaisonne, No. 829. Painted on panel. 
 
 Exhibited at the British Institution in 1861. 
 
 A head similar to this is engraved in the Dusseldorff Gallery, PI. xviii. No. 247. It 
 is now No. 275 in the Pinacothek at Munich. 
 
 Blenheim. 
 
THE LARGE DRAWING ROOM. 
 
 31 
 
 THE LARGE DRAWING ROOM. 
 
 (Over the Fireplace.) 
 
 VAN DYCK, — Catherine Duchess of Buckingham and family. 1 
 
 The portrait of George Villiers, Duke of Buckingham, 
 appears as an oval picture suspended in the background. 
 The miniature which the Duchess holds so prominently is 
 the portrait of an aged man, decorated with the blue ribbon 
 of the Garter, and probably represents her father, Francis, 6th 
 Earl of Rutland, of whom she was the only child and co-heir. 2 
 He died December 1632, the same year that Van Dyck came 
 to reside in England ; and we may therefore assume it to 
 have been one of the artist's first productions when he came 
 to settle in this country. 3 The picture is mentioned by 
 Dr. Waagen, p. 123, and described in Smith's Catalogue 
 Raisonne of the works of Van Dyck, No. 261. Painted on 
 canvas. The children are also represented in the pompous 
 monument to the Duke in Westminster Abbey. 
 
 A similar picture is in the possession of Lady Jersey at 
 Middleton Park. In that instance the miniature held by 
 the Duchess is different. It seems to represent her late 
 husband. 
 
 1 The Duke himself was no longer alive when Van Dyck first set foot in this 
 
 country ; his assassination took place August, 1628. 
 
 2 It accords in general character with the monumental effigy of this nobleman in 
 
 Bottesford Church. 
 
 3 The style of this picture, which in many parts, and especially in the two children 
 
 standing beside their mother, retains the excellences which characterised the 
 artist's works during his residence at Genoa, would seem to indicate an early 
 period of his final settlement in England. Judging also from the introduction 
 of two portraits represented as paintings in the picture, and from the expression 
 of the countenances, and prevalence of mourning in the costume, this composition 
 appears to have possessed a somewhat solemn and commemorative significance. 
 
 (To the right of the preceding.) 
 Above. 
 
 VAN DYCK. — Mary Duchess of Richmond, daughter of George 
 Villiers Duke of Buckingham, represented in a blue dress, 
 receiving a pair of gloves from a salver held to her by Mrs. 
 Blenheim. 
 
32 
 
 THE LARGE DRAWING ROOM — continued. 
 
 Gibson, 4 her dwarf attendant. Full-length portraits. Men- 
 tioned by Dr. Waagen, p. 123, and described in Smith's 
 Catalogue, No. 253. 5 Painted on canvas. 
 
 4 Mrs. Gibson, the dwarf, was an artist of considerable ability. A portrait in crayons 
 
 by her of Queen Henrietta Maria is still preserved at Hampton Court. Her name 
 was Anne Shepherd, and her husband, a dwarf also, was a elebrated painter. The 
 little pair were each 3 feet 10 inches high. Waller has celebrated their nuptials 
 in one of his prettiest poems. Gibson painted Cromwell several times, and taught 
 Queen Anne and her sister Mary to draw. The following lines from Waller's 
 poem are quaint and pleasing : — 
 
 " Thrice happy is that humble pair, 
 Beneath the level of all care ! 
 Over whose heads those arrows fly 
 Of sad distrust and jealousy : 
 Secured in as high extreme 
 As if the world held none but them." 
 
 5 Similar pictures are at Lord Denbigh's, Newnham Paddox, and at Wilton House, 
 
 the Earl of Pembroke's. The Duchess appears, at an early age, in the picture 
 previously described. 
 
 (To the right of the preceding.) 
 
 MYTENS. — Henry Rich, first Earl of Holland. A full length, 
 standing in a landscape. He wears a rich striped dress, and 
 the soles of his boots are very peculiarly constructed. 
 
 This favoured friend of the Duke of Buckingham was 
 employed in 1623 on a special mission to the French Court, 
 to ascertain the views of Marie de Medicis regarding a pro- 
 jected marriage between her daughter and Prince Charles of 
 England. His installation as a Knight of the Garter took 
 place in 1625. 
 
 Henry Rich, Earl of Holland, was executed in Palace Yard 
 soon after his Royal Master in 1649. Painted on canvas. 
 
 (Below the Duchess of Richmond, and next to the Fireplace.) 
 
 VAN DYCK. — The Virgin and Child, figures life-size. Perhaps 
 the most beautiful of the many repetitions of this charming 
 composition. The Virgin's countenance is raised to heaven, 
 whilst the Infant Saviour looks thoughtfully away to the 
 right. Described in Smith's Catalogue, No. 263. Engraved 
 by Pontius, Carmona, Finden, and Salvador. Painted on 
 canvas. 6 
 
 6 In some versions of this picture, as in the Munich and Marbury Hall pictures, the 
 eyes of the Virgin are lowered to read the words ' Agnus Dei ' inscribed on a scroll 
 held by the infant Baptist, who is introduced below. Repetitions corresponding 
 exactly with this are in the Bridgewater, Hampton Court, and Dulwich Galleries. 
 
 Blenheim. 
 
THE LARGE DRAWING ROOM — continued. 33 
 
 (To the right of the preceding.) 
 
 REMBRANDT. — Isaac Blessing Jacob. A composition of three 
 figures, the size of life. The boy's face, which is turned 
 full towards the spectator, conveys an expression of pain or 
 contrition. 1 Mentioned in Smith's Catalogue Raisonne of 
 Rembrandt's works, No. 1 1 . Painted on canvas. 2 
 
 1 Gen. xxvii. 12. 
 
 2 The quiver and the arrows are introduced according to the text, Gen. xxvii. 3. 
 
 A large picture of this subject, attributed also to .Rembrandt, but differently com- 
 posed, is in the Dnlwich Gallery. 
 
 WALL FACING THE DINING ROOM. 
 
 REYNOLDS.— George Spencer, third Duke of Marlborough, K.G., 
 and family. A grand composition of eight figures, painted 
 by Sir Joshua in 1778. 3 
 
 The scene is laid in a stately vestibule with massive 
 columns, wreathed and twisted (like those supporting the 
 Baldachino of the high-altar in St. Peter's at Rome), hung 
 with curtains, and having a grand central arch. A circular 
 window relieves the deep gloom on the left, whilst on 
 the extreme right rises a noble statue of the Great Duke 
 similar to the one on the column in the park. The right 
 hand holds a figure of Victory, which bears a wreath and 
 palm-branch. The Duke, in full robes of the Order of the 
 Garter, is seated, holding in his left hand an antique cameo, 4 
 and resting his right on the shoulder of his eldest son, who 
 stands by his side holding a crimson case containing a portion 
 of the famous Marlborough gems. 
 
 The Duchess, standing in the centre of the picture with 
 the greater part of her figure thrown into deep shadow, 
 and wearing a lofty head-dress, seems drawing the atten- 
 tion of her eldest daughter, ~L&dy Caroline, who stands on 
 the extreme right, to the cameo in the Duke's hand. Two 
 other members of the family, a son and daughter, standing 
 between Lady Caroline and the Duchess, also invite her 
 to observe it. A pretty action, adopted by the painter 
 
 3 The entry of a second payment of 735^., dated November 1779, for this picture is still 
 preserved in one of Reynolds's note-books. According to a memorandum in the hand- 
 writing of C. Turner, the entire sum which Sir Joshua received for this work was 1000^. 
 
 4 It represents a profile head of the Emperor Augustus, and is engraved by Bartolozzi in 
 the first volume, plate 7, of the Marlborough Gems, executed by the Duke's command from 
 drawings by Cipriani. A portion of this fine collection of antique gems formerly belonged 
 to the illustrious Thomas Howard, Earl of Arundel, in the reigns of James and Charles I. 
 They were retained by a divorced Duchess of Norfolk, and bequeathed by her to her second 
 husband, Sir John Germaine. His widow, Lady Elizabeth Germaine, gave them to her 
 niece, Miss Beauclerk. See ante, page 15; Dallaway's Anecdotes, page 238. 
 
 Blenheim. i> 
 
34 THE LARGE DRAWING ROOM — continued. 
 
 from the antique gems, passes between the two youngest 
 children. Lady Charlotte holds a mask up to her sister, 
 at the same time looking from behind it towards the spec- 
 tator with an archness of expression which Reynolds 
 alone had the power to convey, whilst Lady Anne, partly 
 shrinking from the grotesque visage, clings to the dress 
 of her eldest sister. The timidity which is so delicately 
 expressed in this charming figure, becomes positive fear in 
 the greyhound and the Blenheim spaniel at their feet, whilst 
 a third dog has even retreated behind the Marquis of Bland- 
 ford, and still looks back towards the mask which has 
 alarmed him. 
 
 The Duke's plumed cap and sword are laid on a seat in 
 the extreme left of the picture. A portion of the palace and 
 gardens may be seen beyond the figures through the central 
 arch. 
 
 The following are the personages represented : — 
 
 George Spencer, third Duke of Marlborough, K.G., born 1738, succeeded his 
 father in 1758, and died 1817. He appears as the Marquis of Blandford in Hudson's 
 Family picture on the Grand Staircase (see ante, page 15). For Komney's por- 
 traits of the Duke and Duchess, see pp. 70 and 73. 
 
 Caroline Duchess of Marlborough, daughter of John Duke of Bedford (see 
 ante, page 26) ; married 1762. (See also page 45.) 
 
 George Marquis of Blandford, bom 1766 (see ante, page 26), assumed, by 
 royal licence, a few months after his father's decease, the family name Spencer- 
 Churchill. The patent is dated Whitehall, May 26, 1817. 
 
 Lord Henry Spencer, born 1770. 
 
 Lady Caroline Spencer, born 1763. 
 
 Lady Elizabeth Spencer, born 1764. 
 
 Lady Charlotte Spencer, born 1769 
 
 Lady Anne Spencer, bom 1773. 
 
 %* Subsequent to the completion of this picture in 1779, a third son, Lord Francis- 
 Almeric (who was eventually raised to the Peerage as Baron Churchill of Wychwood) and 
 a daughter, afterwards Lady Amelia Boyce, were born {see post, pp. 177 and 178). 
 
 Thts picture has been admirably engraved in mezzotint by Charles Turner. It was pub- 
 lished in 1815. The engraver has recorded a story connected with this picture, which is 
 too curious to be passed over. Before sending the picture to the Royal Academy Exhi- 
 bition in 1778, Sir Joshua employed a young artist named Powell to make a reduced 
 copy of it. For this purpose the picture was removed to a place which Powell had hired, 
 but as the artist was greatly in debt it was soon seized by a greedy creditor, and the 
 young copyist, to escape imprisonment, leaped out of window. The temporary holder of 
 the picture, not knowing what to do with so large a performance, seriously determined to 
 cut out all the heads of the figures and to make separate pictures of the dogs also. At this 
 juncture Sir Joshua was informed of what was pending, and sent his trusty servant, 
 Ralph Kirkley, with a cheque to redeem the picture. After the Exhibition the picture 
 was removed to Blenheim, where Sir Joshua made several important improvements in it, 
 having obtained permission to carry on his operations in the Great Hall. The above 
 anecdote was related by Palph Kirkley himself to Charles Turner, who made a memo- 
 randum of it in writing in 1850, which, after passing through the hands of the author of 
 this Catalogue, is now deposited in the most fitting place, the possession of his Grace the 
 present Duke. 
 
 For their Miniatures by S. Shelley, 
 see page 113. 
 
 Blenheim. 
 
THE LARGE DRAWING ROOM — continued. 
 
 35 
 
 (Over the door leading into the smaller Drawing Room.) 
 VAN DYCK. — Portrait of Genevieve d'Urfe, Marquise de Havre 
 and widow of the Due de Croy." 2 She is seated in a red chair, 
 with a red curtain in background. There is an engraving of 
 this picture by P. de Jode, omitting her left hand. A similar 
 picture to this in grisaille is described in Smith's Catalogue, 
 IsTo. 713, as belonging to the Duke of Buccleuch. 
 Painted on canvas. 
 
 2 This lady was Maid of Honour to Marie de Medicis. The Due de Croy, Marquis 
 d'Havrech, Hereditary Marshal of the Holy Roman Empire, Privy Councillor to 
 Philip III. of Spain, and Chevalier of the Toison d'Or, died November 1624. 
 Her second husband, Guy de Harcourt, Marquis de Beuvron, was killed at the 
 siege of Casale in 1628. She married, thirdly, Antoine Comte de Mailly, who 
 distinguished himself at the siege of Rochelle. The lady died previous to 1656. 
 
 (Over the door leading into the Dining Room.) 
 
 VAN DYCK.— Marie de Medicis, widow of Henri IV. of France 
 and mother of Henrietta Maria, queen to King Charles I. 
 of England. 
 
 A similar portrait, engraved by Van Sompel and P. Pontius, 
 is described by Smith in his Catalogue Raisonn£, No. 597. 
 
 Marie de Medicis, daughter of the Grand Duke Francis of 
 Florence, was born 1575 and married in 1600. This por- 
 trait represents her at a somewhat advanced period of life, 
 and contrasts strikingly with the pictures of her by Rubens 
 in the celebrated Luxembourg series at Paris. 
 
 Having quarrelled with her son Louis XIII., Marie de 
 Medicis was exiled in 1630. She visited Holland and Great 
 Britain in 1637, and Charles gave her an asylum in 1638. 
 She fled to Holland at the time of the death of Strafford in 
 1641, and died at last at Cologne, in a state bordering upon 
 destitution, a.d. 1642, aged 67. 
 
 This picture was probably once in the Royal collection, as it corresponds with 
 one called " The Queen Mother," in the catalogue of the King's effects in 1649. 
 It was sold for £26. 
 
 In the catalogue of the King's pictures it is thus described, page 111, No. 22: — 
 " Done by Sir Ant. Vandike, bought by the King. Item. A Picture of the 
 Queen's Mother of France, sitting in a chair in a black habit, holding in her 
 right hand a handful of roses ; half a figure so big as the life, in a carved 
 gilded frame." 
 
 Mentioned by Smith in his Catalogue, No. 599. Painted 
 on canvas. 
 
 A portrait of this Queen is in the Dulwich Gallery ; 
 another, attributed to Pourbus, at Hampton Court, No. 953 
 of the Catalogue. 
 
 Blenheim. 
 
36 
 
 THE LARGE DRAWING ROOM — continued. 
 
 (To right of the entrance-door from Dining Room.) 
 VAN DYCK. — The magnificent portrait of King Charles I., bare- 
 headed ; 1 but otherwise in complete armour, on a dun- 
 coloured horse, seen in profile, advancing to the left, and 
 attended on foot by his equerry, Sir Thomas Morton, who 
 holds his helmet. Only the upper part of Sir Thomas is 
 visible to the waist. The landscape background is of super- 
 lative excellence. A tablet suspended from a tree is in- 
 
 scribed " CAROLVS ' I * REX MAGNiE * BRITANIiE. 
 
 The letters 
 
 appear as if incised on the flat grey surface. The framing to 
 the tablet is represented richly carved and gilded. Purchased 
 
 u ***** 
 
 9^ 
 
 by John Duke of Marlborough at Munich. 
 
 It was originally in the Royal collection, and sold among 
 the effects belonging to the Crown for £150. The eques- 
 trian portrait, in which the King, on a grey horse, advances 
 through an archway, and which is now at Windsor, sold at the 
 same time for £200. A third picture of the King on horse- 
 back, probably either the small study at Buckingham Palace, 
 or the large copy at Hampton Court, sold for only £40. 
 
 Another small study for this picture is at the Grove, in the 
 collection of Lord Clarendon. 3 
 Painted on canvas. 
 
 It is remarkable that, notwithstanding the many copies taken from it, this picture 
 has never been engraved with any degree of care. Hollar, however, seems to 
 have had it in view when he engraved the Charing Cross statue of the King on 
 horseback. Leather coverings to the legs instead of armour are observable 
 both in this picture and Hollar's engraving (Parthey's Hollar, No. 1435, page 
 319). The picture was slightly etched by Briggs, and also by Sir James 
 Stuart of Allanbank, from a study of the picture by Mrs. W. H. Carpenter. 
 
 A fine study by Van Dyck in water-colours for the trees in the background is 
 preserved in the British Museum. 
 
 This picture was exhibited at the British Institution in 1815, and had been 
 previous to that time in Marlborough House, St. James's. 
 
 Dr. Waagen mentions this picture (page 129) with great admiration. It is de- 
 scribed in Mr. John Smith's Catalogue Raisonne, No. 255, page 77, of the Van 
 Dyck volume. Both these authorities, very unaccountably, call attention to 
 a skirmish of cavalry in the background. 
 
 1 The King always wore a large pearl to his earring, which is here represented. It 
 
 was taken from his ear after his death, and given to the Princess Royal. His 
 granddaughter Queen Mary of Orange authenticated it by her own hand-writing, 
 and King William presented it to the Earl of Portland. Walpole, page 286 ; and 
 Granger, vol. ii., page 239. It is still in the possession of the Duke of Portland. 
 
 2 See plate of Monograms and Signatures, No. 11. 
 
 3 See a valuable catalogue of these pictures by Lady Theresa Lewis in ' Lives of the 
 
 Friends of Chancellor Clarendon,' &c, vol. hi., page 239. London, 1852. 
 
 WALL FACING THE WINDOWS. 
 (To the extreme left, above.) 
 MYTENS.— William, second Duke of Hamilton, K.G. Born 1616. 
 Brother to the first Duke. Secretary of State for Scotland. 
 Devotedly attached to the Koyal cause. He was killed at 
 Blenheim. 
 
THE LARGE DRAWING ROOM — continued. 
 
 37 
 
 the battle of Worcester, 1651. A full-length portrait, life- 
 size, standing in a landscape with armour around him. 
 Painted on canvas. 
 
 A picture, very similar to this in point of costume and general composition, is in 
 the possession of Lord Ashburnham, and represents John Ashburnham. The 
 portrait is engraved in vol. i. of Drummond's ' Noble Families.' 
 
 This picture is probably from the Royal collection, and described in the King's 
 catalogue, page 89, No. 30 : — " Done by Dan. Mytins. Item. The picture of 
 the deceased Lord Marquis of Hamilton at length, in a carved and gilded frame." 
 
 (To the right of the preceding.) 
 
 MYTENS.— George Villiers, Duke of Buckingham, K.G. (see 
 ante, p. 30). 
 
 The figure is dressed entirely in white, standing on a 
 Turkey carpet. The George is suspended from his neck. 
 The hat and feathers are laid on a crimson covered table. 
 His right hand rests on a stick, holding at the same time a 
 letter superscribed "P r . Mons : Monseigneur le Due de 
 Buckingh : grand Admiral d'Engleterre, &c." There is a 
 mention in Carpenter's ' Van Dyck and his Contemporaries,' 1 
 p. 10, of Mytens having painted a portrait of the Duke. 
 
 Full-length, life-size. Painted on canvas. 
 
 George Villiers, first Duke of Buckingham, was born 1592. 
 King James I. first saw him at Apethorpe in 1615. He rose 
 at once from Cupbearer to Master of the Horse, and in the fol- 
 lowing year received the Garter. In 1617 he was appointed 
 Lord High Admiral of England, Ireland, and Wales. He 
 accompanied the Prince Charles incognito to the court of 
 Spain in 1623, where he became the open enemy of Olivares, 
 the reigning favourite at Madrid. Buckingham was ap- 
 pointed in 1625 to escort the Princess Henrietta Maria from 
 Paris to London, and by his conduct gave great offence to 
 the French court. His subsequent animosity to France 
 rendered him universally unpopular, and he was stabbed at 
 Portsmouth by Felton, August, 1628, when about to embark 
 on a third expedition to Kochelle. 
 
 This picture was very probably in the collection of King Charles I., and corre- 
 sponds with No. 29, page 89, of the catalogue by Vanderdoit : — "Done by 
 Dan. Mytins. Item. The picture of the Duke of Buckingham, at length, in a 
 white satin suit, with a little round prospective (?) painted by him, in a carved 
 gilded frame." 
 
 A similar picture to this is at Milton House, in possession of the family of Earl 
 Fitzwilliam. It was exhibited at the British Institution in 1860, No. 2 of the 
 Catalogue. Another, the bust only, at Middleton Park, in the collection of 
 Lady Jersey. 
 
 1 Pictorial Notices; consisting of a Memoir of Sir Anthony Van Dyck, &c., by 
 W. H. Carpenter, 4to., London, 1844, is a work of great research, and indis- 
 pensable to all students of art-history. 
 
 Blenheim. 
 
38 THE LAEGE DRAWING R( K)M — continued. 
 
 (Below the Portrait of the Duke of Hamilton.) 
 
 REMBRANDT. — The Woman taken in Adultery. A large com- 
 position of six figures, half-length, life-size. The Saviour 
 stands with clasped hands confronting the woman, from 
 whose head a burly man in a Phrygian cap is lifting a veil. 
 Mentioned in Smith's Catalogue of Eembrandt's works, No. 
 113. Painted on canvas. 
 
 (Below the Portrait of the Duke of Buckingham.) 
 
 VAN DYCK.— Thomas Wentworth, Earl of Strafford, and Sir 
 Philip Main waring, his Secretary. 
 
 Dr. Waagen mentions this picture as "one of the few truly . 
 dramatic portrait pictures hy Van Dyck," page 130; and 
 Granger quotes this as the original of the engraving which 
 G. Vertue published in 1739. 
 
 The excellent condition of this picture distinguishes it 
 from the numerous repetitions. It is more minutely finished 
 than the original picture, which is now at Wentworth 
 House, and belonged to the Marquis of Eockingham. A copy 
 also, once the property of the same Marquis, is at Milton, 
 near Peterborough, to which place it was removed from 
 Harrowden and London in 1782 and 1822. Henry Heskett, 
 a painter, was much employed for the family in copying Van 
 Dyck portraits. There is a sketch for this composition at 
 Dalkeith, and a copy by Buckshorn 1 at Wentworth Castle, 
 and a repetition also at Lord Bradford's. 
 
 The Blenheim picture is described by Smith, No. 258, 
 and supposed by him to have belonged to Sir Peter Lely. 
 The Wentworth House picture, according to Dallaway, was 
 exhibited at the British Institution in 1815, and is No. 589 
 in Smith's Catalogue. 
 
 Painted on canvas. 
 
 Van Dyck seems to have derived the first idea of this composition from Titian's 
 well-known picture of Cosmo de' Medici and his secretary, Bartolommeo Concini, 
 of which several copies exist in England. The one at Kimbolton is called 
 Francis Grand Duke of Tuscany and Macchiavelli ; other repetitions are at 
 Ditchley and at Billingbear. The Cottonian one, now in the British Museum, 
 and No. 84 of the Portraits in the Long Gallery, is called Cosmo and Concini. 
 
 The points of resemblance between Titian and Van Dyck in these pictures are very 
 remarkable. 
 
 1 Walpole's Anecdotes of Painting, pages 327 and 452. 
 
 Blenheim. 
 
SMALLER DRAWING ROOM. 
 
 39 
 
 SMALLER DRAWING ROOM. 
 
 (Over the Fireplace.) 
 
 RAPHAEL. — An altarpiece painted by the artist between his 
 22nd and 24th year for the Ansidei family at Perugia, and 
 commonly known as " the Ansidei Raphael." 
 
 The date mdvii (1507) is inscribed on the picture in gold 
 letters on the border of the Virgin's blue mantle, below her 
 left elbow. 
 
 The Virgin is seated in the centre, with the infant 
 Saviour on her right knee, under a lofty canopy adorned 
 with beads of red coral. Her throne is placed on a high 
 pedestal, with two smaller ones in front, so arranged as to 
 give them the appearance of steps. Their upper- surface is 
 bright yellow ; the sides stone colour, with a broad pattern 
 in gold lines, known as the " Greek Fret," on a black band 
 under the principal cornice. The same pattern is repeated 
 in front of the canopy.. 
 
 St. John the Baptist, as a grown man, stands on the left side, 
 clad in the earner s-hair shirt with full crimson drapery, hold- 
 ing a long crystal staff terminating in a cross in his left hand. 
 On the opposite side stands St. Nicholas of Bari, a venerable 
 and beardless figure, with green mantle, mitre, and pastoral 
 staff, intently reading a large book. Three golden balls, 
 the usual emblem of this saint, are on the ground at his 
 feet. A small book lies on the left knee of the Virgin, 
 whose eyes, as well as those of the infant Christ, are bent 
 down upon it. Her left hand seems to point to a particular 
 passage, whilst the right lovingly encircles the shoulder of 
 the Child. 
 
 On a cornice along the carved heading of the Virgin's 
 throne is inscribed in gold capitals on black " sacve • mater • 
 
 CHRISTJ." 
 
 The size of the figures is somewhat smaller than actual 
 life. 
 
 The distant landscape, seen on each side of the dark 
 Blenheim. 
 
40 SMALLER DBA WING ROOM — continued. 
 
 upright canopy of the throne, is painted with remarkable 
 clearness and simplicity. 
 
 The arches and stone walls of the intermediate archi- 
 tecture are very light, and of a silvery grey in tone. The 
 colours of the figures are intensely rich; some, however, 
 have darkened by the effect of time. 
 
 Painted on panel of very great thickness, composed of the 
 Abele or white poplar, a wood very much employed by the 
 earlier Italian masters. Deal and chesnut were also fre- 
 quently used for panels ; but oak seems never to have been 
 adopted in Italy for such purposes. 
 
 Vasari states that Raphael painted this picture in 1505, the same year that he 
 executed his first fresco in Perugia. He most probably, whilst at Perugia, 
 undertook the work at the period mentioned by Vasari ; but the improved 
 drawing and workmanship of the picture, and the date inscribed on it, show 
 that he did not complete his engagement until he had again been to Florence, 
 and had studied (as Vasari paiticularly states 1 ) the works of Masaccio, Da 
 Vinci, and Buonaroti. The style and execution are not inferior in largeness 
 and freedom to those in the celebrated picture of the body of the Saviour 
 being carried to the tomb, now known as " the Borghese Entombment," which 
 Raphael engaged, on leaving Perugia in 1505, to paint for the Madam Atalanta 
 Baglioni. 2 In pursuance of this engagement he made several designs and the 
 cartoon at Florence. On his return to Perugia he immediately finished the 
 
 RAPHAEL 
 
 picture. It is inscribed in gold letters "VRBINAS. 3 and the words of Vasari 4 
 
 M'D'VII. 
 
 would seem to imply that he came from Florence for that sole and express 
 purpose. 
 
 The picture was placed in the chapel of St. Nicholas of Bari, belonging to the 
 Ansidei family, in San Fiorenzo, the church of the Serviti, at Perugia, and 
 remained there until 1764, when Lord Robert Spencer (see ante, page 15), 
 then in his 17fh year, purchased it through Gavin Hamilton for a large sum 
 of money, and an engagement to replace it with a highly-finished copy. This 
 was executed by Nicolo Monti, and still remains there. Lord Robert presented 
 this now inestimable acquisition to his brother, the Duke of Marlborough. 5 
 
 The predella or step of this altarpiece was adorned with 
 three small pictures, the centre one of which, representing 
 " St. John preaching in the wilderness,-" now belongs to the 
 Marquis of Lansdowne. It was engraved by A. Capellan, 
 with a dedication by Dr. Morison to Lord Robert Spencer, 
 who at that time possessed it. 
 
 For portrait of Lord Robert Spencer, see ante, p. 15, and also p. 136. 
 
 Described in Passavant's ' Kunstreise,' p. 173, and in 
 Dr. Waagen's work, vol. iii. p. 127. 
 
 Engraved by L. Gruner for the atlas to Passavant's 
 ' Raphael,' Taf. XI., and subsequently by the same artist on 
 a larger scale in highly finished line. It is also engraved in 
 
 1 Vasari, Le Mourner' s edition, vol. viii. p. 11, Firenze, 1852. 
 
 2 Ibid. vol. viii. p. 9. 
 
 3 See plate of Monograms and Signatures, Nos. 1 and 2, for the gold bordering to 
 
 the blue mantle of the Virgin carefully traced from the original. 
 
 4 Ibid. p. 11, and p. 12, note 1. 
 
 5 Passavant's ' Raphael von Urbino,' vol. ii. p. 43, and vol. i. p. 88. La Croix's 
 
 t ranslation of Passavant's ' Raphael,' Paris, 1860, vol. ii. p. 31. See ante, p. 15. 
 
 Blenheim. 
 
SMALLEE DRAWING ROOM — continued. 41 
 
 small, among the Raphael Holy Families, by G. Scharf in 
 Kugler's ' Handbook of Italian Painting,' edited by Sir 
 Charles Eastlake, London, 2 vols. 8vo. 1855. 
 
 The importance of this picture to artists and practical students may excuse the 
 introduction of the following exclusively technical notes, recording the writer's 
 general impressions on his first view of the picture, Jan. 11, 1856: — 
 
 " The general tone and freedom of execution indicate a period at least as late as that 
 
 of the Borghese Entombment. Painted on panel, and in admirable preservation. 
 
 Mellow; but intense in colour, like Francia or Ridolfo Ghirlandajo. The pages 
 
 of the book held by the Virgin are adorned with coloured illuminations. 
 The colour of the canopy and back of throne is intensely dark brown. The curved 
 
 architecture beyond it pale grey and silvery in the tones of Paolo Veronese. 
 
 The sky on each side a pale dull grey, growing lighter towards the horizon. 
 
 The mantle of St. Nicholas a dark glazed olive-green, with a broad brown 
 
 border and gold-line pattern on it. 
 The top of steps and pedestal of the throne, pale yellow glazed with brown-pink 
 
 and burnt-siena. 
 
 The bare leg of St. John is brownish in tint, but very pale. The toes of his foot 
 are remarkably well drawn. A long line of pale yellow is carried down the 
 shaft of the brown crozier of St. Nicholas; but there is no gilding on it. He 
 wears gloves of a grey brown colour. The pendent beads from the throne are 
 red coral, with black jet at the bottom. The Virgin's eyelids are somewhat 
 reddish. Her eyebrows very pale, and in thin fine lines with a wide space 
 over the nose between them. The golden double .rings, expressing the nimbus, 
 around the heads of the Virgin and St. Nicholas, are filled with gold dots. The 
 nimbus of St. John is without them. That of the Saviour, also in perspective, 
 has the usual addition of the form of the cross within it. 
 
 The Virgin's face is charming ; bearing considerable affinity to the Da Vinci 
 type. The gauze band across her forehead is scarcely perceptible. Her hair is 
 yellowish ; the Child's a reddish brown. Her cheeks have full colour on 
 them. The borders of the dresses are gilt, and the three balls at the feet of 
 St. Nicholas also. 
 
 There is less of lining and hatching in the modelling of this picture than may be 
 observed in many of Raphael's early works. The general direction of the lines of 
 the brush is downwards to the left : thus, ///,//. On the face of St. Nicholas, 
 however, very fine delicate cross-lines are observable about the cheeks, chin, 
 and neck. On the Virgin's right cheek many of the lines are horizontal. 
 
 The throne at the Virgin's back is hollowed like a niche, and the shadow of her 
 figure is seen on its deep brown-yellow surface. The colour of the ground on 
 which the two Saints stand is a flat, monotonous, dingy salmon-tint. The 
 crimsons are glazed. The landscape is dark rich brown, broadly and sketchily 
 expressed. The distant hills blue-grey. There is no bright blue whatever in 
 the whole picture. The eyes of Virgin and of Child also are black. The com- 
 plexion of the Virgin closely resembles that of Raphael's Madonna del Gran Duca 
 at Florence. There are light touches of gold on the hair both of Christ and 
 the Virgin. The mantle of the Virgin is a deep blue-black, the inside of the 
 hood being of the same colour. A narrow blue-and-gold band covers the left 
 shoulder of the infant Saviour, and passes in one strip across his body. The 
 fingers of the Virgin's hand are remarkably thick and blunted, a peculiarity 
 observable in many of Raphael's earliest works. The gold border to the crimson 
 dress of St. John is enriched with golden sprigs branching from it, and forming 
 what is called the Palmette or Honeysuckle ornament. Dr. Waagen's technical 
 notes on this picture, page 127 of vol. Hi., are very valuable. q g >, 
 
 (Above the Ansidei Raphael.) 
 
 GIORGIONE (School of).— A composition of four half-length 
 figures smaller than life. The infant Saviour, seated on the 
 Blenheim. 
 
42 SMALLER DRAWING ROOM — continued. 
 
 Virgin's lap, gives a palm-branch to a female saint. A 
 warrior in complete armour, holding banner and shield, 
 stands before them on the left side of the picture. Painted 
 on canvas. 
 
 (To the left of the preceding.) 
 
 SCHIDONE.— Virgin and Child. Life-size. The Virgin seen 
 to the knees. The Child on her lap leans back laughing. 
 Her right hand is raised as if in play. Very dark-brown 
 tone, with deep shadows. Her dress is red. 
 
 (Below the preceding.) 
 
 LUCA GIORDANO. — The Adoration of the Shepherds. A 
 small but elaborate composition. Painted on canvas. 
 
 (Below the preceding.) 
 
 LAMBERT LOMBARD.— Madonna and Child. The Virgin, 
 
 clad in a brown dress, is represented lifting a white coverlid 
 from the naked Child. This picture, which exhibits many 
 Flemish characteristics, was formerly attributed to Correggio. 
 Painted on panel. Described by Dr. Waagen, page 123. 
 
 (Below the preceding.) 
 
 SIR J. REYNOLDS (after Carracci.) — A fine lifesize study ol 
 the head of an old man with grey beard and brown mantle. 
 The face in profile is raised to the left. The leaves of a 
 large book occupy the lower corner. Painted on panel. 
 
 (To the right of the Giorgione.) 
 Above. 
 
 ITALIAN SCHOOL (probably CIGNANI). — Virgin and 
 Child. Figures life-size. A square picture. The Child 
 has a little cross in his right hand, and with his left holds 
 the corner of the Virgin's veil. He seems partly to kneel 
 on the front line of the picture. The upper portion of the 
 Virgin alone visible. Painted on canvas. 
 
 Blenheim. 
 
SMALLER DRAWING ROOM — continued. 
 
 43 
 
 (Below the preceding.) 
 
 LUCA GIORDANO.— The Adoration of the Magi. A companion- 
 picture to the Adoration of the Shepherds, and equally 
 characteristic of the style of the master. The principal 
 figures wear white dresses. An angel hovers above. Painted 
 on canvas. 
 
 (Below the preceding picture.) 
 
 RAPHAEL or SEBASTIANO DEL PIOMBO.— La For- 
 narina, the mistress of Raphael, represented as St. Dorothy. 
 This portrait, the size of life, seen to the elbows, repre- 
 sents a lady richly dressed turned to the left, looking at 
 the spectator, with her right hand raised to her bosom 
 holding the grey fur of a crimson mantle which partly 
 covers the arm nearest to the spectator. A narrow white 
 kerchief, folded in the Italian manner, encircles her rich 
 hair. Her left hand rests on the handle of a basket 
 containing figs, apples, and roses, the distinctive emblem 
 of St. Dorothy in Italian paintings. 1 The upper part of her 
 dress is lilac ; the sleeve white. A mountainous landscape 
 with buildings and blue sky is seen through a square 
 window to the left. Painted in a deep rich tone strongly 
 resembling the style of Sebastiano del Piombo. Described 
 by Dr. Waagen, vol. iii. page 125. An elaborate description 
 of this picture will be found in Passavant's ' Kunstreise,' 
 page 174. 
 
 Painted on panel. 
 
 Engraved in coarse line by Tho 9, Chambars, in 1765, for 
 John Boydell, and afterwards published in the first folio 
 volume, plate 23, of the work entitled ' A Collection of Prints 
 engraved after the most capital Paintings in England, by 
 John Boydell, London, 1779.' This plate was dedicated to 
 the Duke of Marlborough, and, in the French and English 
 letterpress to the volume, it is stated that the picture was 
 known under the names of 4 La Yignola ' (or the vineyard- 
 girl) and ' La Vendengeuse.' It has also been engraved, 
 bust and left hand only, by P. Peiroleri, with the inscription, 
 
 " R1TIR0 ED ONESTA' SONO I MIEI PREGI." 
 
 Both Passavant and Dr. Waagen decline to accept this picture as the production of 
 Raphael ; but they receive it as a work of superlative excellence. 
 
 A similar picture to this seems to have been at Verona in the Curtoni Gallery, 
 where it was seen by the Grand Duke Cosmo III. during his travels in 1 G64, 2 and 
 
 1 Mrs. Jameson, ' Legendary Ait,' page 337. 
 
 2 Longhena, Raphael, p. 66'2, and " II viaggio per l'alta Italia del ser principe di 
 Toscana, poi granduca Cosimo III. descritto da Filippo Pizzichi." 
 
 Blenheim. 
 
44 
 
 SMALLER DRAWING ROOM — continued. 
 
 of which Scanelli di Fori), in his ' Microeosrao della Pittura,' Cesena, 1657, p. 
 
 169, gives the earliest description as " Santa Dorotea stimata dalla maggior parte 
 
 di Raffaello." Others attribute its execution to Paolo da Verona. 3 
 The Verona portrait, head only, is engraved by Rossi in Longhena's Raffaello, page 
 
 666. 4 It then, in 1829, belonged to Signora Cavallini-Brenzoni, the heir of 
 
 Cristoforo LafTranchini. 
 The Blenheim picture is mentioned in very high terms in Longhena, page 328, note. 
 
 3 Passavant's Raphael, vol. ii. p. 429. French translation of ditto by Paul Lacroix, 
 
 Paris, 1860. Vol. ii. p. 360, No. 299. 
 
 4 Istoria della Vita e delle Opere di Raffaello Sanzio da Urbino del Signor Quatre- 
 
 mere de Quincy, voltata in Italiano di Francesco Longhena. 1 vol. 8vo. 
 Milano, 1829. 
 
 (Below the preceding.) 
 
 CARLO DOLCI.— The Adoration of the Magi. 
 
 A small and exquisitely finished picture with many figures 
 in rich dresses. The Virgin on the left side supports the 
 infant Christ standing on the wooden cradle which is placed 
 on a heap of rough square stones. The eldest of the three 
 kings, clad in a full mantle of deep crimson embroidered 
 with gold, kneels and offers to the Saviour a handsome agate 
 cup with gold cover. The Moorish king in turban kneels 
 on the left side, and Joseph stands behind in lavender dress, 
 with benign countenance. Two angels hover above, scat- 
 tering roses. The glories are indicated with shell-gold, and 
 the long rays encircling the head of the infant have a re- 
 markably soft and delicate effect. 
 
 Dr. Waagen mentions this picture, vol. iii. page 122. 
 
 Painted on canvas. 
 
 The general effect of this picture, notwithstanding the freedom of its execution, 
 bears a close resemblance to the works of the early Flemish masters, Van Eyck 
 and Memling. The rich brocades contribute very mainly to this impression ; 
 but the picture is an excellent example of the degree to which very minute 
 finish may be rendered compatible with general harmony and facility of 
 execution. 
 
 There is a corresponding picture to this, in size and beauty, at Althorp. It is by 
 the same master, and represents ' The Marriage of St. Catherine.' 
 
 (Over the door leading into the Grand Cabinet.) 
 
 IL PRETE GENOVESE.— St. Lawrence Giustiniani of Venice 
 distributing in charity, during a famine, the precious effects, 
 plate, and vestments belonging to his church. He is clothed 
 in a deacon's vestment ; his right hand grasps a silver 
 candlestick, whilst the other hand seems just delivering the 
 companion-piece of plate to an old woman whose hand is 
 already engaged in supporting it. A monstrance and chalice 
 Blenheim. 
 
/ 
 
 SMALLER DRAWING ROOM — continued. 45 
 
 lie on the table before him. An old man with a staff, on 
 the extreme right, expresses gratitude by his action. 
 
 An oblong composition, deep and brown in tone, with 
 shadows resembling Caravaggio, half-length figures, the size 
 of life. Painted on canvas. 
 
 San Lorenzo Giustiniani was born of a noble family at Venice in 1380. He fled 
 from his home and assumed voluntary poverty. Pope Eugenius IV. created 
 him Bishop of Castello, and Lorenzo subsequently became the Patriarch of 
 Venice. He died 1455, and churches were built to his honour ; but he was 
 not canonized before 1690, when Alexander VIII., a Venetian also, had 
 mounted the papal throne. 1 
 
 1 Mrs. Jameson's * Legends of the Monastic Orders,' page 217. 
 
 (Over opposite door, leading into the Large Drawing Room.) 
 
 IL CAMPIDOGLIO. — A large fruit-piece with the figure of a 
 girl in a white veil, archly peeping out from a bower of 
 fruit on the left-hand side. Melons, figs, pomegranates, and 
 grapes lie in heaps and profusion around her. 
 Painted on canvas. 
 
 This picture is particularly mentioned in Bryan's ' Dic- 
 tionary of Painters,' page 25, under the Christian name of 
 the artist Angelo. 1 
 
 1 Bryan's Dictionary of Painters and Engravers, edited by George Stanley. 8vo. 
 London, 1853. 
 
 (To the right of the preceding.) 
 
 REYNOLDS. — Caroline Duchess of Marlborough lifting her 
 infant child, afterwards Lady Clifden, with extended arms. 
 A joyous and very original composition. Figures the size 
 of life. The Duchess is seated towards the left, and looks 
 towards the spectator. Her dress is crimson with blue 
 drapery over it. The differences of costume are very 
 striking on comparison with the portrait of the same lady in 
 the family picture (see ante, page 34). Engraved in mezzo- 
 tint by J. Watson, and published in 1768. S. W. Reynolds 
 also engraved it on a small scale. 
 Painted on canvas. 
 
 (Beneath the preceding.) 
 
 REYNOLDS. — The Fortune-teller. Portraits of Lady Charlotte 
 Spencer, afterwards Lady Charlotte Nares, and her brother 
 Lord Henry Spencer. They are represented as a gipsy 
 Blenheim. 
 
SMALLER DRAWING ROOM — continued. 
 
 telling a young gentleman, in fancy costume, his fortune. 
 Whole-length figures, life-size. A most charming picture, 
 powerfully coloured. The composition remarkably spirited 
 and original. Painted on canvas with great body of colour. 
 
 Engraved by S. W. Reynolds on a small scale in his series 
 of Sir Joshua's works; by John Jones in 1789, in the dotted 
 manner ; and also by Sherwin. 
 
 Mentioned by Dr. Waagen, page 130. 
 
 An entry of a second payment for this picture of 1361. 10s. is still extant in Sir 
 Joshua's account-book, dated February, 1780. 
 
 (Below the preceding.) 
 
 BORGOGNONE. — A small battle-piece. A skirmish of cavalry 
 soldiers in steel armour ; a dying horse and prostrate knight 
 are observable in the foreground. Horsemen are also seen 
 fighting in the distance on a lower level. 
 Painted on canvas. 
 
 (Facing the fireplace, above.) 
 
 JOHN SMITH— John Duke of Marlborough, a copy of the 
 picture on the staircase at Althorp, the residence of Earl 
 Spencer. 
 
 It has been engraved by Worthington in Dibdin's work 
 called the ' iEdes Althorpiana,' page 26. Nothing is known 
 with certainty of the painter of the original at Althorp. The 
 picture is said to have been a favourite with the Duchess, 
 and to have been styled her " brown hero " from the colour 
 of the complexion. All other pictures represent him as fair. 
 
 (Below the preceding.) 
 
 KNELLER. — Sarah Duchess of Marlborough. The celebrated 
 picture engraved in ' Lodge's Portraits.' The Duchess is 
 represented seated, attired in black, with a black veil. A 
 fountain and terrace with some portion of Blenheim Palace and 
 gardens appear in the background. The Marlborough arms 
 are introduced in the sky in the upper lefthand corner of 
 the picture. A crimson curtain descends behind her on the 
 Blenheim. 
 
SMALLER DRAWING ROOM — continued. 
 
 47 
 
 right side. Figure life-size, to the knees. Tainted on 
 canvas. Mentioned by Dr. Waagen, vol. iii. page 122. 
 
 Engraved by S. Freeman for Lodge's Portraits of Illustrious Persons, vol. x. 
 
 plate 195, 4to., London, 1835. 
 The armorial bearings in this picture correspond with those painted in the Saloon, 
 
 and introduced in the borders of some of the Tapestries in the State-Rooms. 
 
 See woodcut, p. 67. 
 
 A duplicate of this picture is at Middleton Park, but without the coat of arms in 
 the background. 
 
 (Below the preceding.) 
 CUYP. — Travellers halting at an inn on the banks of a river. 
 One man has already mounted, and is seen riding away 
 under the projecting sign of the White Swan. 1 A second is 
 about to mount his horse, whilst the third, seated on a log 
 of wood, is in the act of pulling on his boots. A girl hold- 
 ing a pewter jug stands waiting to offer him a glass of ale. 
 His white horse, forming the centre and principal light of 
 the picture, is held by a sturdy little boy in a broad-brimmed 
 hat. The painter's name, signed in black letter's, below the 
 upturned trough, in front, is partially hidden by the frame. 2 
 Painted on canvas. 
 
 1 See plate of Monograms and Signatures, No. 14. 
 
 2 Ibid. 
 
 (To the right of John Duke of Marlborough.) 
 Above. 
 
 REYNOLDS. — George Spencer, third Duke of Marlborough, K.G, 
 (See ante, page 34.) 
 
 (Below the preceding.) 
 
 REYNOLDS. — The Marquis of Tavistock in crimson coat, seated 
 and resting his left elbow on a table, on which lie papers 
 and a bronze statuette of Hercules. Against the table 
 is leaning a circular picture or bas-relief of warriors on 
 horseback. In front of this again, papers, drawings, and an 
 open book are spread upon a stool. A dark yellow-brown 
 curtain hangs behind. Grey sky appears to the left. The 
 figure is seen somewhat below the knees. A finely composed, 
 admirably painted, and well preserved picture ; although 
 deep grey in general tone. 
 
 Engraved in the series of Sir Joshua's works by S. W. 
 Reynolds. Mentioned by Dr. Waagen, page 130. 
 Life-size. Painted on canvas. 
 
 Francis Marquis of Tavistock was brother to Caroline Duchess of Marlborough, 
 and father of Francis fifth Duke of Bedford (see also page 113). 
 
 Blenheim. 
 
48 SMALLER DRAWING ROOM — continued. 
 
 (Below the preceding.) 
 
 Uncertain. — A small landscape with trees and water, boats and 
 figures. 
 
 The solidity and heavy execution of the trees contradict the 
 name of Claude, which was formerly assigned to this picture. 
 A female figure, seemingly a captive, appears seated on the 
 lefthand side. A boat with small awning to it close to the 
 shore occupies the centre of the picture. The dark, heavy 
 trees contrast violently with the pale blue sky. 
 
 Painted on canvas. 
 
 I am induced by the heavy execution and fanciful costumes bestowed on the 
 figures, together with the peculiar character of the rocks and shipping on the 
 righthand side, to believe this a work of Wootton, who employed much of his 
 time in imitating, and perhaps combining, the styles of Claude and Salvator 
 Eosa. The text to Earlom's engravings from the Liber Veritatis of Claude, 
 No. 84, and Smith's Catalogue Raisonne' of Claude's Pictures, page 236, give 
 reference to a Landscape by Claude Lorraine as belonging to the Duke of Marl- 
 borough. But on turning to the engraving I find it entirely different both 
 from this picture and the small circular painting in the Duchess's Sitting-room, 
 page 100. 
 
 WALL FACING THE WINDOWS. 
 
 (Over the door leading into the Ante-Koom.) 
 Above. 
 
 RAPHAEL (School of ).— The Virgin and Child and St. John. 
 
 The Virgin is represented kneeling, and in the act of 
 raising a veil from the sleeping Jesus, whilst the infant St. 
 John, pointing to the Child, turns laughingly round to the 
 spectator. A square picture. 
 
 This composition has been frequently repeated, and may 
 be met with in various galleries, at Lord Westminster's, &c. 
 One of the best-known pictures of this subject belonged to 
 Signor Brocca at Milan, and was engraved by Bridi in 
 Longhena's translation of De Quincy's Life of Raphael. 
 A circular picture of the same composition was in the 
 Orleans Gallery. 
 
 The original cartoon, 1 by Raphael's own hand, is still pre- 
 served in the Accademia delle Belle Arti at Florence, and it 
 is doubtful whether the master himself ever executed any 
 picture from it. 
 
 Painted on canvas. Figures nearly life-size. Elaborately 
 engraved by Bettelini. 
 
 1 The cartoon is engraved by F. Ravano for the ' Galleria dell' Accademia delle 
 Belle Arti di Firenze.' Firenze, folio, 1845, tavola 59. 
 
 Blenheim. 
 
SMALLER DRAWING ROOM — continwd. 49 
 
 (Below the preceding.) 
 
 CANALETTO (School of). — A long view of Venice, showing 
 the Piazzetta, and including the base of the Campanile. The 
 porch of San Marco occupies the extreme right. 
 Painted on canvas. 
 
 (In the centre, over the large Cabinet.) 
 
 CARLO MARATTL— The Triumph of Christ over Sin, repre- 
 sented by a figure of the Virgin standing on a globe, with 
 her foot on a coiled serpent 1 which the infant Saviour, 
 held in her arms, pierces with the long staff of a cross. 
 They are surrounded by angels and angels' heads in clouds 
 and glory. A smaller globe than the one supporting the Virgin 
 appears to the left. This grand composition is one of the 
 most refined productions of the master. Full-length figures, 
 life-size. 
 
 Painted on canvas. 
 
 1 See Mrs. Jameson's ' Legends of the Madonna/ page xlix of Introduction, for 
 explanation of the globe and serpent introduced in pictures of this subject. 
 
 (To the left of the Carlo Maratti.) 
 Above. 
 
 AGOSTINO CARRACCI— Madonna and Child with St. Joseph. 
 A composition of three figures, life-size. Half-length. There 
 is an expression of weakness in the figure of the infant 
 Saviour as he leans back on the shoulder of the Virgin. The 
 head of Joseph is turned in profile to the right, and with 
 closed eyes as if blind. 
 
 Painted on canvas. Agostino Carracci himself made an 
 etching from this composition. See Bartsch, agqs 
 
 vol. xxi. page 155, No. 4. It is inscribed carac 
 
 in've. 
 
 This picture was sketched by Sir Joshua Reynolds, together with Van Dyck's 
 " Lady Morton and Mrs. Killigrew ;" the " Time and Cupid " in the Dining 
 Room, and Rubens' " Surfer little Children " in the Grand Cabinet. They 
 are combined on one page in one of Reynolds'^ sketchbooks purchased by the 
 poet Rogers at the sale of Lady Thomond's property, and after his sale in 1856 
 transferred to America. See ante, pages 23, 28. 
 
 Blenheim. 
 
 K 
 
50 SMALLER DRAWING ROOM — continued. 
 
 (Below the preceding.) 
 
 SOLIMENA. — Madonna and Child attended by angels. The 
 infant lies at length on white drapery. A square picture, 
 painted with clear and delicate colours. Figures life-size ; 
 the Virgin is seen to the elbows. Painted on canvas. 
 
 (Below the preceding.) 
 
 CARLO DOLCI. — Two small and pleasing pictures of heads 
 of the youthful Saviour and St. John ; the former holding 
 flowers, the latter a cross with the " Ecce Agnus Dei " scroll 
 twisted round it. 
 
 The head of the Saviour is similar to a well-known picture 
 by the same painter in the Munich Gallery. 
 
 (Below the preceding.) 
 
 CANALETTO (School of). — View in Venice, looking away from 
 S. M. della Salute, along the quay in front of the two columns 
 and the Palazzo Ducale. The column with S. Theodore and 
 the angle of the Libreria occupy the extreme left in fore- 
 ground. Numerous ships and prows of gondolas on the 
 Opposite side. 
 Painted on canvas. 
 
 (Beneath the preceding, in the centre.) 
 
 NOGARI. — Two small pictures, in handsome frames, of the heads 
 of an old man and an old woman : the former, dressed in 
 grey, holding a bowl ; the latter with white veil on her 
 head, resting with both hands on a crutch. 
 Painted on copper. 
 
 (To the left of the preceding pictures.) 
 
 ANNIBALE CARRACCI. — St. Dominic kneeling at an altar, 
 over which the Virgin and Child, attended by angels, appear 
 to him in clouds. A small highly finished picture in good 
 condition. Painted on copper. Mentioned by Dr. Waagen, 
 page 127. 
 
 Blenheim. 
 
SMALLER DRAWING ROOM — continued. 51 
 
 (To the right of the two pictures by Nogari.) 
 
 LUDOVICO CARRACCI. — The Virgin seated under a tree 
 with the infant Saviour in her lap, who turns to embrace a 
 female saint kneeling on the lefthand side. The cradle is 
 in the opposite corner. A small picture, an imitation of 
 Correggio, painted on panel. 
 
 (To the right of the Carlo Maratti.) 
 Above. 
 
 TITIAN. — Philip the Second of Spain, a full-length picture, life- 
 size ; a repetition of the celebrated portrait in the Studj at 
 Naples. 
 
 Painted on canvas. 
 
 The picture at Naples, which belonged to the Farnese family, is engraved by 
 Joseph Marsigli in the ' Museo Borbonico,' vol. iv. tav. 16. Napoli, 4to. 1827. 
 
 Philip II., the son of the Emperor Charles V., by Isabella of Portugal, was born 
 in 1527. He married Queen Mary of England in 1554, and died in 1598. 
 Notwithstanding his cruel religious persecutions, the world is indebted to Philip 
 for the rare and beautiful Polyglot Bible, which was printed at Antwerp in 
 eight folio volumes, 1569-72. 
 
 (Below the preceding.) 
 
 CANALETTO (School of). —View in Venice, looking along 
 the Quay in front of the Ducal Palace. The church of Santa 
 Maria della Salute appears in the centre, beyond the two 
 great columns of St. Mark and St. Theodore ; on a column 
 on the righthand side a placard is represented bearing a 
 proclamation within a wreath headed with the letter W, 
 and signed L. C. 1 
 
 1 See plate of Monograms and Signatures, No. 40. 
 
 CANALETTO (School of). — The Piazza di San Marco at 
 Venice. Looking towards the Piazzetta and the two columns 
 before mentioned, the cathedral of San Marco is on the left 
 hand. Painted on canvas. 
 
 This is the largest of the Canaletto subjects. 
 
 Blenhkim. 
 
52 
 
 SMALLER DRAWING ROOM — continued. 
 
 (To the right of Philip the Second.) 
 TITIAN. — St. Sebastian, whole-length figure, life-size, mentioned 
 by Dr. Waagen, page 122. 
 
 He stands against a tree with his right arm bent over his 
 head, the other arm turned behind him. His body is trans- 
 fixed with three arrows. 
 
 (Below the preceding.) 
 
 TITIAN.— St. Nicholas of Bari and St. Catherine. Two figures 
 from the celebrated " Gloria " of Titian, now preserved in 
 the Picture Gallery of the Vatican. The original painting 
 was executed for the church of San Niccolo dei Frarr at 
 Venice, and was removed to Rome during the pontificate of 
 Clement XIV. 1 
 
 St. Catherine holds the palm-branch of martyrdom, and 
 rests her foot on a portion of the spiked wheel which is 
 her usual emblem. This emblem is not clearly indicated 
 in Cunego's line-engraving, but it is very distinct in the 
 old contemporary woodcut of Andrea Andreani. 
 
 A brilliant picture, figures somewhat smaller than life ; 
 painted on canvas ; of square proportions. 
 
 Dr. Waagen mentions this picture, vol. iii. page 125, 
 under the erroneous denomination of " Pope Gregory and a 
 female Saint." 
 
 1 See Bunsen's Beschreibung der Stadt Rom., vol. ii. part 2, page 430 ; and also 
 the recent Florentine edition of Vasari by Le Monnier, vol. xiii. page 26. It 
 is engraved by Cunego, and also by F. Pagliuolo in Pistolesi's Vaticano, 
 vol. vi. tav. 74. 
 
 (Beneath the preceding, to the left.) 
 
 SARACENO. — The death of the Virgin. A small and elaborately 
 finished picture in brilliant colouring. Painted on copper. 
 This is very probably the picture by Carlo Venetiano (Sara- 
 ceno), sold at Sir Peter Lely's sale, No. 27, and called " The 
 Blessed Virgin and the Twelve Apostles in a Church." Size, 
 1 ft. 6 in. by 1 1 in. See Vertue's edition of the Catalogue, 
 page 42. 
 
 A duplicate of this picture is in the Pinacothek at Munich, No. 592 of the most 
 recent catalogue. Engraved in lithography by Strixner and by Merkel in line 
 for Payne's Galleries of Munich, 4to., vol. ii. page 28. Engraved by Leclerc 
 in 1619. The large engraving belongs to the series of the Calcographia at 
 Rome. 
 
 The masterpiece of Saraceno, according to Nagler, was formerly in the Orleans 
 Gallery : it represents the same subject, and now decorates the chapel of Castle 
 Howard, the seat of the Earl of Carlisle. 1 It corresponds in almost every point, 
 excepting scale, with the pictures at Munich and Blenheim. 
 
 1 Waagen, vol. iii. page 324. The figures are as large as life, and the subject is 
 the Death of the Virgin. 
 
 Blenheim. 
 
SMALLER DRAWING ROOM — continued. 
 
 53 
 
 (To the right of the Saraceno. ) 
 Uncertain. — The Annunciation. A small picture. The Virgin 
 is seated at a table with a book on it : a dove and a cat lie 
 on the ground at her feet. The action of the figures is 
 greatly exaggerated. The angel, clad in heavy drapery, 
 soars, in accordance with the taste of Michel Angelo, without 
 wings. The style of this picture is between Battista Franco 
 and Goltzius. Painted on panel. 
 
 The attitude of the Virgin corresponds exactly with a 
 study for this subject by Michel Angelo among the Lawrence 
 Drawings. No. 60 of Woodburn's Catalogue in 1836. 
 
 * # * Against the wall facing the windows stands a magnificent 
 Cabinet of Ebony and Gold. It is supported in front by six black 
 statues, placed two and two, standing on six crouching sphinxes. 
 The front of the cabinet is decorated with three female figures in 
 golden niches. Between them are two large panels containing 
 bas-reliefs, which represent "Joseph interpreting the dreams of 
 Pharaoh " and the " Triumph of Joseph." Beneath each panel is 
 a medallion of a Roman Emperor ; they are at once recognized as 
 Nero and Domitian. On the left side of the cabinet, towards the 
 larger Drawing Room, is a bas-relief of " Joseph and Potiphar's 
 wife " adopted from the composition by Raphael, 1 and on the oppo- 
 site side is "Joseph interpreting the dreams of the Butler and 
 Baker in prison." Beneath these are small long bas-reliefs of 
 sacrificing, feasting, corn-reaping, and the Graces dancing. 
 
 The female statues in the gilded niches hold an anchor, pen, and 
 book, and the sacramental chalice upon a book. 
 
 The carving is excellent, and of French or German workmanship 
 early in the sixteenth century. 
 
 1 One of the compartments of the Loggie in the Vatican, and well known by 
 Marc Antonio's engraving. 
 
 In the same apartment is a small square table plated with porce- 
 lain beautifully enamelled with flowers on a white ground. It 
 belonged to Marie Antoinette. 
 
 Blenheim. 
 
54 
 
 THE GRAND CABINET. 
 
 THE GRAND CABINET. 
 
 This apartment has retained its name from the time of the First 
 Duke, who mentions it by that designation in one of his letters 
 from abroad. 
 
 (Over the fireplace, above.) 
 
 JORDAENS. — The Deposition, or the dead body of our Saviour 
 mourned by the Virgin and others after the Crucifixion. 
 
 A composition of eight figures, life-size, impressed with a 
 peculiar solemnity of tone and expression. The dead body 
 of the Saviour lies supported by the Magdalen in front of the 
 Virgin seated alone in the centre of the picture. A second 
 holy woman is at the feet of Christ, whilst a third, much 
 more aged and dressed like a nun, approaches on the extreme 
 right with a golden salver. Three Apostles stand in atti- 
 tudes of grief in the background, the eldest of whom rests 
 his arm on a step of the ladder, which is the only indication 
 of the locality. No portion of the cross, not even the stem, 
 to which the ladder would be attached, is visible. A silver 
 jar and basin, and the paper bearing the inscription which 
 Pilate wrote, lie at the feet of the Magdalen. St. John, a 
 heavy figure such as is seen in early German art, and clad 
 in cumbrous crimson drapery, stands to the left of the Virgin 
 wringing his hands. This picture is mentioned as a chef- 
 d'oeuvre of Jordaens in Smith's Catalogue Raisonne of the 
 Works of Rubens, page 359. It was formerly placed in the 
 chapel of this Palace. 
 Painted on canvas. 
 
 (Below the preceding.) 
 
 RUBENS. — "Suffer the little children to come unto me." St. 
 Mark, chap. x. verses 13 and 14. 
 
 The Saviour, seated in a stone seat, is in the act of 
 blessing the eldest of four children introduced by the 
 parents. Three Apostles stand round the Saviour. A com- 
 position of ten figures, life size, half-length. 
 Blenheim. 
 
THE GKAND CABINET — continued. 55 
 
 The painter has evidently made use of this historical 
 event in the life of our Lord to form an impressive portrait 
 group. Smith, who describes this picture in his Catalogue, 
 No. 845, attributes it to Diepenbeck ; whilst Dr. Waagen, 
 vol. iii. page 125, although struck by the unusual style of 
 execution, seems satisfied with its authenticity. The child 
 in the right hand corner, with coral beads, was sketched by 
 Sir Joshua Reynolds in the note-book previously referred 
 to (see ante, page 49). This picture is attributed in the 
 'English Connoisseur,' a work published as far back as 1766, 
 to a scholar of Eubens. 
 
 Painted on canvas. 
 
 (To the right of the Jordaens.) 
 Above. 
 
 VENETIAN SCHOOL. — Portrait of a man, with a dark beard 
 and very little hair on the head, in a black dress seen to the 
 waist. Probably painted by Moroni. The expression of 
 countenance is remarkably fine. Painted in delicate grey 
 tones ; the background a plain warm grey tint. Life size. 
 Painted on canvas, of a square shape. 
 
 (Below the preceding.) 
 
 HOLBEIN. — Portrait of a young man, painted in the style of 
 Leonardo da Vinci. He wears a black hat, holding the 
 drapery from his left shoulder with his right hand ; pale 
 countenance looking at the spectator. The figure is turned 
 to the left. 
 
 Mentioned by Passavant in his ' Kunstreise,' page 178. 
 Horace Walpole also speaks of this picture, and calls it 
 " a very lively head of a young man," 1 page 94 ; and page 
 79 of the 4to. edition, 1798. 
 
 Tainted on panel. 
 
 1 The expression of the young man is far from lively in the modern sense of the 
 word. Walpole probably meant life-like. 
 
 (Below the preceding.) 
 
 RUBENS. — Head of a female, life-size, turned to the left, in a 
 circular frame. 
 
 Blenheim. 
 
56 
 
 THE GRAND CABINET — continued. 
 
 (Below the preceding.) 
 
 WOUWERMAN. — Landscape, with waggon and horses, a woman 
 holding a child in her arms, and a man in the corner. 
 A small square picture of brownish tone. 
 
 (Below the preceding.) 
 
 M. RICCI. — Moonlight scene, with a large rocky arch to the right, 
 under which the Holy Family are passing on their flight 
 into Egypt. An angel hovers above them swinging a 
 censer. A small, pale, pleasing picture in mellow tone. 
 On canvas. 
 
 (Below the preceding.) 
 
 RUYSDAEL. — Landscape. Open fields, with figures at the bend 
 of a road. The spire of a village-church rises on the right. 
 This little picture closely resembles the style of Pynacker. 
 On panel of oblong shape. 
 
 (Below the preceding.) 
 
 VAN DER NEER. — Landscape, highly finished and in glowing 
 colours. A windmill is seen across the water to the extreme 
 right. The artist's monogram is in the foreground in light 
 yellow letters upon deep brown. 1 A small picture, exqui- 
 sitely finished, and of great beauty. Both this and a second 
 picture by the same master are mentioned by Dr. Waagen, 
 vol. iii. page 127. 
 Painted on panel. 
 
 1 See plate of Monograms and Signatures, No. 16. 
 
 (Over the door, to the right of the fireplace.) 
 
 RUBENS. — The Holy Family assembled in an apartment, with 
 a large chimney on the right-hand side. A large upright 
 picture, with figures the size of life. The Virgin, in a red 
 dress, is seen seated, in profile, to the left, and forms the 
 centre of the picture, holding the naked infant Saviour, who 
 raises his hand endearingly to her face ; the youthful St. 
 John on the left hand, clad only in a goat's skin, stands at her 
 knees, with his back to the spectator, and gazing earnestly 
 Blenheim. 
 
THE GRAND CABINET — continued. 
 
 57 
 
 at the Saviour, presents a lamb which jumps up beside him. 
 Joseph also puts his hand to the lamb. Elizabeth, on the 
 opposite side, with pleasure in her face, rests both her 
 hands on the head of the cradle in the foreground, and ob- 
 serves their movements intently. 
 
 Described in Smith's Catalogue, No. 837, but not men- 
 tioned by Dr. Waagen. Engraved the reverse way by 
 Vorsterman, and dated 1620. 
 
 A very fine drawing, of a circular form, by Eubens for 
 this composition was recently acquired from the Lawrence 
 and W oodburn Collections for the British Museum. 
 
 WALL NEXT TO THE SMALLER DRAWING ROOM. 
 
 (Over the Door.) 
 
 RUBENS. — The Eeturn of the Holy Family from Egypt. The three 
 figures advance to the left. The youthful Saviour is seen 
 walking between the Virgin and Joseph, the latter of whom 
 leads the ass, and is pointing the wa}^. The Saviour has a 
 short staff in one hand, and with the other holds that of the 
 Virgin, who wears a broad brimmed hat with a white veil 
 falling over the side of it. A palm tree is conspicuous 
 among other trees in the centre of the background ;* water 
 and low mountains appear to the left. 
 
 This picture possesses remarkable brilliancy, and at the 
 same time great simplicity of execution. It is described in 
 Smith's Catalogue, No. 830, and also by Dr. "Waagen, 
 vol. iii. page 124. 
 
 Various repetitions of this composition are to be met 
 with. One of the finest, and at the same time converted 
 into a different shape by having greater width than height, 
 is at Holkham, the seat of the Earl of Leicester. 1 Engraved 
 the reverse way by Vorsterman in 1620, and also by M'Ardell. 
 Mrs. Jameson, in a note at page 75 of her translation of 
 Dr. Waagen's ' Essay on Rubens,' especially mentions this 
 picture. 
 
 Figures of the size of life. Painted on canvas. 
 1 Waagen, vol. iii. p. 419. 
 
 Blenheim. 
 
58 
 
 THE GKAND CABINET — continued. 
 
 (To the left of the preceding, between the door and windows.) 
 Above. 
 
 RUBENS. — The Departure of Lot and his Family from Sodom. 
 Presented by the City of Antwerp to the great Duke of 
 Marlborough. 
 
 A winged angel urges Lot forward, who turns back re- 
 luctantly to the right ; his wife is seen, in profile, beyond 
 him shedding tears ; the daughters follow laden with bundles 
 and baskets. Massive columns, as in Eaphael's cartoon of 
 the Beautiful Gate, form the background. A second angel 
 behind Lot points back to the right; a small white dog 
 bounds forward in advance of all the figures. 
 
 Figures the size of life. A brilliant picture. Described 
 in Smith's Catalogue, No. 826, and by Dr. Waagen, vol. iii. 
 page 124. Engraved by Yorsterman. Painted on canvas. * 
 
 (Below the preceding.) 
 In the centre. 
 
 CARLO DOLCI. — The "Mater Dolorosa," called also "La 
 Madonna colle Stelle." The Virgin Mary enveloped in a 
 dark blue mantle, and with eight golden stars in the faint 
 gold-tinged nimbus, or glory, round her head, looks upward 
 with an expression of intense devotion and resignation. She 
 seems to be kneeling at the foot of the cross. The figure, 
 the size of life, is seen three-quarter length. The general 
 tone is deep and solemn. The background is composed of 
 dark, heavy clouds. 
 
 This, the chef-d'oeuvre of a very popular painter, has 
 elicited encomiums both from Dr. Waagen, vol. iii. p. 124, 
 and from Passavant, p. 175, who should be remembered as 
 his precursor in investigating the treasures of this country. 
 
 Painted on canvas. In an octagonal frame. Called " Mary 
 Magdalen " in the ' English Connoisseur.' It has been finely 
 engraved at Berlin in line for Messrs. Graves of Pall Mall, 
 by Eduardo Mandel. 
 
 The print is dated 1848. 
 
 Blenheim. 
 
THE GRAND CABINET — continued, 59 
 
 (To the left of the preceding.) 
 
 RUBENS. — His own portrait, dressed in black and wearing a 
 black hat. Life size, turned to the right. A duplicate of 
 the pictures in Florence, 1 and in the Royal collection at 
 Windsor. Mentioned in Smith's Catalogue, No. 844. 
 Painted on canvas. 
 
 1 Zannoni, Galleria di Firenze ; Ritratti di Pittori, vol. ii. p. 151. 
 
 (To the right of the Carlo Dolci.) 
 
 RUBENS. — Paracelsus. The name given to the portrait of a 
 remarkably fat, beardless, and ruddy complexioned young 
 man. He is represented facing the spectator, and looking 
 over a stone parapet on which he rests his left hand ; the 
 right holds a small book. The heavy brown fur to his cap, 
 which partially shows the red lining, gives him a singularly 
 wild appearance. The distant landscape, with a fortress 
 upon a winding river and a bridge across it, is very blue in 
 tone. Paracelsus died 36 years before Rubens was born. 
 
 Described in Smith's Catalogue, No. 827, and by Dr. 
 Waagen, vol. iii. page 124. 
 
 A portrait of Paracelsus, a small piece, occurs at page 20 of the " English 
 Connoisseur," in 1766, but the name of the painter is not mentioned. 
 
 Painted on panel. 
 
 Paracelsus was a noted empiric. He was the son of a physician, and born near 
 Zurich in 1493. In 1526 he was chosen Professor of Medicine and Philo- 
 sophy at Basle. During his travels Paracelsus had acquired considerable prac- 
 tical knowledge ; but his early education had been entirely neglected by his 
 father. He assumed the compound appellation Philippus Aureolus Theophras- 
 tus Paracelsus Bombast ab Hohenheim Eremita. Bombastus is said to have 
 been the family name. Notwithstanding his boasted possession of the Philo- 
 sopher's Stone and the Elixir of Life, he died in poverty at an hospital at 
 Salzburg, 1541, at the early age of forty-eight, 
 
 (Beneath the preceding.) 
 
 RUBENS. — The Distribution of the Rosary. 1 A finished sketch, 
 on panel, for a large altar-piece. 
 
 1 The use of the Rosary, first instituted by St. Dominic during his sojourn in 
 Languedoc, was revived by Alanus de Kupe, an English Dominican monk, in 
 1460. It was not, however, till after the victory over the Turks at Lepanto 
 in 1571 that the rosary became prominently introduced in art. Pope Gregory 
 
 Blenheim. 
 
60 THE GRAND CABINET — continued. 
 
 The Virgin, seated on a lofty and architecturally adorned 
 throne, gives a rosary to St. Dominic as he stands with 
 St. James and St. Thomas Aquinas on her right hand ; whilst 
 the infant Saviour, standing on his mother's lap, lays his 
 hand on the head of the Magdalen, who reverently kisses 
 his foot ; St. Theresa and St. Francis are behind her on the 
 extreme right. Four winged angels stand on a lower 
 eminence at the feet of the Virgin, and assist in distributing 
 rosaries to the three kneeling potentates of the Imperial 
 family. Cushions are placed on the ground both for their 
 knees and for crowns beside them. The Archduke Fer- 
 dinand kneels alone, on one knee, below St. Dominic. The 
 Archduke Albert and Isabella are together on the right 
 side below St. Catherine ; the former is receiving a rosary 
 from the boy angel at the feet of the Virgin ; Isabella 
 appears wrapt in contemplation. The group of three saints 
 on the right hand worshipping the Saviour have no direct 
 reference to the rosary. 
 
 The front kneeling figures are remarkable not only for 
 portraiture, but for the extreme richness and details of 
 their costume. As St. Theresa, so prominently introduced, 
 was not canonized by Gregory XV. till 1621, 2 and as the 
 Archduke Albert died in the same year, we may reasonably 
 assign that date to the picture. Indeed the death of the 
 Archduke would satisfactorily account for the picture never 
 having been executed on a large scale. Dr. Waagen, however, 
 page 130, assigns it to the first years after Rubens' return 
 from Italy in 1608. Smith describes this picture in his 
 Catalogue Raisonne, No. 843, but with many inaccuracies. 
 
 Painted on oak panel, prepared with a white plaster 
 ground. 
 
 XIII. instituted the Festival of the Kosary to commemorate the overthrow of 
 the infidels, and from that period the " Madonna del Rosario " became a frequent 
 subject with painters. Don Ferdinand, for whom this altarpiece was probably- 
 intended, and who is here represented in the act of receiving a rosary from 
 the Apostle of Spain, was born in the same year as the battle of Lepanto, 1571. 
 A very interesting picture of this subject, painted by M. A. da Caravaggio, 
 is now in the Gallery at Vienna. See Haas, Galerie de Vienne, vol. ii. 
 pi. 78. 
 
 2 Mrs. Jameson, Mon. Ord., p. 439. 
 
 (Beneath the Portrait of Rubens.) 
 
 PALAMEDES. — A family picture, consisting of six figures in 
 an apartment : the gentleman and lady are seated at table ; 
 the former has his hand on the arm of a boy holding 
 cherries ; a lady, in a broad-brimmed hat, is leading a child 
 Blenheim. 
 
THE GRAND CABINET — continued. 61 
 
 away from the table, at the foot of which a young man is 
 seated. Three of the figures wear large drooping frills and 
 black dresses. A handsome Turkey carpet covers the table, 
 and a metal flagon remains on it. A very carefully finished 
 picture. 
 
 Painted on panel. 
 
 (Beneath the Carlo Dolci.) 
 
 P. FRANCK. — The Passage of the Israelites through the Red 
 Sea and the Destruction of Pharaoh's Host. A small but 
 brilliantly coloured picture, with crowds of figures, abun- 
 dantly characteristic of " Old Franks," as this painter is 
 commonly called. It is signed and dated 1621, 1 on the side 
 of a chest in the lefthand corner. A group of Elders look- 
 ing at the bones of Joseph in a stone sarcophagus is in 
 accordance with the passages in Exodus, chap, xiii., v. 19, 
 Genesis, chap, xlvii., v. 30, and Genesis, chap. L, v. 25. They 
 were finally buried in Shechem : Joshua, chap, xxiv., v. 32. 
 Painted on panel. 
 
 1 See plate of Monograms and Signatures, No. 9. 
 
 (To the right of the Return from Egypt.) 
 Above. 
 
 RUBENS. — " Filial Piety." Mrs. Jameson observes of this pic- 
 ture : "This difficult and delicate subject is treated with 
 exceeding refinement and discretion; the expression is 
 noble and affecting; and the colouring, as usual, most 
 admirable." Described by Dr. Waagen, page 124, and in 
 Smith's Catalogue, No. 842. Two figures of this group are 
 engraved by Alex. Voet. Figures the size of life. 
 Painted on canvas. 
 
 Lord Byron, in his • Childe Harold,' canto iv., devotes four stanzas to this 
 subject. His friend Sir John Cam Hobhouse (now Lord Broughton) cites the 
 ancient authorities for it in his volume of the ' Historical Illustrations,' page 
 295, beginning with the 148th canto. 
 
 " There is a dungeon, in whose dim drear light 
 What do I gaze on ? Nothing : look again ! 
 Two forms are slowly shadowed on my sight — 
 Two insulated phantoms of the brain : 
 It is not so ; I see them full and plain — 
 An old man, and a female young and fair." 
 
 Festus mentions that a Temple of Piety was built at Rome on a spot where a 
 woman once lived who had nourished her father in prison with her own milk, 
 and was thus the occasion of his being pardoned. Valerius Maximus gives 
 their names Perus and Cimon (Lib. v. Externa, No. I). There was also a 
 celebrated antique painting of this subject. 
 
 Blenheim. 
 
62 
 
 THE GEAND CABINET — continued. 
 
 (Below the preceding.) 
 
 TENIERS. — A small oblong picture of the interior of a cottage, 
 with an old woman seated at a spinning-wheel, and an old 
 man warming his hands at a fire. A green curtain down 
 the right side. Painted on panel. 
 
 (Below the preceding.) 
 
 JAN STEEN. — Three men seated at a table ; the lefthand figure 
 holds a pipe, the one in the centre holds a jug, and, by the 
 action of his right hand, seems to express disapprobation of 
 what the first has been saying, whilst the third, who rests 
 one leg on a bench, is smelling a round fruit, and holding 
 his hat in the other hand. The picture thinly and sketchily 
 painted, very much in the manner of Heemskirk. 
 
 Painted on oaken panel, and branded in the centre on the 
 back with a peculiar device. 
 
 (To the right of the Baroccio.) 
 Above. 
 
 Uncertain (in imitation of Rembrandt). — A small square pic- 
 ture representing two men on the ground supporting a dying 
 figure clothed in white drapery. A winged angel sweeps 
 past on clouds to the left. 
 
 (Below the preceding.) 
 
 TENIERS. — A small oblong landscape, very pale in colour. 
 Small figures in foreground ; a gipsy telling a man in a red 
 cap his fortune. A cross is fixed in the ground to the right, 
 below which are the painter's initials, D. T. 1 
 
 1 See plate of Monograms and Signatures, No. 15. 
 
 (Below the preceding.) 
 
 GONZALES COQUES. — Portraits of a Dutch family, a most 
 admirably-painted picture. The Terrace with the Atlantis 
 figures and distant landscape occur in other pictures both 
 by Coques and by Eubens, viz., in the Duchess of Buck- 
 ingham and children, the property of Sir Culling Eardley, 
 Bart. 
 Blenheim. 
 
/ 
 
 THE GRAND CABINET — continued. 63 
 
 Dr. Waagen mentions this picture with great commenda- 
 tion, vol. iii. page 126. Inscribed at the back of the panel, 
 " Lord Portmore bought this picture, April, 1730." 
 
 Described by Smith in his Catalogue of the works of Gon- 
 zales, No. 21. 
 
 Painted on panel. 
 
 ON WALL BY THE SIDE OF FIREPLACE. 
 
 (To the left of the Jordaens.) 
 
 RUBENS. — The Adoration of the Magi. 
 
 A large composition with figures of lifesize. A repetition 
 of the picture in the Louvre, which was painted for the 
 church of the Annunciation at Brussels. Described by Dr. 
 Waagen, page 125, and by Smith in his Catalogue Eaisonne, 
 No. 840. 
 
 Painted on canvas. 
 
 (Below the preceding.) 
 To the left. 
 
 RUBENS (School of). — The infant Saviour caressing a lamb 
 which kneels before him, presented by the youthful St. 
 John. A landscape background, with a distant brook to the 
 extreme left. 
 
 A large line-engraving exists of a similar composition to 
 this, but with the figure of Christ in a long tunic. 
 Painted on canvas. 
 
 This picture was purchased abroad by Susan Duchess of 
 Marlborough, grandmother of the present Duke. 
 
 (Below the preceding.) 
 
 NEEFFS. — Interior of a church, the figures probably by the 
 elder Teniers. An excellent picture. Mentioned by Dr. 
 Waagen, page 122. 
 
 Painted on panel, and signed peeter neeffs. 1 
 Two ladies in this picture wear a similar head-dress to the 
 one observed in the portrait of Rubens's second wife (see 
 ante, page 30). 
 
 1 See plate of Monograms and Signatures, No. 12. 
 
 Blenheim. 
 
64 
 
 THE GRAND CABINET — continued. 
 
 (Below the preceding.) 
 In the centre. 
 
 BAROCCIO. — Whole-length portrait of a boy, life-size, in the 
 robes of the Order of Santiago of Spain, standing on a bare 
 pavement in front of a chair, on which is hung a round 
 white hat adorned with a white and red feather ; the Eed 
 Cross of Santiago is on the breast of his white mantle ; his 
 under-dress crimson, with white leggings and shoes. The 
 background dark crimson. A remarkable picture, painted 
 in a very silvery tone and delicately modelled. Much com- 
 mended by Dr. Passavant in his ' Kunstreise,' page 175, 
 but erroneously styled a youthful Knight of St. John. 
 
 It was this form of cross which Philip IV. bestowed upon Velasquez by means 
 of a red-paint brush applied to the artist's own portrait, according to the well- 
 known anecdote. (See Stirling's Spanish Painters, vol. ii. pp. 651 and 657.) 
 This same cross also appears on a portrait of Ribalta belonging to Sir Wm. 
 Eden, Bart., which was No. 230 of the Manchester Exhibition in 1857. It is, 
 again, conspicuous on a portrait attributed to Van Dyck, dated 1630, in the 
 collection at Warwick Castle. No. 618 of Smith's ' Catalogue Raisonne.' 
 
 Painted on canvas. 
 
 (Below the preceding.) 
 
 WATTEAU. — "Lies plaisirs du Bal." Ball-scene in a large 
 arched vestibule, with figures forming animated groups ; 
 a rich garden landscape beyond ; two persons, a lady and 
 gentleman, the former with her back to the spectator, are 
 dancing alone. A similar composition to this, with the 
 exception of a rich beaufet of tiers of gold plate and cary- 
 atides, in lieu of the fountain of a female emptying a vase, 
 has been engraved the same size by Scotin. At that time 
 the picture belonged toM. Glucq, " Conseill re au Parlement." 
 A repetition tallying with Scotin's engraving is in the 
 Dulwich Gallery, No. 210, under the name of " Le Bal 
 Champetre." Another repetition of the highest quality, and 
 corresponding also with Scotin's engraving, is at Wroxton 
 Abbey. 
 
 Painted on canvas. 
 
 (To the left of the Baroccio.) 
 Above. 
 
 NIEULANDT. — The Baptism of our Saviour. A small picture 
 crowded with figures. 
 
 Blenheim. 
 
THE GEAND CABINET — continued. 65 
 
 (Below the large Adoration of the Magi.) 
 In the centre. 
 
 BRAUWER. — Portrait of a man, bareheaded, with moustache 
 and dark hair, in a black dress, with plain white collar, 
 the head turned, and looking to the left, A very small 
 picture. Painted on panel. 
 
 (Below the preceding.) 
 
 BREUGHEL. — Orpheus, in a blue-green landscape, surrounded 
 by every variety of animals. A curious small picture painted 
 on copper. Attributed by Dr. Waagen, page 123, to Poland 
 Savery. 
 
 (Below the preceding.) 
 
 TENIERS. — An interior, with figures. A composition of seven 
 figures : three are playing at cards, two watching the 
 game, and two figures are at the chimney in the background. 
 An exquisitely finished picture, though cold in tone, painted 
 on copper and signed with, the artist's name at full-length. 
 The figure of the young man in blue, whose face is turned, 
 in profile, to the left, is very excellent. 
 
 (Below the preceding.) 
 
 TENIERS. — A small caricature picture of three monkeys dressed 
 as monks, two of them conversing, and the third seated at 
 a distance under a shed by the side of a river. Cold in tone. 
 Painted on panel. 
 
 (Below the Adoration of the Magi.) 
 To the right and next to the fireplace. 
 
 WYCK. — King William III. at the battle of the Boyne, which took 
 place July 1, 1690. He is represented in a blue coat and 
 black hat, wearing the ribbon of the Garter, mounted on a 
 white charger galloping to the right ; cavalry are seen 
 Blenheim. f 
 
66 
 
 THE GRAND CABINET — continued. 
 
 crossing the river in the background. A rather long picture, 
 brown and green in general tone. Signed on the right-hand 
 sandy bank in black flourishing letters "J. van Wyck," 
 and dated 1692. 1 
 Painted on canvas. 
 
 King William III., the grandson of Charles I. of England, was born 1650. He 
 married Mary, the eldest daughter of King James II., 1677. At the invitation 
 of the people of England, he landed at Torbay, Nov. 5, 1688. His Queen, 
 Mary, died 1694. 'His own death was caused by the fall from a horse, between 
 Kensington Palace and Hampton Court, March 1702. 
 
 1 See plate of Monograms and Signatures, No. 27. 
 
 (Below the preceding.) 
 
 BREUGHEL, — The destruction of Troy and the escape of iEneas 
 and Anchises, A curiously finished picture, with much 
 prevalence of blue and of salmon-colour among the distant 
 buildings. Painted on one large sheet of copper. There are 
 traces of a signature with black letters in the foreground, 
 but they have not hitherto been satisfactorily deciphered. 2 
 
 The picture assuredly belongs, at least, to the School of this painter. 
 2 See plate of Monograms and Signatures, No. 21. 
 
 Blenheim. 
 
/ 
 
 THE SALOON, OR INNER HALL. 07 
 
 The Arms of the first Duke and Duchess, painted in the doorway-recesses of the Saloon. 
 
 THE SALOON, OR INNER HALL. 
 
 The ceiling and decorations on the walls of this apartment are 
 entirely painted by Laguerre. They are generally regarded as his 
 masterpiece. 
 
 With the exception of the rich marble door-cases and chimney- 
 pieces — the former being remarkable for their bold projection and 
 ornaments — the entire surface of the Saloon is decorated with the 
 brush alone. The walls are made to display a lofty and handsome 
 architectural facade covering a terrace or raised gallery, supported 
 by fluted marble columns of the Composite order, and enriched 
 with a highly decorated entablature. Above this, on the curve of 
 the ceiling, is an upper story, adorned with stone statues, both male 
 and female, called Canephorce, which again serve to support the 
 roof. In the centre on each side, between the statues, are trophies 
 of arms, and in the remaining spaces between the Canephorce are 
 circular apertures, through which groups of soldiers appear in 
 various attitudes. Under the colonnade, below, and as if walking 
 along the terrace, are depicted persons of various countries. On 
 
 Blenheim. f 2 
 
68 THE SALOON, OR INNER HALL — continued. 
 
 the right-hand wall, entering from the Great Hall, may be seen a 
 portrait of the artist himself, with his name inscribed on the marble 
 slab in front ; 1 and next to him a portly clergyman, traditionally 
 said to represent Dean Jones, chaplain to Sarah Duchess of Marl- 
 borough. On the opposite wall an elderly figure in a closely- 
 buttoned blue coat, with hat under arm, and with a military air, is 
 evidently a portrait. The other characters represent the Scotch, 
 Dutch, and Swedish, African, Chinese, and Spanish nations. The 
 figures verge upon caricature ; those only next to the Chinese with 
 the umbrella look up and seem to be aware of the excitement which 
 prevails in the higher regions. The figures are not numerous 
 enough to produce an effect of animation or interest so as to 
 accord with the great deeds of warfare and victory allegorized on 
 the ceiling. 
 
 The entire surface of the ceiling is occupied with a grand and 
 well-painted allegory of the career of the first Duke of Marl- 
 borough. The illustrious hero is represented in ancient Roman 
 costume, rushing at full speed in a chariot over struggling war- 
 riors and helpless river-gods. Time, scarcely able to keep pace 
 with him, flies at his chariot-wheel, whilst, in the air above, Mars 
 and Minerva precede and combat for him. His strength and labour 
 are personified in Hercules overcoming the Lernean Hydra. 
 
 The victorious progress of the Duke is, however, about to be 
 arrested by Peace — a beautiful female clad in white — who holds 
 his arm, and points, at the same time, to a group of Mercury and 
 other personages, denoting the interest of commerce, whilst Truth 
 or Prudence holds a mirror before him. Queen Anne and the 
 municipal authorities of her realm are likewise introduced in the 
 left-hand corner. Plenty follows in the train of Peace, and Victory 
 with her palms may be recognized hovering over the figure of the 
 Duke in the centre. 
 
 Within the deeply-recessed headings of the carved door-cases are 
 painted on white marble the arms of the first Duke, surrounded by 
 the Garter, on a black double eagle, surmounted with an electoral 
 crown, as a Prince of the Holy Roman Empire. 2 
 
 The arch over each door is surmounted by a ducal coronet 
 sculptured in white marble, next to which, on the wall, are painted, 
 as supporters, winged youths seated, holding circular shields, and 
 remarkable for the beauty and spirit with which they are drawn. 
 Above the doors, on three sides of the apartment, are painted large 
 medallions, with bas-relief figures, expressing the powers of com- 
 
 1 See plate of Monograms and Signatures, No. 29. 
 
 2 The same coat of arms is represented on the preceding page, and also on the 
 
 portrait of Sarah Duchess of Marlborough (see ante, p. 47). The arms like- 
 wise surmount the tapestries in State Apartments and Bedrooms (see post, pp. 
 76, 139, and 200). 
 
 Blenheim. 
 
THE SALOON, OR INNER HALL — continued. 
 
 69 
 
 merce and literature. In the medallion over the door leading into 
 the Great Hall, Mercury is seen with the caduceus, and the winged 
 cap or petasus, detaining a seated figure of Victory in chains. 
 Above the entrance to the State-rooms he raises a female from 
 the ground, showing the reviving influence of trade, and in the 
 opposite medallion he appears guiding the hand of a crowned 
 female, with pen on paper, expressive of the power of letters both 
 for diplomacy and history. 
 
 The two busts of Caracalla, and a Roman Consul, on the chimney- 
 pieces, together with two small statues of recumbent females, on 
 side tables, are of beautiful, although modern, workmanship. 
 
 Blenheim 
 
70 
 
 STATE APARTMENTS. 
 
 STATE APARTMENTS. 
 
 FIRST APARTMENT ENTERING FROM THE SALOON. 
 
 (Over the fireplace.) 
 Above. 
 
 ROMNEY. — George Spencer, third Duke of Marlborough, K.G., 1 
 1779. A full-length portrait the size of life. 
 Painted on canvas. 
 
 This picture has been engraved in mezzotint by John 
 Jones, and published in 1780. An impression, taken on 
 white satin, is preserved in a firescreen in the third State 
 Apartment. 
 
 1 See ante, page 34. 
 
 (Below the preceding.) 
 
 ALESSANDRO TURCHI, called also Orbetto and Alessandro 
 Veronese. — The raising of Lazarus. A long composition, 
 painted on black marble. The figures are divided into six 
 groups. This picture was formerly in the Chapel of the 
 Palace. 
 
 (Over the entrance-door.) 
 
 JORDAENS. — The death of Adonis. The body lies extended on 
 the ground. Venus laments him with passionate action, 
 whilst Cupid stands at his head to the left. The background 
 is a dark landscape ; three dogs are visible towards the feet 
 of the youth, and also a hunting-bugle. The fatal boarspear, 
 stained with blood, is not omitted. 
 
 The composition of this picture is very similar to one by Schut in the gallery at 
 Vienna, representing the Death of Leander. See vol. ii. pi. 151, of Haas's 
 Galerie de Vienne. 
 
 (Between the door and window.) 
 Above. 
 
 M. RICCI. — Two landscapes. 
 
 Blenheim. 
 
STATE AP ARTMEN TS — continued. 
 
 71 
 
 (Below the preceding.) 
 LANCRET. — Figures by roadside fountain. A fancy composition 
 painted on canvas. 
 
 ROTTEN HAMMER. — Mars and Venus ensnared by Vulcan, 
 and exposed to the ridicule of the gods of Olympus. An 
 elaborate picture with numerous figures. 
 Painted on copper. 
 
 (Over door leading into the Second Apartment.) 
 LAIRESSE. — A sleeping Nymph surprised by a Satyr. Two 
 Cupids attend her. 
 
 Painted on canvas in the style of Luca Giordano. 
 This picture seems to correspond with one attributed to 
 Eubens in the earlier catalogues. 
 
 (Between the door and the windows.) 
 M. RICCI. — Three landscapes. Painted on canvas. 
 
 The lowest a pleasing sunset, with a ruined arch. 
 
 (Below the preceding.) 
 
 ROTTENHAMMER, — A Feast of the Gods. A minute and 
 elaborate painting on copper. It represents the arrival of 
 Neptune with presents to celebrate the marriage of Peleus 
 and Thetis. 
 
 \* The tapestries in this apartment form part of a series com- 
 memorating the victories of the great Duke of Marlborough. 
 They represent the battle of Donawert on the Danube in 
 Bavaria, fought July 3rd, 1704; the siege of Lisle, August 
 1708 ; and the battle of Malplaquet, Sept. 11th, 1709. 
 It is also worthy of observation that these tapestries, together with a series 
 of tapestries representing the victories of Alexander the Great, also at Blen- 
 heim (see pages 138 and 200), are mentioned in Lord Lyttelton's descriptive 
 poem of ' Blenheim,'' written at Oxford in 1727, five years after the death of 
 the great Duke, and at a period when Sarah, Duchess of Marlborough, main- 
 tained her residence at Blenheim Palace in great state. See Appendix, (A.) 
 p. 213. 
 
 (Tapestry on wall to the left of entrance-door.) 
 
 The attack of Donawert. 1 View of the city in the distance, 
 
 1 See Coxe's Life of Marlborough, chapter xxiii., Bohn's edition, 1847, vol. i. pages 
 170-177 ; and Claude Du Bosc's Military History of the late Prince Eugene of 
 Savoy and of the late John Duke of Marlborough, 2 vols, folio, London, 1736-7, 
 vol. i. page 148. 
 
 Blenheim. 
 
72 
 
 STATE APABTMENTS — continued. 
 
 with the lines of Schellenberg. Soldiers on horseback occupied in 
 carrying fascines. Marlborough and his generals are in the right 
 hand corner. The armorial shield of the town, a yellow W on 
 a blue ground, borne by a black imperial eagle, appears in the 
 ornamental border above. The lower portion of the framework is 
 decorated with faggots, branches of trees, knapsack with the grenade 
 upon it, &c. &c, wrought with great artistic skill. 
 
 (Tapestry to right of the fireplace.) * 
 Facing the windows. 
 
 Extensive distant view of towns with lines of fortifications. Marl- 
 borough is represented on horseback. The generals before him are 
 descending the hill. The arms of Marlborough appear in the 
 bordering above. The other decorations consist of arms and 
 trophies. A gaping cannon in the centre below is wonderfully 
 well done. At each angle of the bordering of this series of tapes- 
 try is a yellow medallion of a female figure personifying the 
 Virtues. 1. Justice. 2. Fortitude. 3. Moderation. 4. Prudence. 
 
 This Tapestry probably refers to Taisnieres and Malplaquet. 
 
 (To the left of fireplace.) 
 
 The siege of Lisle. 2 Marlborough on foot at a conference for 
 the surrender of the citadel. The attitude of the Frenchman is 
 remarkably good. The countenance of Marlborough is more aged 
 than in the other representations of him. The aims of Lisle, a 
 white fleur-de-lis on a red shield, with the name insula, are in 
 the centre above. A cannon and implements of war compose the 
 border below. 
 
 The confident air of the Frenchman, probably Marshal Boufflers, standing in the 
 presence of the Duke, his costume, and the admirably dramatic grouping of the 
 figures around him, claim for this piece of Tapestry a more than passing notice. 
 
 2 Coxe's Marlborough, chapters lxii. and lxiv., vol. ii. pages 302-341 ; Du Bosc, 
 vol. ii. pages 59-61. 
 
 (To the left of the preceding.) 
 
 A large distant view ; exhibiting lines of army and fortification. 
 Marlborough, holding his truncheon, mounted on a brown horse, 
 with his back to the spectators, gives orders to an aide-de-camp, 
 who, with respectful attention and hat in hand, holds in his horse 
 ready to gallop down hill after several other riders the moment the 
 Duke has concluded. Marlborough holds the truncheon in his 
 right hand. The arms of the city, a gate with portcullis flanked 
 with white towers on a red shield, and the name montes hannoni^e 
 (Mons in Hainault), occupy the centre of the border above. 
 
 The horizon in all these views is remarkably high. 
 
 See Coxe's Life of Marlborough, chapter lxxxiii., Bonn's edition, vol. ii. page 467. 
 
 Blenheim. 
 
STATE APAKTMENTS — continued. 
 
 73 
 
 SECOND STATE ROOM. 
 
 (Over the fireplace.) 
 
 ROMNEY. — Caroline Duchess of Marlborough (see ante, pages 34 
 and 45). Full-length life-size, on canvas. Painted in 1779. 
 Engraved in mezzotint by J. Jones : published 1791. 
 
 (Over entrance-door.) 
 
 MALTESE.' — A table covered with a rich cloth, upon which are 
 laid a banner and black and gold armour, a square looking- 
 glass, and large silver vases. 
 
 (Over the opposite door.) 
 
 MALTESE. — A dish or salver holding fruit, and a basket of fruit 
 on a closed book inscribed " Yiru de Sauve," are laid out on 
 a richly-worked table-cover. 
 
 The tapestries in this room represent a continuation of the 
 victories of the hero of Blenheim ; the march to Bou chain in 
 August, 1711, and the siege of Bouchain in the same year. 
 The two tapestries are very large, and bent according to the 
 angles of the apartment. 
 
 (To the right of the fireplace.) 
 
 Very extensive view and distant prospect of towns, camps, &c. 
 Marlborough and his staff are seen galloping with great speed to 
 the left. The foreground trees, the oaks and thistles especially, in 
 left-hand corner, remarkably well done. The border is surmounted 
 with the city arms ; a red castle on a white shield and the name 
 bouchain 3 in the centre. Very high horizon, with extensive view 
 of the town and numerous villages, churches, &c. 
 
 3 Coxe's Life of Marlborough, chapter ciii. vol. iii. page 232. 
 
 (To the left of the fireplace.) 
 
 Another large and very extensive' view. Marlborough and his 
 generals, mounted on white horses, are halting under a wide- 
 spreading group of trees. A young man, hat in hand, is receiving 
 orders from the Duke. Two young footmen or runners, with long 
 staves, stand in the left-hand corner. Lord Cadogan's favourite 
 dog, a mastiff that attended him through the wars, is here seen 
 running after his master, who gallops off in the extreme right. 
 The horizon, as in the rest of this series of tapestry, is remarkably 
 high, affording by this means an extensive and map-like view of the 
 country. The border is again surmounted with the red castle and 
 name bouchain. 
 
 See Marlborough Dispatches from 1702 to 1712, edited by Sir George Murray, 
 5 vols. 8vo., Loudon, 1845. He writes, " Au camp devant Bouchain, 19 Aout, 
 1711," vol. v. page 452 ; and the capitulation of the town is described 19 Sep. 
 1711, at page 497 of the same vol. 
 
 Blenheim. 
 
74 
 
 STATE APARTMENTS — continued. 
 
 THIRD STATE APARTMENT. 
 
 (Over the fireplace.) 
 
 LUCA GIORDANO. — The Death of Seneca. 
 
 A large and powerfully coloured picture, with dark 
 shadows and a somewhat cold tone. The philosopher, quite 
 bald-headed and naked, sits with his feet in a silver basin. 1 
 Three persons are occupied in writing down his latest 
 sayings. The righthand youth holds an inkpot, and has his 
 legs crossed. Dr. Waagen, page 131, speaks of this picture 
 as "of unusual finish for the master." Dr. Passavant also 
 mentions it at page 175 of his Kunstreise. 
 
 Painted on canvas. 
 
 The following lines were written by Prior on a similar picture, which is at 
 Burghley House, the seat of the Marquis of Exeter : — 
 
 " While cruel Nero only drains 
 
 The moral Spaniard's ebbing veins, 
 
 By study worn, and slack with age, 
 
 How dull, how thoughtless is his rage ! 
 
 Heighten'd revenge he should have took ; 
 
 He should have burnt his tutor's book, 
 
 And long have reign'd supreme in vice : 
 
 One nobler wretch can only rise ; 
 
 'Tis he whose fury shall deface 
 
 The Stoic's image in this piece ; 
 
 For while unhurt, divine Jordain, 
 
 Thy work and Seneca's remain, 
 
 He still has body, still has soul, 
 
 And lives and speaks, restor'd and whole." 
 
 1 Seneca the philosopher, and tutor of the Emperor Nero, was born in Spain. His 
 enormous wealth, and his participation in the knowledge of his master's 
 cruelties, combined to hasten his death. Nero at length sent a message to his 
 old master, A.D. 65, ordering him to die. Seneca directed his veins to be 
 opened, and perished by a lingering death. His last words were taken down by 
 persons called in for the purpose, and were afterwards published. See Tacitus, 
 Annales, book xv. chap. 61-64. 
 
 (To the right of the Seneca, above.) 
 
 VAN DYCK. — St. Sebastian. A small standing figure shaded in 
 brown tones with remarkable force. 
 Painted on canvas. 
 
 (Over the entrance-door.^) 
 
 PAOLO VERONESE. — Europa. 1 A dark long landscape compo- 
 sition, with figures confined to the left side of the picture. 
 Europa is just mounting the bull. Cupid stands in front. 
 
 1 A fine picture of this subject, and by the same painter, is in the Ducal Palace at 
 Venice. A small sketch for it was in the Orleans Collection, and now forms 
 a part of our National Gallery. 
 
 Blenheim. 
 
STATE APARTMENTS — continued. 
 
 75 
 
 (Over the opposite door leading into the Library.) 
 
 CASTIGLIONE. — Shepherds journeying to Bethlehem. A 
 landscape-scene, with numerous figures and cattle. In the 
 centre a girl dressed in crimson with white sleeves, mounted 
 on a grey horse, is riding away from the spectator, and 
 seemingly being directed by a Moorish figure under the 
 shadow of some trees. A youth in broad red hat plays the 
 double pipes on the righthand side, and the Angel appearing 
 to the shepherds may be discerned in the distance. 
 
 # # # The tapestries in this apartment refer to the sieges of Oude- 
 narde, July, 1708, and Bouchain, 4 August, 1711, in continu- 
 ation. 
 
 4 Coxe's Marlborough, chapter ciii., vol. iii. page 232. 
 
 (To the left of the entrance-door.) 
 
 A square tapestry, surmounted again with the inscription and 
 red castle of bouchain. Marlborough appears on a brown horse in 
 the right-hand corner. His red dress is very brilliant and well 
 preserved. The distant view represents the city and encampments 
 by the river. 
 
 (Facing the windows, in the centre.) 
 
 The Duke of Marlborough is represented attended by his staff on 
 horseback. In the distance soldiers are seen crossing the river by 
 two bridges. A river-god, the Scheldt, crowned with sedge and 
 enveloped in a red mantle, appears prominently in the right-hand 
 corner holding a plan of the fortification, inscribed oudenarde, 5 
 and to which he points with his right hand. 
 
 The upper central decoration of the border is the shield of the 
 city bearing a brown lion rampant, to the right, upon bars of yellow 
 and red. The name aldenarda is inscribed beneath it. 
 
 In the profusely ornamented border below are introduced various 
 objects and utensils denoting the plunder of a city. Among them 
 flasks in a wine-cooler, tankards, pepper-box, jars, bottles, &o. are 
 conspicuous. 
 
 6 Coxe's Marlborough, chapter lxix., vol. ii. page 251 ; Du Bosc, vol. ii. pages 46-50. 
 
 (To the right and left of the preceding.) 
 
 Two tall narrow tapestries, of a different fabric, and composed 
 more in the style of Teniers, denote the horrors of war. They 
 represent soldiers sacking a country village and destroying the in- 
 habitants. 
 
 Blenheim. 
 
76 
 
 STATE APAETMENTS — continued. 
 
 Both these pieces are surmounted with the Marlborough arms, 
 as painted in the Saloon and on the picture of the Duchess in the 
 smaller Drawing-room (see ante, pages 47 and 67). In these Flemish 
 tapestries, probably wrought at Arras, the high lights are composed 
 of silver threads, as in Van Orley's tapestries in the Hall of Hampton 
 Court, and in the Vatican tapestries, for which Eaphael made his 
 celebrated cartoons, now also treasured at Hampton Court Palace. 
 
 This series, representing the victories of the Duke of Marlborough, deserves especial 
 notice, not merely for the beauty of the fabric and excellent preservation of the tapestries, 
 but for the high artistic merit, both in composition and drawing, of the designs. 
 
 It is to be regretted that they have not hitherto been engraved or minutely recorded, as 
 they afford in themselves some of the most exact and trustworthy illustrations from a con- 
 temporary pencil that could be desired. 
 
 The general arrangement of light and shadow upon the groups of figures exhibits 
 remarkable skill, and the pale tints consistent with aerial perspective, and which do not 
 at all interfere with minute details of the most distant objects, afford a lesson which many 
 of our most gifted modem artists would do well to observe. 
 
 The masses of foliage, their deep shade, and the careful drawing of plants introduced in 
 the foreground, surpass in force and truth any other examples I remember to have met 
 with in tapestry. On the value of other details of dress and implements of warfare, as 
 showing the costume of the day, and recording the state of military tactics in the beginning 
 of the last century, it would be useless to dilate. With the exception of Vander Meulen 
 and Old Wyck, no eminent artist of the day would have thought of recording a military cam- 
 paign in matter-of-fact dresses. Louis le Grand was frequently represented in Roman costume, 
 with generals and paraphernalia to correspond, and we may infer that the practical sense 
 of the great Duke himself tended in this instance to have his heroic deeds recorded in a 
 style approaching as near to reality as possible. The tendency to fanciful or classic 
 costume, and to puzzling allegory, may be seen in the Thornhill and Laguerre paintings 
 in the Hall and Saloon. In these tapestries, excepting the naked river-god holding the 
 plan of Oudenarde, there is no allegory or mystic personification. The genius of the 
 artist, whoever the designer may have been, was better employed. He showed his talent 
 and found in the elaborate representation of the objects which actually surrounded him 
 ample scope for the display of his skill in grouping, a careful drawing of details, and, above 
 all, a truthfulness and variety in the expression of the countenances which the most eminent 
 painters have very rarely attained. The tapestries appear to be of Flemish workmanship ; 
 they are made to resemble paintings as nearly as possible, and have no gold or silver 
 threads inwoven with them. Marlborough in every instance wears the blue ribbon of 
 the Order of the Garter, and is generally seen mounted on a white horse. It is remarkable 
 that the battle of Ramilies, fought May, 1706, does not appear to be commemorated in 
 this series of tapestries. 
 
 In the course of last year a very interesting series of paintings by Laguerre was rescued 
 from beneath repeated coats of plaster and common house paint in the saloon and stair- 
 cases of Marlborough House, London. These compositions represent the various military 
 exploits of the great Duke, but are quite different in design from the tapestries preserved 
 at Blenheim. The battle of Ramilies is one of the most important compositions among 
 these paintings, and occupies the entire west wall of the western staircase. The death of 
 Colonel Bingfield, the Duke's equerry, forms one of the most striking incidents in the 
 whole series. Among the numerous portraits, both in these tapestries and in Lagueri e's 
 paintings at Marlborough House, may be recognized the Duke, Prince Eugene of Savoy, 
 Prince Frederic of Hesse Cassel, Prince Louis William of Baden, the Duke of Argyle' 
 Lord Cutts, Cadogan, and General Churchill, the Duke's brother. 
 
 Blenheim. 
 
THE LARGE LIBRARY. 
 
 77 
 
 THE LARGE LIBRARY. 1 
 
 (UPWARDS OF 183 FEET IN LENGTH.) 
 
 At the upper end is a highly ornamented statue, by Rysbrack, of 
 Queen Anne, with the following inscription on the pedestal : — 
 
 To 
 
 The Memory 
 of 
 
 QUEEN ANN 
 
 Under whose Auspices 
 JOHN DUKE of MARLBOROUGH 
 Conquered 
 And to Whose Munificence 
 He And His Posterity 
 with Gratitude 
 Otue the Possession 
 of 
 
 BLENHEIM. 
 
 A:D:MDCCXXXX: VI: 
 
 An engraving of this statue by P. Fourdrinier shows that the pedestal originally bore a 
 very different inscription. In the engraving is inscribed, across the pedestal, " The fol- 
 lowing character of her late Majesty Queen Anne was written by her Grace Sarah Duchess 
 of Marlborough, and is cut round this pedestal, erected at Blenheim." The " character " 
 itself, consisting of many lines, is printed in two' columns at the foot of the engraving, 
 and thus concludes : " all this I know to be true. SARAH MARLBOROUGH. Mdccxxxviii." 
 The present inscription dates two years after her death. See Appendix, (B.) p. 213. 
 
 (Full-length portraits hung over the bookcases 2 facing the windows, taken in the order as 
 they hang passing from the State Rooms towards the Chapel.) 
 
 KNELLER— Francis Earl of Godolphin, full-length life-size, in 
 yellow coat with silver facings, a blue mantle over the right 
 arm, grey stockings, black shoes, and full grey wig. Stand- 
 ing to the left. The right hand held forward ; the left 
 resting on the hip. 
 
 The only son of Lord-Treasurer Godolphin, who married 
 Lady Henrietta Churchill, the eldest daughter of the Duke 
 of Marlborough, in 1698 (see ante, page 14). Succeeded 
 his father as Earl of Godolphin in 1712, and died 1760. 
 His wife became Duchess of Marlborough in 1722, and 
 died 1733. 
 
 His portrait forms one of the series of the Kitcat Club. 
 It is engraved by Cooper for the ' Memoirs of the Kitcat 
 Club,' plate xxi. page 105, London, fol. 1821. 
 
 1 This apartment was originally intended for a Picture Gallery. 
 
 2 A set of copies of Raphael's Cartoons at Hampton Court, one-fourth the size of 
 
 the originals, formerly occupied this position. They were painted by Sir James 
 Thornhill, and subsequently presented to Christ Church, Oxford. See Passa- 
 vant's Rafael, vol. ii. page 258; and Walpole's Anecdotes, vol. ii. page 665. 
 
 Blenheim. 
 
78 
 
 THE LAEGE LIBRARY — continued. 
 
 (To the left of the preceding.) 
 
 Unknown. — John, second Duke of Montagu, K.G., full-length, life- 
 size standing figure in a deep-red hussar dress, with black 
 cloak and silver facings, a white furred cap and hanging 
 tassel. Resting his right hand on a stick ; the left planted 
 on the hip. Tents and cavalry in the distance beyond ; two 
 men and a white horse are somewhat conspicuous on the 
 road. 
 
 In the year 1703, when Viscount Mounthermer, John 
 Montagu, the son of Ralph Earl of Montagu, married Lady 
 Mary Churchill, fourth daughter of the Duke of Marl- 
 borough, and succeeded his father as Duke of Montagu in 
 1709. He was appointed Grand Master of the Order of the 
 Bath on the revival of the Order (installed June 17, 1725), 
 and died 1749. 
 
 The name is written on the picture in black letters. 
 
 (Beyond the preceding, and over the fireplace.) 
 
 WOOTTON (after GASPAR POUSSIN).— A storm and coast- 
 scene, with the story of Jonah introduced. 1 A ship appears 
 beaten about in a violent tempest, and a sea-monster, rather 
 than a whale, is approaching it from the land. Spectators 
 on rocks in the foreground. Dwellings on the summit of 
 rocky cliffs have been struck by the lightning. 
 Painted on canvas. 
 
 1 Horace Walpole in his description of " Houghton Hall," page 277, note, of 4to. 
 edition, London, 1798, mentions a picture by Gaspar Poussin of Jonah in the 
 Storm, purchased by the Prince of Wales, and adds " the only sea-piece, I 
 believe, of that hand." 
 
 (Beyond the preceding.) 
 
 KNELLER. — Anne Countess of Sunderland, second daughter of 
 the Duke of Marlborough (see ante, page 14), full-length, 
 life-size. Dressed in white satin, with a basket of flowers 
 under her left arm. Trees in the background, and a mansion 
 (probably Althorp) in the distance to the left. Her name is 
 inscribed in black letters on the lefthand side below. 
 Painted on canvas. (See also post, page 189.) 
 
 Blenheim. 
 
THE LARGE LIBRARY — continued. 
 
 79 
 
 (The next picture beyond.) 
 
 KNELLER. — Elizabeth Countess of Bridgewater, third daughter 
 of the Duke of Marlborough (see ante, page 14), full-length, 
 life-size, standing and resting her right hand on a circular 
 well, in front of which stands a large reddish pitcher. The 
 colour of her dress is greenish satin. 
 Painted on canvas. 
 
 SLAUGHTER. — " Lady Georgina Spencer, daughter to John 
 Earl of Granville, married the Honourable John Spencer in 
 1733-4. Mother to Earl Spencer, and secondly married to 
 William Earl Cowper." Full-length life-size, dressed in a 
 full-hooped black satin dress, slashed with white on the 
 sleeves, standing by a red chair over which the left hand 
 holds a broad grey hat. A red curtain to the left. 
 Painted on canvas. 
 
 SLAUGHTER. — The Honourable John Spencer, youngest son of 
 Anne Countess of Sunderland, and grandson of the first 
 Duke of Marlborough. Full-length life-size, standing in 
 fancy costume. His right hand on the hip ; a greyhound 
 is behind him on the left side. To the right a beardless 
 bust on a pedestal, beside which lies a blue cap with a 
 tassel. 
 
 The picture is signed " Stephen Slaughter," and dated 1737. 
 
 The Honourable John Spencer was born 1708. Became 
 Ranger and Keeper of Windsor Great Park. Died in 1746, 
 and lies buried at Althorp. 
 
 For another portrait of him by Hysing, see page 201. 
 
 VAN LOO. — Elizabeth Duchess of Marlborough, life-size, dressed 
 in full robes, seated, to the left, at a table, and resting her 
 right hand on a coronet (see ante, page 15). 
 Painted on canvas. 
 
 (Next picture beyond.) 
 
 VAN LOO. — Charles, second Duke of Marlborough, K.G., in red 
 and gold. The black hat and a truncheon lie on the table 
 to the right. Steel cuirass, &c. on the ground to the left. 
 Painted on canvas (see ante, page 15). 
 
 Mentioned at page 17 of the ' English Connoisseur.' 
 
 Blenheim. 
 
80 
 
 THE LARGE LIBRARY — continued. 
 
 (Next picture beyond.) 
 
 KNELLER. — Sarah Duchess of Marlborough. Full-length life- 
 size, standing with both hands resting on a sculptured 
 pedestal to the right, over which long brown-green drapery 
 descends. Her dress is deep-brown crimson. An Ionic 
 column in the background, with dark grey-blue sky. 
 Painted on canvas. (See ante, page 14.) 
 
 (To the left of the preceding.) 
 
 KNELLER — John Duke of Marlborough, K.G., full-length life- 
 size, in steel armour, standing within a tent to the right. 
 He places his left hand on a plumed helmet surmounted 
 with an eagle on a table, and holds a truncheon horizontally 
 in his right. The Garter is on his knee, but leather leggings 
 are used instead of the ordinary metallic greaves. A large 
 crimson and ermine mantle covers the left arm, and hangs 
 down behind him. Through the opening of the tent to the 
 left are seen guards and tents in distant landscape. 
 
 This fine picture has been engraved in ' Lodge's Portraits,' 
 vol. x. No. 188. Engraved also in line by Posselwhite for 
 the ' Marlborough Dispatches,' by Sir George Murray, 
 London, 1845 ; and in a very inferior style by Armytage, for 
 ' Alison's Biography.' In every instance only the upper part 
 of the figure has been given. 
 
 The centre part of the picture was once cut out, and 
 carefully let in again, for the accommodation, it is said, of a 
 sculptor employed on a bust of the Duke. 
 
 Painted on canvas. 
 
 (Beyond the preceding, over a chimney-piece.) 
 
 WOOTTON (after GASPAR POUSSIN). — A landscape with 
 a castle on the summit of a central hill. Two figures in 
 the foreground. 
 Painted on canvas. 
 
 (Beyond the fireplace.) 
 
 KNELLER. — Queen Anne, full-length life-size, in robes of state, 
 holding the ball and sceptre (see ante, page 18). The 
 costume and general attitude are very similar to the Rys- 
 brack statue at the upper end of this Apartment. 
 Painted on canvas. 
 
 Blenheim. 
 
THE LARGE LIBRARY — continued. 
 
 81 
 
 (Beyond the preceding.) 
 
 KNELLER. — King William the Third. Full-length life-size, 
 standing bareheaded, resting his left hand on a table, on 
 which is placed the crown to the extreme right. His right 
 hand rests on the hip. The robes are purple and gold ; 
 a column behind to the left. 
 
 On canvas. A very mellow and well painted picture. 
 See ante, page 66. 
 
 At the end of the Library, facing the statue of Queen Anne, is a 
 marble bust of the Great Duke of Marlborough. He is repre- 
 sented in plate armour, with the ribbon of the Garter, and a fringed 
 mantle fastened on his right shoulder. The full flowing curls of his 
 wig are boldly but slightly executed. The pedestal on which this 
 bust stands was designed by Sir William Chambers. This sculp- 
 ture is not mentioned in the English Connoisseur's description of 
 Blenheim, dated 1766. 
 
 (In the recess of window, at this end of the Library). 
 A statue of small dimensions, representing Artemis or Diana 
 standing with a dog. 
 
 The drapery alone of this figure is antique. 
 
 (Over the ornamental framework of the chimney-piece, containing the picture of Jonah 
 
 and the Whale.) 
 
 A bust on pedestal inscribed " Charles Spencer, Earl of Sun- 
 derland, WHO BEGAN AND FINISHED THIS COLLECTION OF BOOKS, OB 1 
 
 An: Do: 1722." 
 
 (Below the preceding, and resting on the chimney-piece.) 
 
 A small modern bust of Antoninus Pius. 
 
 (Over the central door, facing the bow-window.) 
 A bust on a large scale of Milo of Croton, in which the prominent 
 whiskers give a very unclassic character to the head. 
 
 (Against the pilaster to right of the window.) 
 
 An antique bronze bust of a young Faun with pointed ears and 
 laughing countenance. A goatskin is tied round his neck. There 
 are no drops or projections on the face or neck, which is frequently 
 the case in antique sculpture of such subjects. It closely resembles 
 the head of the statue of the young Faun carrying a goat now pre- 
 served at Madrid (see No. 223 of Catalogue of the Sculptures of the 
 Eoman Court in the Crystal Talace at Sydenham, 1854). This 
 bust was originally covered with gilding, many traces of which still 
 remain. 
 
 Blenheim. q 
 
82 THE LAKGE LIBRAKY — THE CHAPEL. 
 
 (Against the pilaster to the left of the bow-window.) 
 
 Bronze bust of a female wearing a tiara and looking over her 
 left shoulder. 
 
 (Over the ornamental framework of the chimney-piece, containing a Landscape by Gaspar 
 
 Poussin.) 
 
 A marble bust by Bysbrack, inscribed " Charles Spencer Duke 
 of Marlborough, 1750." (See ante, page 14.) 
 
 (Below the preceding, and resting on the chimney-piece.) 
 A small marble bust of a child. 
 
 (On the opposite side of the apartment.) 
 
 A small statue of a naked female with a dog lying at her feet. 
 
 THE CHAPEL 
 
 contains a superb monument, by Rysbrack, to the first Duke and 
 Duchess, with their two sons, who died young. Beneath a sar- 
 cophagus, supported by colossal figures of Fame and History, is 
 a bas-relief representing the interview between the Duke and Mar- 
 shal Tallard. The inscription on the monument is very simple : — 
 
 TO THE MEMORY 
 OF JOHN DUKE OF MARLBOROUGH AND 
 HIS TWO SONS 
 HIS DUCHESS HAS ERECTED 
 THIS MONUMENT, 
 IN THE YEAR OF CHRIST MDCCXXXIII. 
 
 The bas-relief on the pedestal is an adaptation from the principal 
 painting by Laguerre in the saloon of Marlborough House, London. 
 The composition has been engraved by C. Du Bosc. 
 
 The beautifully sculptured pulpit is composed of Derbyshire 
 alabaster with a base of Devonshire marble. The white marble 
 heads represent those of Our Saviour and the Four Evangelists. 
 They were executed by Forsyth from designs by S. Teulon, Esq. 
 
 The richly-decorated seats were designed by S. Teulon, Esq., and 
 carved by Wyatt of Oxford. These appropriate fittings and the 
 pulpit were introduced in 1859. Previous to this period a sombre 
 family-pew, like a gallery, encumbered the west end. The access 
 to it was by the upper door from the colonnade. 
 
 Blenheim. 
 
THE TITIAN ROOM. 
 
 83 
 
 THE TITIAN ROOM. 
 
 %* This Apartment was totally destroyed by fire February 5th, 1861. The paintings 
 all perished, but the following description is retained to serve as a record of what 
 so recently existed. 
 
 SET OF CORAME OR LEATHER HANGINGS 
 
 (Painted in Oil Colours, in Compartments, upon a Gilt Surface); 
 REPRESENTING 
 
 THE LOVES OF THE GODS. 
 
 The framework or border ornaments to this series of paintings 
 merit observation ; not so much, it may be said, for the beauty of 
 their design as for many peculiarities, and for a remarkable effect of 
 richness in connexion with furniture decoration. 
 
 The compartments are all of the same height, but vary very consi- 
 derably in width. The borders and their patterns are in all instances 
 the same ; but the horizontal portions are occasionally lengthened 
 to a great extent. 
 
 Tall circular columns with Corinthian capitals rise the entire 
 height of the paintings. The shafts are divided halfway down with 
 a broad band, having three lion's heads on each. The upper portion 
 of the shaft is covered with sprigs of oak branches and acorns, and 
 studded with other architectural forms. The lower portion is en- 
 riched with diagonal fluting. Masks and monsters' heads, combined 
 with palmettes and vertical flutings, decorate the lower lines of the 
 framework. 
 
 Between the columns and the pictures stand silver female figures, 
 draped below the girdle, but with naked feet. In lieu of arms they 
 are endowed with wings, which are raised, and curved in an archi- 
 tectural fashion. Their heads support brackets, from which springs 
 a fancifully curved and notched pediment, bearing in the centre a 
 female bust, with naked Cupids resting on the sides. The cornice 
 of this part is decorated with large dentils, and the spandrils are 
 adorned with bizarre scroll-work. The entire composition exhibits 
 a striking affinity in style to the carved woodwork and furniture 
 ornaments which distinguished the period of our King James the 
 
 Blenheim. g 2 
 
84 
 
 THE TITIAN ROOM — continued. 
 
 First. The leather on which they are painted is covered with gold 
 and silver leaf, stamped with an infinity of small patterns by the 
 bookbinder's process, and without any regard to the perspective 
 of the painted surface. The shadows are mostly composed of burnt 
 siena and sepia brown. Many of the ornaments are merely ex- 
 pressed outlines of this colour. In some parts of the border an 
 opaque grey seems to have been scumbled over them to give an 
 effect of variety and occasional softness. 
 
 The compartments of Hercules and Dejanira, and Pluto and Pro- 
 serpine, are both included in one golden frame. The same also is 
 the case with Jupiter and Io, and the Bacchus and Ariadne. In 
 both instances the column between them has been joined. All the 
 other subjects are in separate golden frames, with a complete 
 column on each side and an external pattern, a horizontal fluting, 
 beyond. 
 
 These nine compositions have been admirably engraved, the 
 reverse way, in mezzotint, by John Smith. The ornamental title 
 page, engraved by G. Yertue, affords a general idea of the composi- 
 tion of the framework. In Smith's engravings, the designs have 
 been occasionally amplified by the continuation of trees, drapery, and 
 mountains, &c, over the space which the standing figures attached 
 to the columns occupy in the pictures themselves. The shape of 
 each plate is therefore preserved square, and the additions have 
 been in every instance judiciously made. The plates are dated 
 London, 1708 and 1709. Another set was very poorly engraved in 
 line by E. Van Gunst. 
 
 The following lines are quoted from John Smith's Title page : — 
 
 IX hasce Tabulas Melanographicas ad Architypos totidem celeberrimi Titiani faetas 
 (Quorum singuli 12 pedes alti & 8 circiter lati, in Corio deaurato depicti, Parergis, 
 hujusce Tituli ad instar, ipso auro illuminatis, omati sunt) Nobilissimae Pinacothecae, 
 in Aedibus suis Augustissimis de Blenheim, in Agro Oxoniensi, partem Apparatus non 
 indignam. Dicat, Dedicat, Consecrat 
 
 Celsitudinis suae 
 
 Observantissimus 
 
 Titianus Piux : ,t, G. Vertue Sculp. Johannes Smith. 
 
 These paintings closely correspond with a set of leather hangings 
 which formerly decorated an apartment called San Lorenzo in the 
 Palazzo Vecchio at Turin. The following is an extract of a commu- 
 nication from Turin, dated June 21, 1858 : — 
 
 " Nel Palazzo vecchio e propriamente nella camera detta di S. Lorenzo trovavasi una 
 tapezzeria di coram e dipinta dal Tiziano, rappresentante gli Amori degli Dei, figure grandi 
 al naturale, con compartimenti di colonne, continente pezzi in numero di dieci tre, grandi 
 e piccoli, alto rassi sei circa compresso il lambriso. Di questa tapezzeria e della sua dis- 
 parizione non avvi ricordo, 6 forse quella ora posseduta della casa del famoso Curchill." 
 
 Victor Amadeus II., who is said to have presented these hangings 
 to the great Duke of Marlborough, succeeded to the dukedom of 
 Blenheim. 
 
THE TITIAN ROOM — continued. 
 
 85 
 
 Savoy in 1675. They were presented before 1708, and previous to 
 his obtaining a regal title. In 1713 he received the crown of 
 Sicily from Spain, and assumed the title of King of Sicily ; but 
 this he afterwards exchanged with the Emperor Charles VI. 
 for Sardinia, and became King of Sardinia under sanction of the 
 Treaty of the Quadruple Alliance, 1718. 1 
 
 At the time these engravings were executed, there seems to have 
 been no hesitation in receiving them as the works of Titian ; but as 
 early as 1766 doubts had already arisen. The following quotation 
 from the ' English Connoisseur ' will show the opinion of some of 
 the learned at that time : — 
 
 " Over these [the antique statues in the Hall] is a series of paintings called the Loves 
 of the Gods, a present to the old Duke from the King of Sardinia. These pieces are, 
 perhaps, falsely ascribed to Titian. However, they contain some masterly strokes, both of 
 design and expression, and were probably from sketches of Titian; at least they came from 
 the Venetian School." 2 
 
 Ottley, in the catalogue of his pictures, 1811, attributes these 
 paintings to Varotari. Passavant in his ' Kunstreise,' dated 1833, 
 speaks of these hangings, and says that they are at best but the 
 work of the school of Titian, and do not warrant the celebrity which 
 the}' have obtained in this country. 3 
 
 Dr. Waagen, vol. iii., page 133, follows Ottley in attributing them 
 to Varotari. Another distinguished amateur,* Mr. Edw. Cheney, 
 thinks them the production of Schiavone, and certainly not of 
 Titian. 
 
 These paintings are mentioned in Nagler's Kiinstler Lexicon under 
 the article Vecellio, vol. xix. page 513 ; wherein the opinion of Dr. 
 Waagen is principally followed. 
 
 The compositions, it is now clearly ascertained, were derived 
 from engravings by Caraglio from designs by Perino del Vaga. 4 
 These engravings are exceedingly rare. There are no copies ex- 
 tant in the British Museum. 
 
 According to Vasari, in his life of Marc Antonio, 5 the Proserpine 
 of the Caraglio series was designed by II Kosso ; the rest by Del 
 Vaga. The complete set of Caraglio consists of 15 plates, and to 
 enable the reader to judge for himself, I extract the description of 
 the nine subjects to be seen at Blenheim, as given by Bartsch, 
 vol. xv. : 6 — 
 
 Vol. xv. page 72, No. 9-23. — " Les Amours des Dieux. Suite de quinze pieces. 
 Hauteur, 6 a 7 pouces; largeur, 4 pouces 10 lignes h, 5 pouces. Ces estampes ont ete 
 grave'es d'apres des dessins fort libres de Perin del Vague, h l'exception de deux qui sont 
 d'apres le maitre Roux. Elles sont extremement rares." 
 
 1 Lord Mahon's History of England, vol. i. page 306, 12mo. ed. London, 1853. Mark- 
 ham's Germany, page 379. 
 
 2 Vol. i. page 16. 4 Vasari, ed. Le Monnier, vol. x. page 157. 
 
 3 Passavant, page 178. 5 Ibid. vol. ix. page 284. 
 
 6 Le Peiutre Graveur, 21 vols. 8vo., Vienne, 1803-21. 
 
 Blenheim. 
 
86 
 
 THE TITIAN BOOM — continued. 
 
 Page 72, No. 9. — " Jupiter transformant en vache la Nymphe Io. Jupiter assis a 
 droite, appuye' de la main gauche sur son aigle, ecoute ce que lui dit Diane, qui est debout 
 a gauche, tenant un sceptre de la main droite, et de l'autre faisant signe vers en haut. On 
 remarque au-dela d'elle une vache. Un Amour voltige en l'air au-dessus de Jupiter, a la 
 droite d'en haut." 
 
 Page 73, No. 11. — " Les Amours de Neptune et de Thetis. Neptune, assis a droite, 
 baise la deesse qu'il tient embrassee. Sur le devant a, gauche est debout l'Amour, tenant 
 un dauphin a la lesse de la main droite, et de l'autre le trident de Neptune." 
 
 No. 13.' — "Les Amours de Vulcain et de Ceres. Vulcain a gauche, donne un baiser a, 
 Ceres, qui est assise sur une enclume contre lequel une corne d'abondance est appuyee. On 
 remarque dans le fond a droite le fourneau de la forge de Vulcain." 
 
 No. 14. — " Les Amours de Bacchus et d'Ariadne. Bacchus, assis a gauche, tient de la 
 main droite le bout d'une draperie flottante par-dessus sa tete, et a l'autre posee sur les 
 epaules d'Ariadne, qui est assise a droite, reposant une de ses jambes sur la tete d'une 
 panthere couchee aux pieds de Bacchus." 
 
 No. 15. — " Les Amours de Mars et de Venus. Mars, assis a gauche sur un lit, donne 
 un baiser a Venus qu'il a sur ses genoux, et qui tient un petit miroir de la main gauche. 
 On voit sur le devant de la droite l'Amour assis a terre pres des pieces d'armures de 
 Mars." 
 
 Page 75, No. 18. — " Les Amours d'Apollon et de Daphne". Apollon poursuit Daphne', 
 qui se voit a gauche, et qui commence a se me'tamorphoser en un laurier, pres d'un fleuve 
 qui est couche' sur le devant de ce meme cote'." 
 
 No. 19. — " Les Amours d'Hercule et de Dejanire. Hercule est assis a, gauche, ayant 
 sur ses genoux Dejanire, qui tend la main gauche pour prendre la fleur d'un arbre qui 
 s'e'leve a la droite, et au pied duquel on remarque le centaure Nessus." 
 
 No. 20. — " Les Amours de Cupidon etde Psyche'. Cupiclon a droite, ote un drap, pour 
 de'couvrir Psyche' endormie. Celle-ci est vue par le dos, couche' sur un lit, au bas duquel 
 on remarque un vase et une e'cuelle." 
 
 No. 22. — " Les Amours de Pluton et de Proserpine. Pluton a gauche, donne un baiser 
 a Proserpine, qui est assis sur le dos de Cerbere a la droite de 1'estampe. On remarque 
 dans le fond a gauche, le trident appuye' contre les roues du char de Pluton." 7 
 
 Two only of his plates bear dates; they are both 1526. He is thought to have been 
 born in 1500 (Bartsch, vol. xv. page 62). One dated print is the Adoration of the Shep- 
 herds (No. 4). He also signed Jacobvs Veronensis ■ F. 
 
 7 Bartsch, Le Peintre Graveur, vol. xv. p. 72 et seq. 
 
 ON THE WALL FACING THE ENTKANCE DOOR. 
 
 (To the left.) 
 
 Jupiter, Juno, and Io. 
 
 Juno appears to be soliciting Jupiter for possession of the 
 heifer into which, for the purpose of avoiding his wife's 
 jealousy, he had transformed Io. Jupiter yielded to the re- 
 quest of Juno, and Io was accordingly placed under the care of 
 Argos Panoptes (or all-eyed) in the grove of Hera (Juno) at 
 Mycenae. Zeus (Jupiter) afterwards sent Hermes (Mercury) 
 to slay Argos and deliver Io. (Hygini, Fabulaa, No. cxlv.) 
 The hundred eyes of Argos were at his overthrow set by Juno 
 in the tail of her peacock. (Ovid, Metamorph. Bk. i. Fab. 16, 
 line 722.) Jupiter sits on the extreme left, leaning on the 
 eagle, with a thunderbolt in his left hand. A dark blue dra- 
 Blenheim. 
 
THE TITIAN ROOM — continued. 
 
 87 
 
 pery partially covers his lower limbs, and his hair is remark- 
 ably dark. Juno stands in front of the heifer, dressed in white 
 of a peculiar hue, shaded with pink, and having stripes or lines 
 of a green colour diagonally crossing the folds. Her head is 
 adorned with a veil and a golden crescent, which generally 
 would be taken to indicate the goddess Artemis (Diana). A 
 golden cloud in the background may refer to the clouds and 
 mists, in which Jupiter had at one time enveloped the object 
 of his affection. 
 
 No. 6 of John Smith's Mezzotint Engravings, very similar to 
 the Caraglio engraving, only reversed. In the engraving the 
 head of the cow is turned towards the spectator, and the Cupid 
 is without bow and arrows. 
 
 As most of these paintings are the reverse of the engravings, it is probable that 
 Varotari had the original foawings of Perino del Vaga and II Rosso to work 
 from. The older engravers rarely reversed their subjects whilst working on the 
 copper. 
 
 (The central compartment.) 
 
 Bacchus and Ariadne. 
 
 Ariadne is seated on the left side, resting her left foot on the 
 head of a panther. Bacchus, crowned with grapes and holding 
 one end of a floating dark green drapery, looks lovingly towards 
 her. The drapery upon which Ariadne is sitting is painted 
 with transparent burnt siena upon a gold ground. Cupid 
 stands in front of this, holding up a bunch of white grapes. 
 The distant ship of Theseus is observable on the horizon to the 
 extreme right. (Ovid. Metam. viii. 175 ; Hygin. Fab. xliii.) 
 
 No. 3 of Smith's Engravings. 
 
 Literally adapted from Caraglio, with the exception of the figures being reversed. A 
 leafless tree in the engraving takes the place of the ship on the sea, and the boy 
 holding a bunch of grapes does not appear in Caraglio. 
 
 (The righthand compartment.) 
 
 Apollo and Daphne. 
 
 Daphne, the daughter of the river god Peneus, on the ex- 
 treme right is seen escaping from Apollo, with her face turned 
 towards him with an expression of horror. Her hands raised 
 in alarm are beginning to change into the laurel-tree, and the 
 fingers shoot out green leaves. The river god, Peneus, her 
 sire, with very long brown grey hair and deep reddish com- 
 plexion, crouches in the foreground. He rests his right arm 
 on a circular gilded jar, from which the stream flows copiously. 
 Blenheim. 
 
88 
 
 THE TITIAN ROOM — continued. 
 
 Apollo carries the bow and quiver at his back, and his floating 
 drapery is of an orange-brown colour. The drapery of Daphne 
 is white. A dark-blue and grey sky forms the background. 
 
 According to Ovid (Book i. 452) she appealed in her danger 
 to her father for protection (Hygin. Fab. cciii.). 
 
 No. 1 of J ohn Smith's Mezzotint Engravings. 
 
 Literally adapted from Caraglio, excepting that the figures were reversed, and the 
 action of the arms of the Peneus changed for the worse. A golden water-jar also 
 introduced at his back. The three preceding compositions have less merit than 
 the rest of the sez-ies. 
 
 ON RIGHTHAND WALL. 
 
 (Central compartment.) 
 
 Mars and Venus. 
 
 Mars seated to the left on a richly decorated bed, with Venus 
 on his left knee, embraces her, and seems at the same time to 
 view his face in a circular mirror, which she holds in her left 
 hand. Her right is raised to touch the back of his head. The 
 sides of the couch are handsomely patterned with gold, and a 
 rich brown-green curtain descends behind the figure of Venus. 
 Cupid lies on the ground with bow in hand. His quiver, a 
 vase, and the bronze helmet of Mars are at his feet. 
 
 The hair of Mars is very dark, and his complexion deep 
 brown. His cuirass or body-piece is of a dark bronze colour 
 over white linen. His boots are bright turquoise blue with 
 white and gold lacings and puffs. 
 
 Pink roses and pearls adorn her hair. 
 
 The colouring of this compartment is not altogether pleasing, 
 but the modelling of the figures is good, and the composition 
 excellent. The bright colour of his boots against the brown 
 and gold bed is very conspicuous. 
 
 (Homer, Odyss. viii. 266 ; Ovid, Metam. iv. Fab. 2.) 
 
 No. 5 of John Smith's Mezzotint Engravings. 
 
 This composition, although adapted from Caraglio, is very far superior to the 
 engraving. The Cupid is not reversed, but the two principal figures are. The 
 Cupid in the engraving holds a dart instead of a bow. 
 
 (Lefthand compartment.) 
 
 Vulcan and Ceres. 
 
 Ceres, to the right, crowned with corn, is seated upon an 
 anvil in front of the forge ; a cornucopia with fruit is at her 
 feet. She turns to Vulcan, an aged figure with white hair and 
 dark-brown complexion, girt with bronze-green drapery, who 
 Blenheim. 
 
THE TITIAN ROOM — continued. 
 
 89 
 
 kneels with one knee upon the anvil, and encircles her neck 
 with his left arm. The right hand is raised to her chin. Cupid, 
 with his back to the spectator, seems endeavouring to bring the 
 lovers closer together. The handle of the hammer of Vulcan, 
 which lies at his feet, is highly ornamented with stamped dots 
 upon the surface of the leather. A crimson drapery passes 
 down the left side of Ceres. 
 
 An arched aperture was at one time cut through the lower 
 part of the border underneath this compartment. It may have 
 been to accommodate a window or a doorway, as the tapestries 
 hung in a former apartment. The deficiency has been skilfully 
 supplied in recent times ; but on careful inspection the restora- 
 tion may be detected. 
 
 No. 7 of John Smith's Mezzotint Engravings. 
 
 Caraglio's engraving is far superior in point of composition and design. The 
 figures are not reversed, the Cupid in foreground omitted, and the forge in the 
 background quite different. 
 
 (Righthand compartment.) 
 
 Neptune and Amphitrite. 
 
 Both figures are seated at the foot of a tree, against whioh 
 the trident of Neptune has been leant. A rich gold and brown 
 drapery is hung over a projecting branch, and descends behind 
 the figures. The left foot of Neptune rests upon a dolphin, 
 against which a wingless Cupid reclines as he is seated on the 
 ground. A rich blue sky forms the background. The clear 
 complexion of Amphitrite is effectively contrasted on one side 
 by the dark brown hue of the god, and on the other by the 
 opaque white drapery which covers her seat. Her hair is rich 
 brown, and that of Neptune grey. 
 
 This is certainly the best painting of the series. 
 
 Amphitrite, the daughter of Oceanus, became the wife of Neptune and shared divine 
 honours with him, especially in his temple at Corinth, where she had a statue. 
 Delphinus, the dolphin, tended principally to bring about the marriage between 
 them, and for this he was rewarded with a place among the constellations. 
 
 See Hesiod. Theog. 242, 930 ; Pausanias, ii. ch. 7 ; Hyginus, 
 Poeticon Astronomicon, lib. ii. cap. xvii. 
 
 Engraved by John Smith in mezzotint, and dated 1708, 
 No. 8 of the series. 
 
 Adapted from Caraglio, but the figures reversed. A Cupid with a small trident 
 standing on a dolphin at the side, instead of the boy reclining against the dolphin 
 under Neptune's foot. The background in the engraving is composed of festooned 
 drapery, and the drawing of the figures exhibits superior delicacy. 
 
 Blenheim. 
 
90 
 
 THE TITIAN BOOM — continued. 
 
 ON THE OPPOSITE SIDE, TO THE LEFT OF THE ENTRANCE DOOR. 
 
 (Central compartment.) 
 
 Pluto and Proserpine. 
 
 The goddess, on the right hand, is seated upon Cerberus, 
 who crouches with his fore feet on the ground ; Proserpine 
 raises her left arm above the head of Pluto ; Cupid, with his 
 bow and arrow pointed upwards, sits upon one of the lofty 
 golden wheels of the chariot, behind Pluto, to the extreme left. 
 Dark trees and heavy grey clouds form the background. 
 
 See Hyginus, Fab. cxlvi. ; Ovid, Metam. Lib. v. 
 
 No. 4 of John Smith's Mezzotint Engravings. 
 
 The relative action of the figures agrees with Caraglio, and they are not reversed. 
 The left hand of Proserpine falls near the tail of Cerberus in the engraving , 
 The Cupid perched on the high wheel of the chariot does not appear in Caraglio. 
 The design of this engraving is very much superior in grandeur of style to the 
 rest. It is stated by Vasari to have been designed by II Rosso. 
 
 (Lefthand compartment.) 
 
 Hercules and Dejanira, or Deianeira. 
 
 Hercules, with the skin of the Nemean lion on his head, is 
 seated on the right hand with Dejanira on his knees. Her right 
 hand is raised, and appears to be holding the tail of a brown- 
 red cow standing behind them. Her left hand rests upon the 
 shoulder of Hercules. A winged Cupid seems trying to climb 
 up the massive club which is leant against a tree in the right 
 hand corner. A reddish-brown drapery passes down the right 
 hand side of Amphitrite. 
 
 See Hyginus, Fab. xxxi. 
 
 No. 2 of John Smith's Mezzotint Engravings. 
 
 This painting may rank next to Neptune and Amphitrite in point of invention and 
 artistic skill. The colouring of the flesh is remarkably good. 
 
 A far inferior composition to the engraving by Caraglio, where, seated on his knees, 
 Dejanira extends the left arm holding a flower in her hand. The wounded 
 Centaur Nessus is also introduced. 
 
 ( Righthand compartment. ) 
 
 Cupid and Psyche. 
 
 The widest painting in the series. 
 
 Psyche reclines on the couch, with her arms raised over her 
 head and her back turned to the spectator. Cupid, with wide- 
 spread very dark wings, kneels on the bed, and lifting white 
 drapery with his right hand, seems to gaze upon her. The 
 Blenheim. 
 
THE TITIAN ROOM — continued. 
 
 91 
 
 figure of Cupid is turned towards the left. A little winged 
 genius or Amorino hovers above in the centre, supporting 
 some of the folds of a ponderous golden curtain with brown 
 shadows, which form a great portion of the background. A 
 coarsely painted balustrade, with dark blue and grey sky be- 
 yond, is seen to the extreme right. The side of the couch 
 represents grey marble bordered with brown. Upon the pink 
 and green chequered pavement are a silver vase and basin 
 with ornaments stamped upon them. A second Amorino, also 
 winged, lies on the ground to the extreme right, holding a 
 flaming torch, and resting his left elbow upon a quiver of 
 arrows with the bow beside it. The complexion of Psyche is 
 well set off by a quantity of white linen on the bed. Strings 
 of pearls decorate her brown hair, and the head of the couch is 
 adorned with the figure of a monster in silver, as a support to 
 the bolster under her left arm. 
 
 Apuleius, Metam. iv. 28, &c. 
 
 No. 9 of John Smith's Mezzotint Engravings. 
 
 The action of the two figures corresponds exactly with the engraving. It is not 
 even reversed. The little Cupid lying on the ground holding a blazing torch is 
 not to be seen in Caraglio. 
 
 There is much artistic excellence in this picture, but the shadows on the flesh are too 
 heavy. They, perhaps, look colder and blacker from the contiguity of the golden- 
 brown mass of the curtain behind them. The balustrade has been bedaubed with 
 heavy brown shadows. The little Cnpid on the ground exhibits more of Rubens' 
 or even of Sir Peter Lely's style of colouring than Titian's. 
 
 (On wall to the right of entrance-door.) 
 
 RUBENS. — The Rape of Proserpine, a large long picture with 
 numerous figures the size of life. It is justly spoken of by 
 Dr. Waagen 8 as "in every respect one of the capital 
 works of the master." Smith, who describes it in his 
 Catalogue Eaisonne, No. 825, observes, " This capital Gallery 
 picture is wholly by the hand of the master, and abounds 
 with the several beauties peculiar to his surprising genius in 
 this class of subject," There is an etching of this composi- 
 tion by Soutman. 
 
 The composition of this picture seems to have been sug- 
 gested by ancient bas-reliefs, many of which, representing 
 this subject, are still extant. 
 
 At first sight the superior merits of this picture are not 
 apparent. The picture appears very cold and blue in the 
 middle tints, and hard in the general effects. These objec- 
 tions, however, cease upon a continued observation, and 
 
 8 Vol. iii. page 133. 
 
 Blenheim. 
 
92 
 
 THE TITIAN ROOM — continued. 
 
 almost disappear after the eye has been relieved by turning 
 for a while to some of the warmer and more exaggerated 
 paintings on the other sides of the room. 
 
 The apparently crude cold tints assume a proper gradation, 
 and the purer style of the drawing indicates a period when 
 Rubens had come fresh from his studies in Italy. 
 The following technical notes of the distribution of the colours 
 may be serviceable to those interested in such matters : — 
 
 The only bright red in the picture is on the mantle of Pluto : the colours of Minerva are 
 a lilac tunic over a green under-dress. There is blue drapery between the shell and the 
 body of the reclining figure in front, whose hair is flaxen and comparatively empty of form. 
 The helmet and circular shield of Minerva are bluish steel ; the crest of the helmet is red. 
 The drapery of Proserpine is white, and the dress of the female kneeling at her feet a 
 yellow-brown. The chariot 9 of Pluto white and gold ; the horses brown with white spots. 
 The flesh of the naked female, considered to be Diana, to the right of Minerva, is shaded 
 with very blue colours. Cupid, in the air above, flying to the left, in the extreme lefthand 
 corner, appears very brilliant against the dark-grey sky. The horse's head is fine and 
 spirited, as in Rubens's celebrated picture " the Rape of the Leucippidse " at Munich. 
 
 The following quotation from Dr. Waagen's excellent description 
 in his ' Treasures of Art ' will supply the rest : — 
 
 " 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 Pro- 
 serpine and her attendants, which latter are endeavouring in vain to hold her back. We 
 recognize 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 background. This masterpiece was probably painted by Rubens 
 in the first years after his return from Italy, and is executed throughout with the greatest 
 care by his own hand." 
 
 9 Ovid, Metam., Lib. V., lin. 360 and 402. 
 
 End of the Pictures and Works of Art in the Apartments shown to 
 
 the Public. 
 
 * 
 
(Katatope llaimnt; 
 
 OR, 
 
 A LIST OF THE PICTURES 
 
 IN THE PRIVATE APARTMENTS OF 
 
 BLENHEIM PALACE; 
 
 WITH 
 
 By GEORGE SCHARF, F.S.A., 
 
 SECRETARY TO THE NATIONAL PORTRAIT GALLERY. 
 BY AUTHORITY OF HIS GRACE THE DUKE OF MARLBOROUGH. 
 
 Part II. 
 
CONTENTS OF PART 
 
 Page 
 
 The Duchess's Sitting Eoom .. .. .. .. .. .. 97 
 
 The Duke's Private Room .. .. .. .. .. 130 
 
 The Bow- window Room .. .. .. .. .. ..132 
 
 The State Bedroom .. .. .. .. .. .. .. 136 
 
 The Dressing Room .. .. .. .. .. .. .. 140 
 
 The Billiard Room .. .. .. .. .. .. .. 144 
 
 The Prince of Wales's Rooms .. .. .. .. ..173 
 
 The Waiting Room 176 
 
 Ante-Room to Drawing Rooms .. .. .. .. 176 
 
 Ante-Room to Duchess's Sitting Room .. .. .. .. 179 
 
 Grand Staircase .. .. .. .. .. .. .. .. 180 
 
 Portraits in the South Corridor .. .. .. .. .. 182 
 
 Portraits in the East Corridor .. .. .. .. .. 193 
 
 The Godolphin Bed Room .. .. .. .. .. .. 198 
 
 Godolphin Dressing Room .. .. .. .. .. .. 201 
 
 Green Bed Room .. .. .. .. .. .. .. .. 203 
 
 Dressing Room to Green Bed Room .. .. .. .. .. 204 
 
 Bow-window Bed Room .. .. .. .. .. .. .. 206 
 
 Tower Bed Room .. .. .. .. .. .. .. .. 207 
 
 Garden Front of the Palace .. .. .. .. 208 
 
 Gardens : — Temple to Diana — Temple of Health — Fountain — 
 
 Chalybeate Spring .. .. .. .. .. .. 208 
 
 Pictures in the London Residence .. .. .. .. .. 211 
 
 Appendix .. .. .. .. .. .. .. .. 213 
 
 Biographical List of Painters .. .. .. .. ..215 
 
THE DUCHESS'S SITTING ROOM. 
 
 ■O 
 
 (Over the fireplace.) 
 
 GRAVES. — John Winston, sixth and present Duke of Marlborough. 
 Painted in 1860. Full-length, represented seated at a 
 writing-table. The pictures in the background are a part 
 of the series of paintings by Teniers, as they hang in the 
 Billiard-Eoom. 
 
 (To the right of the fireplace.) 
 Above. 
 
 REYNOLDS. — Portrait of Lord Charles Spencer, life size ; leaning 
 on his left elbow, wearing a fancy worked collar. The face 
 seen in three-quarters turned to the left. The trunk of a tree 
 and sky form the background. 
 
 (Below the preceding.) 
 
 M. RICCI. — A landscape, with cattle and sheep in the foreground. 
 A long range of buildings seen across a piece of water. 
 
 (Below the preceding are two pictures.) 
 The one to the left. 
 
 BRILL. — A small square landscape — painted on panel. A stag 
 being coursed across undulating green hills, one of which, 
 to the left, is crowned with a chateau. Sportsmen in right 
 hand corner mounted on white horses ; a man in front taking 
 aim with a gun from behind a rock. 
 Blenheim. h 
 
98 THE DUCHESS'S SITTING ROOM — continued. 
 
 (To the right of the preceding.) 
 
 PATER. — A small square picture, painted with extreme care and 
 delicacy upon panel. 
 
 A feast and merrymaking in the open air. In the centre 
 a pot is boiling over the fire. Groups of figures recline upon 
 the ground to the left, and in the extreme right a lady in 
 pinkish satin, and a gentleman standing up as if about to 
 dance. 
 
 For description of Miniatures in the frame below, see page 109. 
 
 (To the right of the portrait ol Lord Charles Spencer.) 
 
 HONTHORST. — The Infanta Isabella Clara Eugenia, daughter of 
 Philip II. of Spain, and governess of the Low Countries. 
 This fine portrait, representing the Infanta in advanced 
 life, was probably taken after the death of her husband, 
 the Archduke Albert, in 1621. It contrasts strikingly with 
 her portrait in the Hall (see ante, page 16), where she appears 
 in the bloom of youth. 
 
 She is here seen, life size, to the knees, wearing an enor- 
 mous ruff, dressed entirely in black, with ruffles at the wrist, 
 resting her right hand on a table, and holding a white hand- 
 kerchief in her left. A richly-patterned black and yellow 
 curtain forms the background. Rich chains of pearl are 
 festooned across her chest ; and at her left breast, in lieu of the 
 picture-cases, or boxes, so much worn by ladies at this period, 
 a medallion is attached by a white ribbon. The medallion is 
 enriched all round the frame with points like the rays of a 
 star, and bears in the centre a standing figure of the Virgin 
 Mary, holding the infant Saviour in her arms. A blue mantle 
 partly covers the long white dress of the Virgin, as generally 
 represented in Spanish art, and both figures are encircled 
 with a glory of waving flames. 1 This portrait is painted 
 
 1 It is difficult to determine whether this device be intended for a religious 
 emblem or the badge of an Order. The Virgin and Child appear in connection 
 with the badges of the Toison d'Or on the reverses of medals of Albert Duke 
 of Bavaria, dated 1565, and Emanuel Duke of Savoy, dated 1601. On the 
 medal of Duke Albert the Virgin is crowned ; she holds a sceptre, and is 
 encircled with waving flames, as in the picture before us. The Virgin standing 
 on the crescent, holding the Child in her arms, surrounded with glory and 
 encircled with the legend " Sancta Maria ora pro nobis," 'also appears on a 
 golden medal attached to the cap of the Emperor Charles V. in his portrait at 
 Windsor Castle. The Virgin standing on the crescent, and two angels holding 
 a crown over her head as the " Madonna in gloria," may likewise be seen on 
 the neck of the breastplate of a portrait of Philip III. of Spain by J. Pantoja 
 de la Cruz at Hampton Court Palace (No. 939 of the Catalogue). The 
 Austrian Order called the Christian Militia in Moravia, founded at Olmutz 
 
 Blenheim. 
 
THE DUCHESS'S SITTING ROOM — continued. 99 
 
 with great power, and quite accords with the energetic 
 character of the lady herself. The right hand expresses a 
 determined grasp, and the folds of her handkerchief and the 
 general tone of the picture exhibit a close affinity to the 
 style of Eubens. The deep blackish shadows, however, 
 betray the inferior hand of Honthorst. 
 
 The features correspond, in point of age, with the portraits 
 in the Louvre and Vienna Collections, where the Infanta 
 is represented as an Abbess of the order of St. Clara. These 
 pictures are well known by the engravings of Van Sompel, 
 Hondius, and Vorsterman. 
 
 (Below the preceding.) 
 
 G. LANCE. — A grand fruit piece, composed principally of peaches, 
 grapes, pears, gooseberries, and a large pine-apple. As a 
 background, to the left, Blenheim appears in the distance 
 across the water. 
 Painted on canvas. 
 
 (Below the preceding.) 
 In the centre. 
 
 BOUDEWYNS. — A pretty ornamental landscape, painted on 
 wood, numerous figures, and cattle crossing a bridge ; fisher- 
 men with nets, and a large building with mountain beyond 
 it. The general tone is deep neutral green. 
 Painted on panel. 
 
 (Below the preceding.) 
 
 ALBANL — Cupid overpowering Pan in the presence of two 
 Nymphs. A pretty little picture, painted on lime-wood. 
 Similar in composition to the well-known etching of this 
 subject by Agostino Carracci (Bartsch, vol. xviii. p. 103, 
 
 in 1618, bears in the centre of the jewel worn by its fraternity the standing 
 figures of the Virgin and Child, encompassed with glory (see Ashmole's 
 4 Order of the Garter,' p. 93 ; No. 96 of engraved plate). Since this Order 
 was bestowed at Vienna on many princes of various countries, March 8th, 
 1619, and fell into disuse soon after 1624, the period corresponds with the 
 apparent age of the lady in this picture ; and we may the more readily infer 
 that a connection with this Moravian Order was intended, as the city where 
 it was founded pertained to her through marriage, and Clara Eugenia might 
 have worn it after 1621 in right of her husband. 
 
 Blenheim. h 2 
 
100 THE DUCHESS'S SITTING EOOM— continued. 
 
 No. 116), where, however, it is reversed, as the two females 
 appear seated on the left hand. The etching is signed and 
 dated, a-cin. 1599, with the motto, " omnia vincit Amor." 1 
 
 1 A similar picture on a larger scale was contributed by Lord Feversham to the 
 
 Manchester Exhibition in 1857. No. 317 of the Catalogue. 
 Compare also a copy by Teniers in the Billiard Room, page 151. 
 
 (To the left of the Boudewyns.) 
 CORREGGIO. — A small circular picture of the Angel in the 
 celebrated picture of the Agony in the Garden, belonging to 
 the Duke of Wellington, and of which picture a replica exists 
 in the National Gallery. Painted on canvas. 
 
 (To the right of the Boudewyns.) 
 CLAUDE. — A pretty circular landscape, painted on paper or linen 
 fastened upon wood. Three figures in foreground, two of 
 them carrying bundles. A town seen above trees, beyond a 
 piece of water, and rich trees on each side. 
 
 (To the left of the Albani.) 
 FERG. — A small square landscape, painted on copper. A horse- 
 man following two carts with people along a road shaded by 
 trees. Three horsemen are seen following a waggon on the 
 brow of a hill to the left. Signed in interlaced letters v.f. 1 on 
 the side of a stone near the right-hand corner. 
 
 1 See plate of Monograms and Signatures, No. 17. 
 
 (To the right of the Albani.) 
 
 PERG. — The companion picture, also on copper. Five men trying 
 to urge on four horses dragging a small cannon in a cart. 
 Two of the men apply handspikes to the wheel ; a third, 
 acting as postillion, lashes the horses with a stick ; a fourth 
 leads them on foot ; the fifth is mounted, and also raises his 
 stick to strike. This party is followed by a covered waggon, 
 conveying a man, woman, and child. Three horsemen follow. 
 Fantastic shaped trees rise above the hill, and relieve against 
 the sunny sky. Other people are seen proceeding from a 
 cottage on the extreme right. 
 
 These pictures are minutely and beautifully finished, fresh 
 Blenheim. 
 
THE DUCHESS'S SITTING RO OM — continued. 
 
 101 
 
 and mellow, with a delicate haziness of colour and atmo- 
 sphere, which reminds the connoisseur of some pecu- 
 liarities in Berchem. Their minuteness and delicacy give 
 almost the appearance of being enamelled, or painted upon 
 china. 
 
 The works of Ferg are highly extolled in Walpole's Anecdotes of Painting, vol. iii. 
 page 670. 
 
 WALL FACING THE WINDOWS. 
 
 (In the centre.) 
 
 G. SANDERS, — A large family picture of four figures, represent- 
 ing the present Duke, when Earl of Sunderland, with his 
 brothers and sister, on a rocky sea-shore. 
 
 In the centre, Lord Sunderland, dressed in plaid, and 
 wearing a Scotch bonnet, points to a ship far off at sea. Lord 
 Alan Churchill, holding a shell, embraces his sister, Lady 
 Louisa, who fondles a Blenheim spaniel over her shoulder. 
 Lord Alfred Churchill, as a boy, dressed in bright grass-green 
 with a plaid scarf, is seated to the right. A black dog comes 
 out of the water with a cap in his mouth, in the right hand 
 corner of the picture. 
 
 (To the left of the preceding.) 
 Above. 
 
 VAN DER NEER. — A large landscape with warm sky. A 
 group of bird-catchers in the front, an extent of buildings 
 seen across a dark piece of water. Heavy trees and buildings 
 occupy the left hand side. Painted on canvas and signed in 
 light colour with the letters a.v.d.n. combined as usual, in 
 left hand corner. 
 
 An excellent specimen of the master : mentioned by Dr. 
 Waagen, vol. iii., page 127. 
 
 (Below the preceding.) 
 
 F. FRANCK. — The Passage of the Bed Sea. Very similar to the 
 picture already described in the 1 Grand Cabinet :' see ante, 
 page 61. The figures here are upon a somewhat larger scale, 
 and less crowded. It is signed in brown letters on the pale 
 green foreground, and dated 1630. 1 
 Painted on panel. 
 
 1 See plate of Monograms and Signatures, No. 10. 
 
 Blenheim. 
 
102 THE DUCHESS'S SITTING mOM~continued. 
 
 (Below the preceding.) 
 In the centre. 
 
 DA VINCI (School of). — The Virgin, wearing a turban, supports 
 the Child with both hands. 
 
 An oval picture, with very dark background, painted on 
 panel. In an octagonal frame. 
 
 (To the left of the preceding.) 
 
 L. CARRACCI. — The Holy Family, a small, arched picture, 
 painted on panel. The Virgin, seated under a tree, holds 
 the Saviour on her lap. St. John kisses him ; Joseph, with 
 a staff, and clad in green and orange, gazes earnestly at 
 them. A lamb, at his feet, looks up towards the Virgin. 
 The colours of her dress are somewhat unusual, consisting of 
 a black mantle over a red garment. The nimbus to the 
 heads is composed of rings not seen in perspective. The 
 sky is broken with blue streaks, in the Venetian fashion. 
 
 (To the right of the Da Vinci.) 
 
 TINTORETTO. — A companion picture to the preceding. The 
 Virgin and Child on clouds above, with various saints 
 below ; a small, arch-topped, brilliant little picture, painted 
 on very thin panel of limewood. 
 
 With the exception of the prominent reclining figure of 
 St. Paul, recognised by the book, and the sword at his side, 
 and a bishop behind him clad in mitre and mantle, holding a 
 pastoral staff, all the saints wear the white garments belong- 
 ing to the Camaldolese Order. The yellow mantle of the 
 Virgin is supported by two boy-angels, and on each side of 
 her kneel two saints — the one holding a sword, the other 
 with a golden pitcher or wine vessel, placed on the cloud 
 which supports him. This figure may possibly represent 
 St. Benedict. Below him appears St. Anthony of Padua, 
 bearing lily and cross, and at the feet of St. Paul another 
 saint deserves attention for the peculiar manner in which the 
 thumbs of his folded hands are crossed over one another. 
 Behind the group of the Virgin and Child is a rich yellow 
 glory, whilst the grey clouds at her feet merge harmoniously 
 into a deep blue sky, so as to set off the rich transparent 
 tones of crimson and green, peculiar to St. Paul, to the 
 greatest advantage. 
 Blenheim. 
 
THE DUCHESS'S SITTING ROOM — continued. 
 
 103 
 
 (Below the preceding.) 
 
 SWAINE. — A small sea-piece painted on wood, Vessels in a Calm. 
 A man carrying a bundle on a stick appears in front ; a boat 
 towing a large ship ; and men fishing in a boat on the left. 
 Signed in small yellow letters upon brown rocks in fore- 
 ground. 1 
 
 1 See plate of Monograms and Signatures, No. 7. 
 
 (Below the Carracci.) 
 
 SWAINE. — Two ships in a gale ; freshly and clearly painted. The 
 sea very grey in colour, and the black outline in many parts 
 too prominent. Signed with the artist's name on a spar in 
 front. 
 
 Marine pictures by Swaine may also be seen in the collection at Hampton Court, 
 Nos. 339, 340 of the Catalogue. 
 
 (Below the Da Vinci, in the centre.) 
 
 VAN DYCK (School of). — Small oval portrait of a man in 
 armour, with turned-down white collar, resembling Crom- 
 well, painted on linen attached to oak panel. The picture 
 is very well painted, but as little likely to be painted by 
 Van Dyck as to be intended for Cromwell, who, at the period 
 of Van Dyck's death in 1641, had not acquired historical 
 distinction. 
 
 (To the right of the family picture.) 
 Above. 
 
 WOUWERMAN. — A skirmish of cavalry on the slope of a hill. 
 To the extreme left, at foot of the hill, a fort is in flames. 
 Groups of horsemen contending form the centre of the 
 picture, and a large blue banner is raised above them. 
 Wounded men and a horse lie on the ground to the right. 
 
 This picture is stated by Smith to be painted in the artist's 
 first manner. It is described in the Supplemental volume 
 to his Catalogue Eaisonne, No. 89, page 169. 
 
 Signed with the artist's initials, p.h.w., 1 in whitish letters 
 in foreground, below the figure of the man running away 
 with his hands before his eyes. 
 
 1 See plate of Monograms and Signatures, No. 23. 
 
 Blknheim. 
 
104 THE DUCHESS'S SITTING EOOM— continued. 
 
 (Below the preceding.) 
 
 DANCE. — Gertrude, second wife of John fourth Duke of Bedford, 
 and eldest daughter of John Earl Gower (see also page 
 112). A pleasing picture, life size, in fancy costume. 
 Painted on canvas. 
 
 (Below the preceding.) 
 
 VAN DYCK. — The Virgin and Child. A small repetition of the 
 beautiful picture in the Large Drawing-room. It is darker 
 and browner than the larger picture, and the eyes of the 
 Madonna are not so much turned to the left. (See ante, p. 32.) 
 
 (Over door leading into the Ante-room, to right of the Dance.) 
 
 ROSA DA TIVOLI (PHILIP ROOS).— A square picture of 
 goats and buffaloes ; the latter standing, and a shepherd with 
 naked back seated before them, and a dog at his side. A 
 herdsman, with ass and sheep, are seen making their way to 
 a city in the central distance. 
 Painted on canvas. 
 
 WALL FACING THE FIREPLACE. 
 
 (In the centre.) 
 
 WOUWERMAN. — The storming of a town, with cavalry making 
 a sortie. A castle on a rocky height is a prominent feature 
 near the centre. To the left, beyond a barricaded bridge, 
 the cathedral is seen in flames. The centre of the picture is 
 filled with equestrian combatants. To the extreme right, a 
 horseman raising a standard is rushing into the sea, whilst a 
 man clings to the bridle of his horse. Another soldier, still 
 more in front, is being fired at ; a shell seems to be exploding 
 at his back. His hat flies off as he rushes towards the water. 
 
 This scene of terrible excitement and fury is one of the 
 artist's early works. It is painted on canvas, and very brown 
 and heavy in tone. It is signed at full length and dated : 
 P. H. Wouwermann. A°. 1646, 1 when the artist was in his 
 twenty-sixth year. 
 
 Described in the Supplemental volume to Smith's Cata- 
 logue Eaisonne, page 167, No. 86. 
 
 1 See plate of Monograms and Signatures, No. 24. 
 
 Blenheim. 
 
THE DUCHESS'S SITTING BOOM— continued. 
 
 105 
 
 (To the left of the preceding.) 
 Above. 
 
 MURILLO (School of). — Two Spanish peasant "boys at play. 
 One in ragged red dress pointing to the left as if at a mark 
 for the other to aim at, with bended knuckles. The second 
 lad is on bended knee, dressed in white, with a black hat. A 
 broken plate and pitcher are lying on the ground. Painted 
 on canvas ; figures the size of life. Very dark and dull 
 brown grey in tone. 
 
 Mentioned in the list of works executed by and ascribed to Murillo at the end 
 of Stirling's ' Annals of the Artists of Spain/ page 1441. 
 
 (Below the preceding.) 
 
 HUYSMAN. — A very rich and effective landscape, painted on 
 canvas. The deep brown and green trees harmonize with 
 the rich blue sky, broken with bright and yellowish white 
 clouds. 
 
 The paintings of this master have an affinity to the power and mellowness of 
 our modern water-colour landscape artists ; Muller especially. 
 
 (Below the preceding.) 
 Three small pictures mounted on a frieze of crimson velvet. 
 BAUT. — A Hunting Party before the door of an inn. A lady in 
 pink and blue dress, on a white horse, occupies the centre of 
 the picture. Horsemen and hounds in the distance. 
 Painted on copper. 
 
 BAUT. — A Battle-field. Cavalry pursuing a gentleman mounted 
 on a white horse and dressed in scarlet. He turns round and 
 discharges a pistol at them. A dead soldier in the left hand 
 corner. 
 
 Signed F. B. 1 Painted on copper. 
 
 1 See plate of Monograms and Signatures, No. 19. 
 
 BAUT. — A Battle. Two horsemen, one with a sword and the other 
 with a flag, galloping on brown horses from a large party of 
 soldiers under a blue banner. 
 
 The walls of a fortress on the left side. 
 
 These little pictures are clear and brilliant in colour. The skies are grey and 
 blue, and with an admixture of colours in the dresses of the figures that closely 
 resemble the style of Wouwerman. They are paler and brighter, but very 
 minutely finished. 
 
 Blenheim. 
 
106 THE DUCHESS'S SITTING EOOM— continued. 
 
 (To the right of the central Wouwerman.) 
 Above. 
 
 MURILLO (School of). — Three Spanish peasant boys. Two 
 crouching on the ground, one offering the other a spoonful 
 of milk from a bowl lying at their feet ; the third boy 
 stands behind against the trunk of a tree. Playing cards 
 are scattered on the ground. A companion picture to the 
 Murillo previously described, and likewise painted on canvas. 
 
 Not included in Mr. Stirling's Catalogue. 
 
 (Below the preceding.) 
 
 LANCRET. — Fete champetre. In the centre, a youth and a young 
 lady are seated at the foot of a fountain, formed of two Cupids 
 squeezing a dolphin, and carved of grey stone. The youth 
 clad in pink and salmon-coloured satin holds a pair of ivory 
 and blue silk bagpipes ; the lady, listening to his conversa- 
 tion, seems observed by a gentleman in cloak and hat a little 
 behind, with strong indications of jealousy. In the fore- 
 ground ducks are swimming in a piece of water, and a little 
 girl on the extreme right is seated near a white and brown 
 dog. Two other groups of lovers, with a basket of flowers 
 and a spaniel, are introduced in the background. 
 Painted on canvas. 
 
 (Below the preceding.) 
 In the centre. 
 
 BAUT. — A Hawking Party alighting before a cottage. A boy in 
 red tending a white horse, and a cavalier attired in black 
 assisting to take a mantle from the shoulders of a lady. 
 Painted on copper. 
 
 Gilt bas-reliefs of battle pieces, of the period of William III. and Marlborough, are 
 hung on each side of the preceding. 
 
 (Over the door facing the entrance to the Grand Cabinet.) 
 
 KNELLER. — Lady Anne Churchill, afterwards Countess of Sun- 
 derland (see ante, page 14), in white dress, with pale yellow- 
 brown drapery hanging from her right shoulder. 
 An oval picture, life size, painted on canvas. 
 Blenheim. 
 
THE DUCHESS'S SITTING ROOM — continued. 
 
 107 
 
 (Over the opposite door, leading into the Grand Cabinet.) 
 
 VAN DYCK. — Catherine Countess of Chesterfield, daughter to 
 Francis Lord Hastings, son to the fourth Duke of Hunting- 
 don. An oval picture, life size, wearing a large black hat 
 and a dress of crimson and orange trimmed with brown fur. 
 The eyes are fixed upon the spectator, and the face seen in 
 three-quarters turned to the right. 
 
 This lady married Philip Stanhope, first Earl of Chester- 
 field (he was created August 1628), in 1605. According to 
 the date on an engraving by Van Gunst, the picture must 
 have been painted in the year of her death, 1636. Painted on 
 canvas. Described in Smith's Catalogue, No. 259, and men- 
 tioned by Dr. Waagen, page 123. 
 
 Granger, vol. v., p. 369, seems rather to have confused the 
 daughter of Thomas Lord Wotton, governess to the Princess 
 Mary daughter of King Charles I., and created Countess of 
 Chesterfield in her own right 1671, with the daughter of 
 Lord Hastings who died 1636. 
 
 (To the right of the preceding.) 
 Above. 
 
 REYNOLDS. — The Countess of Pembroke, daughter of Charles 
 Spencer second Duke of Marlborough (see ante, page 15). 
 
 A half-length figure, leaning her left arm on a red velvet 
 cushion ; the face turned towards the right. A column or 
 pilaster behind to the left. Her dress is spotted white, with 
 a pink scarf hanging from her left shoulder. Both hands 
 seen. 
 
 (Below the preceding.) 
 
 VAN DELEN. — A long architectural composition, consisting prin- 
 cipally of a colonnade in perspective, with a large monument 
 against the wall on the right hand, similar in style to some 
 of the Papal monuments in St. Peter's at Rome. A woman 
 appears towards the left, kneeling before a chafing-dish or 
 portable altar. 
 
 Painted on panel, signed and dated d. van delen f. 1655. 1 
 1 See plate of Monograms and Signatures, No. 13. 
 
 Blenheim. 
 
108 THE DUCHESS'S SITTING ROOM— continued. 
 
 (Twog pictures hang below the preceding.) 
 The one to the left. 
 
 POUSSIN. — A small landscape, with a town under the brow of a 
 mountain. A red figure seated in the foreground, in the 
 style of Nicolas Poussin. 
 
 • The one to the right. 
 
 POUSSIN. — A small landscape by Gaspar Poussin. Two figures 
 on the left, seated on the bank of a river. A man riding 
 along a path on the opposite side. 
 
 It is stated in ' The Beauties of Englaud and Wales,' vol. 12, part 2, page 403, 
 that Sarah Duchess purchased the works of this master at any price. 
 
 {For description of the miniatures in frame below the preceding pictures see page 109.) 
 
 (Between the window and the door leading into the Grand Cabinet.) 
 Above. 
 
 REYNOLDS (after CORREGGIO). — A large head, life size, 
 of an angel, in an oval frame, looking at the spectator over 
 his right shoulder. 
 
 (Beneath the preceding.) 
 
 TINTORETTO (School of).— A small picture of the Virgin 
 Mary kneeling on clouds, with extended arms. The back- 
 ground is a bright yellow glory. 
 
 (Below the preceding.) 
 
 SANDERS.— Lord Alfred Spencer Churchill as a boy — a bust 
 portrait. 
 
 (Below the preceding.) 
 
 Unknown. — A small full length portrait, on canvas, of a youth 
 in large flaxen wig and Eoman costume, with yellow vest 
 and blue flowing mantle. His hand, which is remarkably 
 small, leans on a stone pedestal to the left, sculptured with a 
 shield bearing two lions passant, surrounded with laurel 
 branches. A garden planted with cypresses is seen to the 
 right. 
 Blenheim. 
 
facwq Pagt 109. 
 
 FRAME TO THE LEFT OF FIRE-PLACE IN THE DUCHESS'S SITTING -ROOM. 
 
 % die ruj/Jit of the Window. To the left of the Window 
 
 'cases of miniatures in the bow-window room. 
 
 FRAME TO THE RIGHT OF FIRE-PLACE fN THE DUCHESS'S SITTING ROOM. 
 
 Star<Aidgc&C£xhii .36 OlcLJwry 
 
THE DUCHESS'S SITTING EOOM— Miniatures— continued. 109 
 
 (Between the windows, and facing the large family picture.) 
 
 KNELLER. — Lady Henrietta Churchill, first Countess of Godol- 
 phin, and afterwards Duchess of Marlborough. (See ante, 
 page 14.) A small oval picture, head only, life-size. 
 
 LIST OF MINIATURES CONTAINED IN THE TWO LARGE FRAMES 
 TO RIGHT AND LEFT OF THE FIREPLACE, AND ALSO IN 
 TWO OCTAGONAL FRAMES BEHIND THE BUSTS IN THE BOW- 
 WINDOW ROOM. 
 
 *** For the relative position of these miniatures as arranged at the present time 
 in the larger frames see the opposite plate. 
 
 1. Margaret Tudor Queen of Scotland, sister to King Henry 
 
 VIII. of England, born 1489 ; died 1541. Crimson and 
 yellow head dress, and black veil falling behind; crimson 
 bodice and blue background — oval. No. 3. 
 
 2. Mary Queen of Scots. An oval, with blue background. Face 
 
 turned to left, eyes looking at spectator : a broad white ruff 
 coming close to chin, black veil falling behind ; a jewelled 
 chain round neck, and a gold jewelled chain festooned in 
 front of her black stomacher. No. 7. 
 
 3. Mary Queen of Scots — oval. With open ruff and a black cap, 
 
 with lace on each side ; face seen nearly full, and very similar 
 to Dr. Mead's miniature, engraved by Houbraken, and now 
 in the Eoyal Collection. Inscribed at the back " Mary Queen 
 of Scots." 
 
 4. Mary Queen of Scots. A copy of the miniature by Isaac 
 
 Oliver in the Royal Collection, and formerly the property of 
 Dr. Mead. It was engraved by Houbraken in Birch's Illus- 
 trious Heads. The face is seen in three-quarters view, 
 turned to the left. 
 
 5. Mary Queen of Scots. Of an oval shape, turned lengthways or 
 
 horizontally, with blue background, and inscribed upon it in 
 gold letters — 
 
 MARIA * REGINA * SCOTORUM. 
 
 The face is turned to the right; a black veil falls behind, 
 and a white fur tippet encircles her neck, within which a 
 Blenheim. 
 
110 THE DUCHESS'S SITTING BOOM— Miniatures— continued, 
 
 necklace but no ruff is visible. Her black dress is striped 
 with white fur. No. 5. 
 
 This miniature belongs to the type of Mary portraits engraved in mezzotint by 
 J. Simon; and, as Granger observes, vol. i. page 223, it is a very different 
 face from the portrait in St. James's. 
 
 6. Maky Queen of Scots. A modern copy of the preceding, but 
 
 placed in a differently turned oval. No. 41. 
 
 7. Francis I. King of France, wearing a black cap and white 
 
 feather, with gold ornament in it. An oval, with blue back- 
 ground. 
 
 Francis Count d'Angouleme ascended the throne in 1515, 
 and died 1547, the same year as Henry VIII. of England, 
 alternately his friend and rival. No. 1. 
 
 8. Henry II. King of France, in armour, or a grey and gold dress 
 
 — an oval, with dull blue background. 
 
 Engraved at the back " Henry 2 of France." Henry suc- 
 ceeded his father in 1547, and died 1559, aged 41, in conse- 
 quence of an accident at a tournament. 
 
 9. Henry Wriothesley Earl of Southampton, K.G., the patron of 
 
 Shakspeare : an oval, painted by Peter Oliver — signed P. O., 
 in gold letters to the left of his ruff. The Blue Eibbon of the 
 Garter hangs round his neck. No. 44. 
 
 10. Marie de Medicis. An oval, with blue ground. Wearing a broad 
 
 widespread ruff of white lace ; her dress, of black and orange 
 stripes, has a row of white bows upon the left shoulder. 
 A red coral ornament is at the top of the stomacher, and seems 
 connected with her pearl necklace ; the earring has a pearl 
 hanging to it. No. 52. 
 
 11. Marie de Medicis. A similar portrait. No. 49. 
 
 12. Gabrielle d'Estr^es. An oval, with blue ground, large circular 
 
 ruff and black dress ; her light hair is edged with pearls. 
 No. 9. 
 
 1 3. Arabella Stuart. Oval miniature, with blue background, painted 
 
 upon paper ; her ruff or rather high-standing collar curved 
 back is similar to Janet's portrait of Mary Queen of Scots in 
 the Eoyal Collection. The jewels on her white dress are 
 painted crimson on a gold ground ; the pearls are silvered. 
 Her face is seen in three-quarters, turned to the left, looking 
 at the spectator. No. 48. 
 Blenheim. 
 
THE DUCHESS'S SITTING ROOM — Miniatures — continued. Ill 
 
 14. The Queen op Bohemia, daughter of James I., in a fancy dress of 
 
 blue and yellow, with feathers of various colours falling over 
 her long dark hair. Oval, with dark brown background. 
 
 15. Gerard Honthorst, painter to the Queen of Bohemia; bom at 
 
 Utrecht, 1592; visited England, and was much patronized 
 by the Eoyal Family. Rubens admired his night scenes very 
 much. Died at the Hague 1660. 
 
 16. Cardinal Mazarin. An enamel miniature in gold and silver 
 
 filigree frame. Inscribed on the gold plate at the back 
 " Cardinal Julius Mazarine, born 14th July, 1602, died 
 9th March, 1661." (36.) 
 
 Mazarin was the protege and successor of Richelieu, who, on his deathbed, recom- 
 mended him to Louis XIII. But Mazarin surpassed Richelieu in cunning, 
 finesse, and intrigue, and contrived to turn all public acts to his private advan- 
 tage. He possessed an unbounded influence over Anne of Austria, and also 
 over her son Louis XIV. He beggared the French nation, but endeavoured to 
 make amends by bequeathing to Louis XIV. the sagacious Colbert, under 
 whose strong hand the finances of France rapidly recovered. Mazarin founded 
 the first public library in France. 
 
 17. Lord Lauderdale. Oval, with profusion of light red-brown 
 
 hair, white necktie, and blue drapery partly covering his left 
 shoulder ; face turned to the left, looking at spectator. 
 No. 46. 
 
 18. James Francis Edward Stuart, the Old Pretender ; born 1688, 
 
 died 1765. A very small miniature. 
 
 19. Clementina Sobieski, his wife. A companion miniature. Maria 
 
 Clementina, daughter of Prince James Sobieski, son of the 
 valiant King of Poland, married James Stuart 1719. Died at 
 Rome 1735. 
 
 20. John Dryden the poet. An oval of rather large size, inscribed 
 
 at the back " Mr. Dryden." 
 
 21. Queen Anne. • A rather large oval miniature, delicately painted 
 
 in water colours. Her dark brown hair is entirely without 
 ornament. Her dress a pale scarlet lined with ermine, and 
 the jewel of the Order of the Garter hangs in front by a broad 
 pale blue ribbon. The face turned towards the left. (37.) 
 
 22. John Duke of Marlborough, K.G., and Charles third Earl op 
 
 Sunderland, K.G. A large miniature of great importance. 
 Both figures are in armour standing, and seen to the knees. 
 No painter's name is visible ; but " G. Rex" is signed on the 
 paper, with a seal appended to it on the extreme right. 
 Blenheim. 
 
112 THE DUCHESS'S SITTING ROOM — Miniatures — continued. 
 
 A fort and soldiers fighting appear in the distance on the 
 opposite side. The dresses are enriched with gold and 
 silver. 
 
 Charles third Earl of Sunderland was born 1665 ; appointed Lord Lieutenant of 
 Ireland 1714; received the Garter 1719-20; and died the same year as the 
 great Duke of Marlborough, 1722. 
 
 23. The Countess of Sunderland, daughter to the Duke of Marl- 
 
 borough (see ante, page 14), with her second son, Charles 
 Spencer. Names inscribed at the back. Painted on ivory 
 by Bernard Lens, August 10, 1720, after Sir Godfrey Kneller. 
 Althorp is seen in the distance to the left. For a view of 
 Althorp by D. Maas, see post, page 143. 
 
 A very large miniature, of in. by 4f in. (sight measure), 
 and one of the finest specimens of this celebrated painter. 
 It is signed B. L. 1720, in gold letters upon dark brown in 
 the right hand corner. See also post, page 189. 
 
 24. Louis XY. as a boy, attired in the blue mantle powdered with 
 
 fleurs-de-lis, over a suit of steel armour. The blue ribbon of 
 the Saint Esprit passes under his left arm. Half length 
 figure in upright oval. 
 
 Louis succeeded his great grandfather, Louis XIV., on the throne in 1715, when 
 he was only five years of age. He died 1774. 
 
 25. Henrietta Duchess of Marlborough. An oval, with grey 
 
 background. 
 
 26. Lady Diana Spencer, daughter to Charles, second Duke (see ante, 
 
 page 15), in white hat with blue edge, lilac dress and white 
 lace : an oval, with dark grey background. Inscribed at 
 back " Lady Diana Spencer, eldest daughter to Charles Duke 
 of Marlborough, married in 1757 to Frederick Viscount 
 Bolingbroke." 
 
 27. Lady Elizabeth Spencer, sister of the preceding (see ante, page 
 
 15). In small white cap and turquoise blue dress, with white 
 lace. An oval. Besides the name inscribed at the back is 
 added, " married in 1756 to Henry Earl of Pembroke." 
 
 28. Gertrude Duchess of Bedford, second wife of John fourth Duke 
 
 of Bedford, eldest daughter of John Earl Gower, and mother 
 of Caroline Duchess of Marlborough. An oval miniature, in 
 blue dress, with a tight fitting necklace of pearls; face 
 turned to the right; pearls also in her hair. A portion 
 of the artist's signature is hidden by the frame on the right- 
 hand side. are just visible (see ante, pages 26, 34, and 104). 
 
 The name is inscribed on the back of the case. 
 Blenheim. 
 
THE DUCHESS'S SITTING ROOM — Miniatures — continued. 113 
 
 29. George thied Duke of Marlborough, holding a book, seated by 
 
 the Duchess Caroline, with Lord Francis Almeric Spencer as 
 an infant in her lap. A dog in the foreground looks up to- 
 wards the Duke. A crimson curtain and column with a por- 
 tion of landscape form the background. A well-composed 
 group. Figures seen below the knees. 
 
 Painted on ivory by Samuel Shelley. Engraved in a 
 mixed style by F. Bartolozzi. 
 
 The back of the miniature was covered with nine lines of writing, which have 
 been scribbled over so as to obliterate them. The name of Shelley is still 
 traceable. These miniatures were probably painted about the year 1780 (see 
 ante, page 34). 
 
 30. George Marquis of Blandford, in red and white fancy dress. 
 
 Signed at the back " S. Shelley pinx., 16, King Street, 
 Covent Garden." 
 
 31. Lord Henry Spencer, born 1770. Painted by Shelley. (See 
 
 ante, page 34.) 
 
 32. Lady Caroline Spencer, afterwards Lady Clifden. Born 1763. 
 
 (See ante, page 34.) 
 
 33. Lady Elizabeth Spencer, born 1764. (See ante, page 34.) 
 
 <* 
 
 34. Lady Charlotte Spencer, afterwards Lady Charlotte Nares. Born 
 
 1769. (See ante, page 34.) 
 
 35. Lady Anne Spencer, now Dowager Countess of Shaftesbury. 
 
 Born 1773. (See ante, page 34.) 
 
 36. Francis Marquis of Tavistock, son of John fourth Duke of 
 
 Bedford (see ante, pages 26 and 47), born Sept. 26, 1739, 
 and father of Francis fifth Duke of Bedford. He died of an 
 accident whilst hunting, March 22, 1767. 
 
 A small miniature, in pale scarlet coat, with white buttons. 
 Name engraved at the back. 
 
 37. Caroline Duchess of Marlborough, sister to the preceding (see 
 
 ante, page 34) : a very small miniature. Name inscribed at 
 the back. 
 
 38. Godfrey of Boulogne. A modern fabrication representing a 
 
 bearded warrior in armour, with helmet and sword. Name 
 inscribed at back. 
 
 39. Uncertain. Oval miniature, with dull blue ground, of a foreigner 
 
 with dark brown hair, moustaches and close cut beard, wcar- 
 Blenheim. i 
 
114 THE DUCHESS'S SITTING 'ROOM— Miniatures— continued. 
 
 ing a small ruff, in black and gold dress, and a white cross 
 hanging by a black ribbon round his neck. The complexion 
 is sallow, and his eyeballs pale grey. No. 43. 
 
 40. Uncertain. Portrait of a gentleman, with fair complexion, light 
 
 crisped hair, moustaches and imperial ; a falling ruff of very 
 fine white lace, and a pink-brown band across his black dress. 
 Painted by John Hoskins, as seen by the golden letters I. H. 
 upon the grey background to the right of the head. 
 
 41. Uncertain. Portrait of a little girl, evidently one of the Marl- 
 
 borough family, dark hair and eyes, with yellow sleeves and 
 light grey bodice. No. 50. 
 
 42. Uncertain. Portrait of a gentleman apparently about 25, with * 
 
 powdered hair, pale complexion, black eyes and eyebrows, 
 white cravat, purple coat with yellow buttons, showing a 
 lining of blue and white stripes edged with yellow. No. 47. 
 
 43. Uncertain. A larger oval portrait of a young man with thick 
 
 and very dark brown hair, smooth chin, black dress and small 
 white turn-down collar. Looking towards the spectator over 
 his right shoulder. Painted on paper in modern water-colour 
 style. 
 
 44. Unfinished miniature on vellum of a young man at the com- 
 
 mencement of the 17 th century: his hair hangs down over 
 his left shoulder. It is principally painted in sepia. Inter- 
 esting as indicating the technical process adopted at that 
 period. (34.) 
 
 45. Miniatuee Poeteait op A Nobleman in Coronation robes of the 
 
 first half of the 18th century. 
 
 46. Unknown portrait of a lady. A small oval miniature. 
 
 47. Portrait of a lady unknown. Costume of the period of Catherine 
 
 de Medicis. 
 
 48. Enamel. Unknown portrait of an elderly gentleman in long 
 
 grey wig and rich purple mantle. The reflected lights on 
 the countenance admirably rendered. Probably enamelled 
 by Boit. (20.) 
 
 49. Enamel. Unknown portrait of a gentleman with dark brown 
 
 hair and eyes, no beard, and wearing black dress and a white 
 collar. (22.) 
 Blenheim. 
 
THE DUCHESS'S SITTING BOOM— Miniatures— continued. 115 
 
 50. Portrait of a lady, seemingly of the Austrian Imperial family, 
 
 with fair complexion, wearing black lace cap and dress. The 
 hair entirely concealed. (23.) 
 
 51. Portrait of a gentleman in brown wig with very thin moustaches. 
 
 The countenance like Charles II., but more probably one of 
 the Austrian Imperial family. (25.) 
 
 52. Enamel portrait of a lady in white dress with blue mantle, light 
 
 hair and brown eyes. (26.) 
 
 53. Portrait of a young lady, in water colours, with light brown hair 
 
 and large blue-grey eyes, lilac dress and white mantle. (27.) 
 
 54. Enamel portrait of a nobleman in full curly wig. Probably 
 
 Lord Godolphin. (28.) 
 
 55. Miniature, unknown portrait of an officer in black coat and red 
 
 collar, with a broad blue ribbon passing over his right 
 shoulder. (40.) 
 
 MINIATURES OF HISTORICAL AND FANCY SUBJECTS. 
 
 56. A Concert. A small copy in water-colours of a picture by 
 
 Titian, now in the National Gallery. The original was 
 formerly in the collection of King Charles I., having been 
 purchased by that monarch from Mantua in 1630. It is 
 mentioned as a " Music Party " in Van der Doort's cata- 
 logue of the King's pictures, The nation purchased it of 
 Mr. Angerstein in 1824. 
 
 This miniature is numbered 31, on a paper at the back. 
 
 57. Titian's Venus, with landscape background. An oval in water 
 
 colours. 
 
 58. Titian's Venus. A beautiful copy in water colours of the famous 
 
 picture in the Tribune of the Gallery at Florence. It is en- 
 closed in a gold filigree frame. (41.) 
 
 59. A Silentium. The Virgin with folded hands watching the infant 
 
 Christ asleep in a bed. His left hand rests upon an apple ; 
 a winged boy-angel strews flowers on the coverlid from a 
 basket in his left hand ; a second angel draws aside the dark 
 green curtain. A modern painting, executed with great 
 delicacy and taste. The figure of the Virgin is adapted from 
 one of Raphael's Holy Families at Naples. 
 Numbered 7 on a small paper at the back. 
 Blenheim. i 2 
 
116 THE DUCHESS'S SITTING EOOM— Miniatures— continued. 
 
 60. The Magdalen, with long hair and naked body, in a rocky cavern, 
 
 resting her cheek on her right hand, with upturned coun- 
 tenance. Her left hand is laid upon a skull, which lies upon 
 a brown wooden cross. Eays of light break through clouds 
 over her head. 
 
 Apparently a copy from some Italian original by D. Feti. 
 Carefully finished in water-colours upon ivory. Numbered 
 5 on a small paper at the back. 
 
 61. The Virgin teaching the infant Saviour to read. As he stands 
 
 holding a book, which casts a shade across his limbs, she 
 points with her right hand. Copied in water colours from a 
 picture by Cignani at Hampton Court. No. 123 of the 
 present catalogue of that gallery. 
 
 62. Copy in water colours of a landscape by Gaspar Poussin. 
 
 63. Esther fainting before Ahasuerus. A small circular enamel in 
 
 very bright colours. 
 
 64. Diana and her Nymphs surprised by Actaeon. A copy in water 
 
 colours upon ivory after Poelemberg. 
 
 65. Teniers. A landscape with three figures prominent to the left 
 
 standing in front of a house. A church spire in distance to 
 the right. A copy in water colours. 
 
 66. Enamel. Landscape and sea-port, with fortress, ships, and dis- 
 
 tant mountains, within a fanciful border. (30.) 
 
 67. The infant St. John holding a cross. A water colour painting 
 
 in rich brown tone. (33.) 
 
 68. Peter Paul Eubens. An alto-relief in ivory, nearly full face. 
 
 Inscribed P. P. Eubens. 
 
 69. Pietro Cort. An alto-relievo carving. Face seen in full. A 
 
 pendant to the Eubens medallion. 
 
 70. Leda and the Swan. An alto-relievo ivory carving. Figures 
 
 full length. 
 
 71. Venus and Cupid. The sun rising from the ocean to the left. 
 
 An alto-relievo carving. Figures full length. 
 
 72. Ivory bas-relief of a bearded Satyr. Face seen in profile to the 
 
 right, pointing to his teeth with left hand and resting the 
 other on the pandsean or reed pipes. He is crowned with ivy, 
 and has pointed ears. Half length figure. (24.) 
 Blenheim. 
 
THE DUCHESS'S SITTING ROOM — Miniatures — continued. 117 
 
 73. Ivory carving in alto-relievo representing Mercury playing 
 
 Argus to sleep. The cow into which Io had been transformed, 
 and over which Argus (with his hundred eyes) was to keep 
 watch, is seen in the distance between them. Of circular 
 shape. (29.) * 
 
 74. Ivory alto-relief from the celebrated Borghese Statue of the 
 
 Hermaphrodite lying on a mattress. (32.) 
 
 75. Ivory carving in alto-relievo of a drinking party, after Brauwer 
 
 or Teniers. The man to the left is seated in a chair made 
 out of a large tub. (35.) 
 
 76. Ivory carving in alto-relief of the Virgin Mary sitting with her 
 
 feet on the head of a winged cherub. She turns to the left, 
 and her hands are folded in adoration of the infant Saviour 
 seated beside her on a cushion. The background is crimson 
 velvet. (38.) 
 
 77. Antique Cameo. A layer of reddish brown upon a bed of trans- 
 
 parent agate. Subject : Minerva overcoming a winged giant 
 with double tail like serpents. Finely sculptured. (21.) 
 
 78. Winged Victory in a quadriga or chariot of four horses driving 
 
 to the right. An Onyx Cameo of four layers, the deepest 
 forming a black background. The front horse a deep brown 
 colour. Victory holds a wreath. Coloured stones are intro- 
 duced in the upper part of the gold mounting. (39.) 
 
 79. An ivory carving, mounted on crimson velvet, of a female seated 
 
 upon a lion, holding something like a cornucopia. 
 Numbered 19 at the back. 
 
 80. An ivory carving of a naked female seated upon a crouching 
 
 camel, holding a bundle in her right hand, and in her left a 
 censer. 
 
 Numbered 18 on a small paper at the back. 
 
 ENAMELS CONTAINED IN THE GLASS CASES OPPOSITE TO 
 THE FIREPLACE. 
 
 These enamels, the production of Limoges, are all executed upon gold or copper with 
 colours, fused in a furnace at a heat just low enough not to affect the metal itself. The 
 earliest enamels were wrought upon golden plates, the surfaces of which were hollowed to 
 receive the enamel. Each colour at first had a distinct cavity to itself; it was protected 
 from its neighbours by a narrow wall of metal, giving thereby to the finished work the 
 effect of an inlay with golden outlines. In other instances the dividing walls were 
 composed of strips of gold attached by their edges to the metal plate at the back. These 
 are termed cloisonne enamels, and of such is the workmanship of the celebrated jewel of 
 
 Blenheim. 
 
118 THE DUCHESS'S SITTING ROOM — Enamels— continued. 
 
 Alfred the Great in the Ashmolean Collection at Oxford. Enamels, where the metal has 
 been excavated to receive the colouring materials, are called Champleve. 
 
 No specimen, however, of this early style is to be seen among the enamels in this cabinet. 
 These all belong to the class of painted enamels, in which the surface of the metal is entirely 
 concealed, and where the colours are made to blend freely one with another as in ordinary 
 pictures. The gold outliaes and ornaments, which give richness to the colours, were 
 * added subsequently with a brush and powdered gold leaf. 
 
 Mr. Franks, a great authority on these matters, divides the painted enamels of Limoges 
 into four classes: — 1. The Early style, from about 1475 to 1530. 2. The Fine style, 
 from 1530 to 1580. 3. The Minute style, to about 1G30. 4. The Decadence, to the 
 close of the manufactory in the eighteenth century. 
 
 The early enamels were painted on stout plates of copper, nearly flat. The back of the 
 copper was covered with a thick coating of opaque enamel, to prevent the metal from 
 being warped in passing through the furnace. The front surface was covered with a 
 brown enamel, and the details painted upon that in white, so that when finally coated 
 with transparent tints they showed brilliantly on those places. To heighten the lustre 
 of the effect, pieces of foil, called paillettes, were inserted, and covered with transparent 
 colour, so as to have the appearance of actual gems. The faces have generally a purple 
 or inky colour, and the white paint is sometimes laid on so thick as to have the appear- 
 ance of relief. 
 
 Nardon Penicaud,of Limoges, appears to have been the principal enameller in the Early 
 style. An enamel of the Crucifixion in the Hotel de Cluny is by Nardon, and dated 
 April 1st, 1503. 
 
 The superiority of the French enamels about the middle of the 16th century was 
 probably owing to the influence of Italian art, consequent on Frangois I er having invited 
 Da Vinci, Primaticcio, Del Sarto, and Rosso to his court. Instead of the brilliant colours 
 which characterized the earlier style of enamels, the best works of this period were 
 executed merely in black and white, with occasionally a transparent reddish tint on the 
 flesh and a bluer tone for the background. The plates of copper were made thinner, more 
 convex, and a transparent coating of enamel spread over the back, instead of the thick 
 solid layer which was adopted at the earlier period. 
 
 Jean Courtois introduced the Minute style. Llis colours were over-rich, and his works 
 exhibit a profusion ofpaillon (foil). He had numerous imitators, who all adopted the same 
 peculiarities, and who were, as Mr. Franks observes, all distinguished by a very finical 
 execution. Susanne Court is supposed to be the daughter of the enameller Jean de Court. 
 Four artists of the name of Limousin, probably relations of the great Leonard, resemble 
 Susanne Court in colouring, but surpass her in execution. These were Jean, Leonard, 
 Joseph, and Frangois Limousin. 
 
 " After 1620 the vogue of Limoges enamels appears to have decreased. The introduc- 
 tion of enamelling on gold, by Toutin, seems to have thrown the art comparatively into 
 discredit ; and the artistic merit of the enamellers themselves was not sufficient to redeem 
 it. Henri Poncet produced some enamels, in grisaille, of a certain merit. The family of 
 Nouailher counted among its members several enamellers, who emulate one another in the 
 hardness of their colouring and the insipidity of their designs." The productions of the 
 family of Laudin were superior to those of Nouailher ; and an oval medallion, the work 
 of Noel Laudin, in the collection of the Marquis of Bath, affords a favourable specimen. 
 It measures 8£ inches in height, and is signed on the reverse, N. Laudin, Vene emailleur. 
 His brother, Jean Laudin, is considered by Mr. Franks as " incomparably the best of the 
 enamellers of the Decadence, and has produced some paintings in grisaille of considerable 
 merit : he appears to have been very industrious, and to have produced an immense 
 number of works." 
 
 The Crucifixion. A large square plaque by Leonard Limousin, 
 dated in two places 1536. 
 
 The figures are very numerous, in draperies of various 
 colours heightened with gold. The flesh tints are very pale 
 pink, shaded with grey. The two thieves on the crosses are 
 represented as expiring, and, in accordance with the treat- 
 ment of the earlier painters, two angels receive the soul of 
 Blenheim. 
 
THE DUCHESS'S SITTING BOOM- Enamels— continued. 119 
 
 the penitent malefactor, in the form of a naked child, from 
 his mouth ; but the soul of the other, in a similar form, is 
 seized by a hideous green demon. Soldiers are quarrelling 
 for the raiment ; one is about to stab another under his feet ; 
 cards and dice are cast on the ground. The name leonardys 
 lemovicvs. 1536, 1 is written in black letters on a white tablet 
 in the foreground. The date is repeated on a banner to the 
 left, and on a standard to the right of the central cross, borne 
 by a young man leading a horse, are the black letters l • l. 
 A skull lies at the foot of the cross. Mary Magdalene kneels 
 beside it, and the Virgin Mary lies in a swoon on the ground 
 in the lefthand corner. 
 
 Size of the copperplate, 9-| inches by 8 inches. 
 
 This seems to be one of the early productions of Leonard Limousin. His works 
 range from 1532 to 1574. He was the head director of the royal manu- 
 factory of enamels founded at Limoges by Francis I., and this prince bestowed 
 on him, with the name of Limousin, to distinguish him from Leonardo 
 da Vinci, the title of " peintre emailleur, valet de chambre du roi." In his first 
 style he followed the German artists, but he afterwards adopted the Italian 
 treatment, and acquired a superior method of drawing. He began to copy the 
 works of Raphael ; but his finest works are the enamels now in the Louvre, 
 which he executed in 1553 for the Sainte Chapelle by order of Henri II. 
 
 See Labarte, ' Handbook of the Arts of the Middle Ages and Renaissance,' trans- 
 lated from the French, 1 vol. 8vo., London, 1855, for much valuable informa- 
 tion on the subject of enamels and other productions : also an important disser- 
 tation by A. W. Franks, Esq., Director of the Society of Antiquaries, on the 
 Department of Vitreous Art, which he contributed to J. B. Waring's ' Art- 
 Treasures,' &c, fol. Lond. 1858. 
 
 1 See plate of Monograms and Signatures, Nos. 5, 7, and 8. 
 
 A square enamel, representing seven male figures standing by the 
 side of a river. The principal among them, in long dress 
 with a cape or broad collar, seems hiding from his view (or 
 with raised hands supplicating) a naked queen, who is ap- 
 proaching him in a square car drawn by a blue lion and a 
 blue fish across the water. A naked female with floating hair 
 stands on the shore to the right, and appears to be addressing 
 the queen in the chariot. The male figures appear to have 
 landed from a ship which occupies the left hand corner. 
 Houses and trees form the background. The sky is dark 
 blue. The shading on the gold portions is expressed with 
 black lines crossed, a peculiarity observable in old German 
 paintings. The colours of the dresses are dark blue, gold, 
 and purple. The flesh tints are very pale shaded purple. 
 The water is pale blue with black lines on it. No inscrip- 
 tion. 
 
 The Departure of iEneas. A square and richly-coloured enamel 
 of corresponding size. Dido stands weeping as iEneas points 
 to the vessels on the shore. He wears a turban. The names 
 Blenheim. 
 
120 THE DUCHESS'S SITTING ROOM — Enamels — continued. 
 
 of the various persons are thus inscribed in black letters upon 
 white tablets: "Eneas," "Dido," "Anesceus," " Dergesty," 
 " Cloanihy," and, over the distant city, " Carthago." Pro- 
 bably by Pierre Reymond. 
 
 An enamel of corresponding size, representing iEneas about to embark, and 
 apparently belonging to the same series, is now in the Museum at South 
 Kensington, No. 2,184 of the published inventory. It is assigned by Mr. 
 J. C. Robinson to P. Reymond (circa 1540). The composition of this enamel 
 greatly resembles that of the tapestries of the 15th century, especially those 
 taken at Nancy. 
 
 A Roman Warrior mounted on a spirited white Horse. A large 
 concave enamel of tall oval shape in rich colours. The 
 background is black, seme'e with gold stars. His left foot in 
 the stirrup is curiously foreshortened. Rich paillon of blue 
 and purple. A transparent glaze covers the convex surface 
 of copper at the back. 
 
 A handsome Vase or Ewer, covered with variegated designs of 
 great brilliancy. 
 
 The figures are arranged in two rows, divided in the 
 centre with a band of white and black pattern. In the upper 
 portion, the figures moving to the right exhibit the triumph 
 of Bacchus and Ceres ; they are drawn in a chariot by two 
 grey birds, accompanied by two youths crowned with the 
 vine, and carrying a jar and flowers. A musician playing 
 the lyre precedes them. A group of reapers with corn forks 
 and rakes follow the car. The lower range of figures 
 represents Moses striking the rock in the wilderness, where 
 crowds of men, women and children, and animals rush 
 forward to drink. The tents of the Israelites appear in the 
 distance. The colours on the figures and on the vessels 
 held by the women are remarkably brilliant. The back- 
 ground of this portion is black, strewn with a small pattern 
 of gold. 
 
 The neck of the ewer is black, with a similar gold 
 pattern, and enriched with green leaves springing from the 
 neck, heightened with gold. The internal surface of the 
 neck is white, covered with a black pattern ; and immedi- 
 ately below the point from which the handle springs is a 
 painted tablet bearing the artist's name in black letters upon 
 a polished white surface, svsanne • de • covet. 1 The flesh 
 tints of the figures are white, shaded bluish, combined with 
 great softness. The colour of the hair and beards is browr 
 and gold. 
 
 The height of the ewer from the top of the handle is 
 11 inches ; height from the top of the neck near the handle, 
 
 1 See plate of Monograms and Signatures, No. 6. 
 
 Blenheim. 
 
THE DUCHESS'S SITTING ROOM — Enamels — continued. 121 
 
 8f inches ; diameter of centre, 5 inches. The outside of 
 the foot is gold and black, painted with heads, and adorned 
 with jewels. Inside, below the surface, is black, semee with 
 gold fleurs-de-lis and rosettes. 
 
 Susanne Court was of the school of Jean Courteys, and remarkable for the bril- 
 liancy of her colouring, but her drawing was never very powerful. A large 
 oval dish, signed with her name, and representing the wise and foolish virgins, 
 is in the museum of the Louvre. 
 
 A dish-stand, or circular salt-cellar, enamelled with various colours. 
 In the hollow surface at the top is a head of pallas wearing 
 the winged helmet. In the roundels encircling the head 
 are the letters w. and s., placed alternately ; they are gold 
 upon pale blue, dark blue, and green. Standing figures fill 
 the compartments round the side of the stand. 
 
 The Adoration of the Magi. A small, richly-coloured enamel, of 
 early style, with arched top. No inscription. The draperies 
 are ornamented and lightened with gold lines. A flat plaque, 
 coated at the back with a very thick dark enamel. 
 
 Juno in Clouds appearing to Psyche. A small oval enamel in 
 various colours. Signed in gold on the dark purple cloud, 
 s * c. Probably by Susanne de Court, enriched with bright 
 deep paillon. 
 
 Pallas standing, and holding a blue banner in her left hand and a 
 shield in the right ; very bright blue and purple paillon. A 
 small oval in rich colours. Signed in gold on blue sky at the 
 top, s • c. Probably by Susanne de Court. Convex surface. 
 
 Plates of metal of this form were employed as backs to mirrors. 
 
 Two Cupids, with little jugs, standing on a vase from which springs 
 a tree, watering the roots. Birds hover round them. The 
 background is dark blue, with a white label above, inscribed 
 in black letters lamovr • se ■ mevrt • si • elle • nest • arovsee. 
 Above this again, with golden rays, are the letters s ■ c. 
 Probably by Susanne de Court. 
 
 *%* In all the enamels bearing this signature the colour of the flesh is very white. 
 
 Jupiter crowned, standing with an eagle between his feet : similar 
 in form and size to the Pallas. Signed also s ■ c. 
 
 Mars, of same size, and signed s • c. 
 
 Pallas, a duplicate of the preceding ; but holding a crimson banner, 
 and with a blue owl at her side. Signed s • c also. 
 Blenheim. 
 
122 THE DUCHESS'S SITTING ROOM — Enamels— continued. 
 
 Joseph discovering himself to his Brethren. A small, circular, 
 concave plate, enamelled in various colours — blue, crimson, 
 purple, verdigris-green, and brown-gold. In sky above, 
 near the golden glory, are the golden numbers xlv. These 
 numbers denote the chapter of Genesis in which the account 
 of Joseph making himself known to his brethren is related. 
 The flat rim of this plate is beautifully decorated with 
 various ornaments — heads, foliage, and jewels upon a black 
 ground. The extreme edge or border is pure white. The 
 flesh portions are tinted red, and the hair mostly left white. 
 
 Joseph interpreting the dreams of Pharaoh. A corresponding 
 plate to the preceding, marked above, in gold letters, g.xli., 
 meaning Genesis, chapter xli., verse 14. 
 
 Metius Curtius leaping into the Gulf. 
 
 A plate of similar size, but with border of different pattern 
 to the preceding. Enamelled in bright colours, and, alto- 
 gether, less carefully finished. 
 
 The flesh tints in these plates are more ruddy, as if glazed 
 with a transparent red tint over the grey shadows. Bright 
 tinsel, or paillon, is introduced beneath the transparent blues 
 and greens of the dresses. 
 
 M. Curtius was a Roman youth who devoted himself to the gods Manes for the 
 safety of his country. A wide gap, called afterwards the Lacus Curtius, had 
 suddenly opened in the Forum, and the Oracle declared that it would never 
 close before Rome threw into it whatever it had most precious. Upon this 
 Curtius armed himself, mounted his horse, and leaped into the abyss, and the 
 earth instantly closed over his head. This fable is related by Livy, Book 7, 
 ch. 6, and Valerius Maximus, Book 5, ch. 6. The date assigned by chrono- 
 logists to this self-devotion of Curtius is 362 B.C. and 392 A.u.C, or year of Rome. 
 
 St. Theresa, with an angel plunging a fiery dart into her bosom. 
 An oval enamel in various colours. 
 
 Theresa d'Avila was born in Castile, 1515. At the age of twenty she entered the 
 convent of the Carmelites at Avila, her native place, and died in 1582. In 
 devotional figures she was generally represented as in the enamel before us. 
 For another instance of St. Theresa, see ante, p. 60. 
 
 The twelve Eoman Caesars. 
 
 Two imperfect sets, twenty enamels in all. 
 
 They are oval medallion profiles. In one series the 
 number of the Emperor is inscribed at the bottom of each 
 plate. In the other the number follows immediately after 
 the name. In this latter series, the wreaths of laurel round 
 the heads are green. In the other set they are left quite 
 white. 
 
 The following numbers show the list of Caesars, with the 
 Blenheim. 
 
THE DUCHESS'S SITTING KOOM— Enamels— continued. 123 
 
 green laurels round their brows. The letters indicate the 
 direction in which the profiles are turned : 
 i. r., in. r., nil. vi. vu. r., vni. vim. r., x. L, xi. r., xn. I. 
 
 The medallions, with white wreaths and no names, are as 
 follow : 
 
 i. in. mi. I, vi. ?., vu. r., viii. r., vim. r., x. r., xi. r., xn. r. 
 
 Charitas, with two children and a cornucopia, in a niche. Signed 
 above in gold letters in left hand corner ia penicavd, and in 
 the right hand corner jvnior. 
 
 Fortitudo, a female in armour, wearing a helmet, holding the 
 capital of a column in both hands. Standing in a niche, 
 against the hollow of which the shadow of her figure is 
 boldly thrown. The background is dark brown. Signed 
 above ja penicavd jvnior, as in the preceding enamel. It is 
 stamped in the centre of the copper at the back with p l, 1 
 combined and surmounted by a crown. The surface is 
 slightly concave, and the stamp shows through a thick coat 
 of veiy transparent enamel. 
 
 1 See plate of Monograms and Signatures, No. 4. 
 
 Temperantia. A female figure, drawn with the force and power of 
 Giulio Romano, emptying water from one vessel into 
 another. Signed at the top p. and i., in opposite corners. 
 
 ivsticia. A female figure : the face seen in profile to the left, and 
 her back turned to the spectator, holding a pair of scales in a 
 disk in her left hand, and a sword in her right. She is re- 
 presented standing in front of a niche. The background in 
 this instance is not dark brown, but grey, like the figures. 
 The enamel is signed also p. i. 
 
 These figures are half-length, and painted in white, shaded 
 blue grey; the background of the charitas and the tem- 
 perantia is a rich transparent ground. 
 
 The names of the Virtues are inscribed below in gold 
 capitals on black. 
 
 There appear to have been four artists of the name of Pehicaud living about the 
 middle of the 16th century — Jean Pehicaud the elder, Jean Pehicaud, Pierre 
 Pehicaud, and N. Penicaud. The elder usually signed his pictures with the 
 monogram I. p. upon the enamel ground. 
 
 The Pehicaud family frequently had the copper-plates of the enamel stamped with 
 their initials. The enamels of the legend of St. Martial are dated 1 544. 
 
 Penicaud junior signed an enamel sold at Strawberry Hill sale, with the date 
 1539. This was a magnificent Tazza and cover, exhibiting the history of 
 Sampson, said to be from designs by Parmigiano. No. 59, page 127, of the 
 Sale Catalogue. 
 
 An hexagonal Salt-cellar. 
 
 A female profile is in the cavity at the top. The sides are 
 Blenheim. 
 
124 THE DUCHESS'S SITTING ROOM— Enamels— continued. 
 
 adorned with full length figures of the Sibyls, painted on a 
 black ground ; each Sibyl bears one of the symbols of the 
 Passion of our Lord, and her name is inscribed above in 
 gold. 
 
 The names inscribed upon them and the instruments, as 
 well as the order in which they are placed, will be seen by 
 the following list : — 
 
 1. sjbila Delphi holding the crown of thorns. 
 
 CVE 
 
 2. sibil A ele (Hellespontica). Holding the Cross, which is of a t 
 
 poncia shape. This emblem might be 
 
 selected in reference to the Empress Helena. 
 
 3. s • frigia (Phrygian). The banner of Redemption and a small 
 
 trident. 
 
 4. sibila evropa. A reed. 
 
 5. sibil a tribvrtina (Tiburtine). A hand in her right hand. 
 
 6. s . AGRIPE (qy. Erythraean A column. 
 
 At the bottom in a cavity, corresponding to the one above, 
 is a profile of a bearded warrior in a helmet. 
 
 A set of 12 Sibyls in enamel is preserved in the British Museum. 
 
 The Sibyls were prophetic women who appeared in various countries and at 
 different periods of antiquity. The veneration with which their predictions 
 were regarded seems to have led to their being interpolated with direct allu- 
 sions to the Messiah. These insertions are probably as remote as the second 
 century. These oracles were not only held in high esteem during the middle 
 ages, but the Sibyls wei*e introduced as important personages in Italian paint- 
 ings of the 15th century, and Michael Angelo, in painting the Sistine Chapel at 
 Rome in 1509 for Pope Julius II., exhibited figures of the Sibyls on the same 
 level and alternating with those of the Prophets. Of all these the Cumsean 
 Sibyl was the most celebrated. iEneas is said to have consulted her before 
 descending into the lower world (Virgil, Mn., 6, 10), and she is also the one 
 who appeared before King Tarquinius offering him the Sibylline books for sale 
 (Plin. Hist. Nat. xiii. 28). 
 
 The Christian Fathers, on the authority of Varro, enumerate ten of these pro- 
 phetesses. St. Augustine (De Civi. Dei, xviii. 47) speaks especially of the 
 Erythraean Sibyl's testimony. 
 
 *.,.* See a valuable note by Sir Charles Eastlake on this subject in his edition of 
 Kugler's Handbook of Italian Painting, London, 8vo. 1855, vol. ii. p. 302. 
 
 Hexagonal Salt-cellar. 
 
 Similar to the preceding. The paintings at the sides, con- 
 sisting of full-length figures on a black background, relate to 
 the vicissitudes of Wisdom. 
 
 1. The Tree of Knowledge, inscribed in gold letters adan eve. 
 
 Adam and Eve standing beside it ; the serpent, as tempter, 
 in the tree. 
 
 2. salovmon. Solomon on his knees before a golden statue of 
 
 Cupid on a column, to which a woman is pointing. 
 Blenheim. 
 
THE DUCHESS'S SITTING ROOM.— Enamels— continued, 125 
 
 3. arisptote* — thus written in gold letters on the black back- 
 ground. 
 
 Aristotle an old man, bent and kneeling on the ground ; a 
 woman astride him holding reins in his mouth, and driving 
 him with a whip. 
 
 4. virgile. Virgil being let down from a window in a basket 
 
 by a woman. 
 
 5. Sanson Sampson in Dalilah's lap. 
 
 ET DALIDA. r r 
 
 6 * S J?!^ A ET The story of Jael and Sisera. 
 
 JAHEL. J 
 
 A male head crowned with laurel, profile to the left 
 occupies the cavity at the top. A female head with golden 
 hair is at the opposite end. 
 
 Hexagonal Salt-cellar, with profile heads at the sides. They are 
 named in the folowing order : — 
 
 1. ERCVLES. 
 
 2. DEANIRA. 
 
 3. IAKS0N. 
 
 4. MEDEE. 
 
 5. SANSON. 
 
 6. DALIDA. 
 
 Each is enclosed in a white frame of the Mandorla shape. 
 
 In the cavity at top is a profile of Paris. In the corre- 
 sponding surface at the base is Helen. 
 
 Hexagonal Salt-cellar. 
 
 Similar to the preceding, with the same names, but diffe- 
 rent profiles. The inscriptions are gold on black. 
 
 These are probably the work of the enameller who signed himself C. N., and 
 mentioned by Mr. Franks in his essay on ' Vitreous Art/ His works are dated 
 from 1539 to 1545. 
 
 Sampson and the Lion. 
 
 A very fine circular plate or shallow bowl. The enamel 
 is entirely black and grey. No red tints upon the flesh. 
 The shadows are cross-lined, or hatched like an engraving. 
 Gold is very sparingly introduced on the borders of the 
 drapery and upon a few tufts of grass. It is inscribed below 
 in blue-grey letters on white — sansoni • p • r. The colour of 
 these letters is totally different from the rest. 
 
 This fine composition is the work of Pierre Eeymond. 
 
 The signature of tjiis artist p ■ r appears in various collec- 
 tions, acompanied by dates ranging from 1534 to 1572. A 
 very fine ewer enamelled by Eeymond, in the Pourtales 
 Cabinet, is dated 1544. He wrote his name in different 
 Blenheim. 
 
126 THE DUCHESS'S SITTING ROOM — Enamels — continued. 
 
 ways; he generally hatched in his shadows, and painted 
 chiefly in camaieu or in grisaille ; his coloured enamels are 
 rare. 
 
 Subject from the Apocalypse. 
 
 A large oblong dish, with flat border ; black, with white 
 figures shaded inky grey or neutral tint. The flesh tints 
 are red, and the hair of the figures is tinted a madder brown. 
 
 In the centre a figure of the Almighty sitting on a throne, 
 with a book on his knees ; the Lamb reaches up and rests 
 his fore feet on the volume. The four signs of the Evange- 
 lists are introduced, and the seven lamps are suspended 
 above. The Elders appear on each side offering their 
 crowns : St. John kneels in front, and one king wearing a 
 crown addresses him ; another on the opposite side is playing 
 a harp. 
 
 Gold is introduced on the background around the throne, 
 and upon the crowns and strings of the harp. 
 
 The painter's name I • c is signed on the foot of the throne, 
 in black letters upon white. 
 
 This curious enamel is the work of Jean Courteys, who 
 flourished about 1560. The reddish complexion given to 
 his figures is what the French term " Saumonnee." 
 
 Abram and Melchizedek King of Salem. 
 
 A large dish of similar form to the preceding. A rich 
 arabesque border, of animals of various shapes, on black 
 ground round it, and inscribed at the top in the centre, in 
 gold letters upon white — 
 
 GEN 
 
 ese Genesis, chap, xiv., ver. 18. 
 xini. 
 
 This composition is painted in grey, with the flesh tinted 
 red. It is signed in front to the right p.r. 
 
 The work of Pierre Raymond, whose grisailles — Labarte 
 observes — always have the flesh tinted. We have, however, 
 met with one instance to the contrary, in the Sampson above 
 described. 
 
 A series of ten small circular plates, each bearing in a medallion at 
 the top of the margin one of the signs of the zodiac, and on 
 the corresponding point below, the following coat of arms 
 on a red shield — a Fess Argent, two Mullets or in Chief. 
 In nombril point, a golden rock with water issuing from it. 
 Blenheim. 
 
THE DUCHESS'S SITTING ROOM — Enamels— continued. 127 
 
 Motto — de forti • dvlcedo. Winged animals support the 
 motto. 
 
 In one instance only the coat of arms is omitted. The 
 
 SEP 
 
 word ten is substituted for it. The Sagittarius appears in 
 
 BRE 
 
 the compartment above. The figures in the rural subjects 
 painted on these plates are all very German in costume. 
 They wear hats and boots, and the colour of the flesh is very 
 slightly tinted with red. 
 
 Three plates of similar size, with figures in Eoman costume. Each 
 is marked on the margin below with a white diamond, con- 
 taining black numbers. The flesh tints in these plates are 
 of a still deeper red ; the hair being left white. 
 
 Cincinnatus ploughing. 
 
 Livy relates that when the Romans found the state in great danger they placed 
 their sole confidence in Lucius Quintius Cincinnatus, and appointed him 
 Dictator. The ambassadors who were appointed to convey intelligence of his 
 election found him working at the plough. He conquered the enemy and 
 entered Rome in triumph, after which he laid down his office and returned 
 home to complete the cultivation of his fields. The date assigned to these 
 events, and the war with the iEquians and Sabines, is 458 B.C. (Livy, 
 book iii. ch. 26.) 
 
 \1 6.y Three men in a boat drawing the limbs of a child out of the 
 sea, and giving them to a general who is with soldiers in a 
 ship. Eocks on the right hand. 
 
 /25y> An allegorical figure of a female overpowering a serpent. 
 Furies bound at the entrance to a temple. 
 
 Four other plates of similar size. 
 
 The subjects upon them are Eoman and Bacchanalian. 
 They are more highly finished ; the flesh tints are red, the 
 hair white, and gilding is introduced. Each plate is signed 
 conspicuously i • c • in black letters, upon white or grey. 
 
 Four small square enamels of white figures, on black ground, repre- 
 senting combats between horsemen and foot soldiers, in 
 Eoman costume. They have quite the appearance of Niello 
 work. 
 
 The Feast of the Gods. 
 
 A concave circular dish ; the composition taken from 
 Eaphael's design for the marriage of Cupid and Psyche, a 
 celebrated fresco -painting in the Farnesina Palace at Eome. 
 Two boy-Cupids, however, hover in the air instead of the 
 winged females in Eaphael's fresco. 
 
 Painted in black and white, the flesh tinted red, and the 
 hair left white. 
 Blenheim. 
 
128 THE DUCHESS'S SITTING RO OM — Enamels — continued. 
 
 A Tazza and Stand (fixed upon the central shelf where it is placed), 
 enamelled, with the figure of a centaur in the middle draw- 
 ing his bow, and marine monsters contending with centaurs 
 in the waves around him. 
 
 A small circular enamel, like a niello, representing the Burial of 
 our Lord. It is executed entirely in black and white, with 
 the exception of the wounds, which are painted red. 
 
 The Virgin Mary, wearing a deep falling hood or veil over her head, 
 holding a book in both hands and looking towards the right. 
 The Holy Spirit in the form of a dove appears above. The 
 background is rich black semee with gold stars. Her cos- 
 tume is adopted from the old Byzantine type. Signed I. L. 
 in gold upon black in the right hand corner. The back of 
 the plaque is covered with a perfectly transparent enamel. 
 The work of J ean Laudin. 
 
 The Archangel Gabriel. Dressed in green with a blue collar, and 
 holding a lily. A companion plaque to the preceding. Taken 
 together, they represent the Annunciation. The figures are 
 only seen to the elbows. Paillon is employed, and the red 
 and blue on the angel's wings are very brilliant. 
 
 The Saviour. A large square enamel, inscribed in gold upon black, 
 salvator . movndi (sic). The figure is executed entirely in 
 black and white with exception of the eyeballs, which are 
 tinted a deep rich brown. The Saviour holds the ball and 
 cross, and raises the right hand in benediction. 
 
 The Virgin Mary. The companion enamel, inscribed mater del 
 Her hands are crossed. She wears both veil and wimple. 
 The flesh is quite white. Garments edged with gold. No 
 signature, but blue paillon is introduced in the spandril 
 ornaments. 
 
 A small enamel in colours, without paillon, and with the flesh por- 
 tions tinted red, representing a hunter pursuing a nymph. 
 Transparent enamel at the back. Signed in gold on purple 
 F. L. Probably the work of Francois Limousin. 
 
 A small octagonal enamel with paillon, gold and deep rich colours, 
 representing Narcissus kneeling at the fountain. Signed in 
 gold on purple, F. L. Probably also by Francois Limousin. 
 
 A series of enamels of the twelve Apostles, in the late style of Italian 
 art. They are enclosed in ovals. The figures are seen to 
 the elbows, painted in various colours with a deep black back- 
 Blenheim. 
 
THE DUCHESS'S SITTING EOOM— Enamels— continued. 129 
 
 ground. The names are inscribed at the bottom of each plate 
 and signed I. L. in black letters on white, s. thadevs, 
 
 S. PETRVS, S. ANDREAS, S. IOANNES, S. PHILIPPVS, S. JACOB MINOR, 
 S. SIMON, S. MATTHIAS, S. PAVLVS, S. THOMAS, S. BARTHOLOMEVS, 
 
 s. jacob minor. The plates are convex, and rays of gold sur- 
 round the heads on the black background. The flesh in this 
 series is pinky and red. The hair in some instances dark, 
 and in others white. The draperies are roughly heightened 
 with short lines of gold. The enamel is very shiny and 
 thickly laid on. Paillon is employed in the flowers of the 
 external borders. The back of the s. petrvs plaque is covered 
 with a thick dark blue or purple enamel, and inscribed in gold 
 letters Laudin X Emaillieur 
 
 • a • Limoges. 
 J. L. 
 
 The backs of the rest of this series are perfectly plain. Five 
 of these Apostles are repeated, but they are square, smaller 
 than the preceding, and without the white oval border. They 
 are signed I. L. like the rest, and bear the following names : 
 
 S. PAVLVS, S. ANDREAS, 8. BARTHOLOMEVS, S. JOANNES, S. PETRVS. 
 
 Four large enamels of the Eoman Emperors with white hair and 
 faces and rich green laurels tied with bright orange fillets, 
 remain to be mentioned. They are larger than the Caesars 
 already described. The names are inscribed in gold upon 
 a black ground, ivlivs (the profile turned to the right), 
 gzesar • caligvla in (profile to the left), silvivs * otho • viii (pro- 
 file to the left), avl. vitellivs ■ vim (profile to the right). 
 
 Blenheim. 
 
 K 
 
130 
 
 THE DUKE'S PRIVATE ROOM. 
 
 THE DUKE'S PRIVATE ROOM. 
 
 (Over the fireplace.) 
 
 SANT. — Portrait of two children, Lord Almeric Spencer Churchill 
 and Lady Clementina Spencer Churchill, son and daughter of 
 George fifth Duke of Marlborough, looking up at a bird in a 
 window. The shadow only of the bird is seen on the 
 shutters. Full-length figures, pleasingly coloured. 
 
 (To the right of the preceding.) 
 Above. 
 
 SMITH, after SANDERS. — Portrait of Jane Duchess of Marl- 
 borough, daughter of the eighth Earl of Galloway, first wife 
 of George fifth Duke. 
 
 Painted by Sanders in 1819. Lithographed by Leon 
 Noel in 1852. 
 
 (Beneath the preceding.) 
 
 SANDERS. — A bust portrait of a very pretty smiling child : Lady 
 Louisa Spencer Churchill, daughter of George fifth Duke of 
 Marlborough. 
 
 ON WALL FACING THE WINDOWS. 
 
 (Over door leading into the Anteroom.) 
 
 KNELLER. — " Lady Henrietta Churchill, Eldest Daughter to 
 John Duke of Marlborough by Sarah his Dutchess ; " and 
 " Lady Anne Churchill, 2 d daughter to John Duke of 
 Marlborough by Sarah his Dutchess" 
 
 Two children — whole length, life size. The left one stand- 
 ing, with hand on a dog ; the other seated with flowers in 
 her lap. A very pleasing mellow picture. 
 Painted on canvas. 
 Blenheim. 
 
THE DUKE'S PEIVATE ROOM — continued. 
 
 131 
 
 (In centre, over the bookshelves.) 
 KNELLER, — The Marquis of Blandford, son of John Duke of 
 Marlborough : a standing figure, full length, life size, resting 
 his left hand on his hip, and laying the right on a richly 
 ornamented stone pedestal ; a black boy in a turban appears 
 behind to the left. 
 
 The face of the Marquis is seen in three-quarters turned 
 to the left. His dress is yellow, with a blue mantle. The 
 general tone of the picture dark and rich brown. Engraved 
 in mezzotint. 
 
 (To the right of the preceding.) 
 
 KNELLER. — Sarah Duchess of Marlborough and Lady Fitzhard- 
 ing, playing at cards. The latter holds the nine of diamonds 
 conspicuously to the spectator. The figures are life size, 
 and seen to below the knees ; a vase is in the background. 
 The Duchess rests her left hand upon a pedestal, on the side 
 of which is inscribed " G. Knellerf." 1 
 
 1691. 
 
 1 See plate of Monograms and Signatures, No. 32. 
 
 This is an extremely beautiful and characteristic picture. 
 
 Lady Fitzharding was Barbara, third daughter of Sir Ed. Villiers, and sister to 
 Anne Duchess of Portland. She was governess to William Duke of Gloucester, 
 and assisted the Princess Anne in making her escape from Whitehall in 1688. 
 She married John Viscount Fitzharding, and died 1708, in her 52nd year. 
 The Duchess in her " Account of her Conduct" admits her partiality to cards, 
 and says of Lady Fitzharding that she was more than anybody in Queen Mary's 
 favour, and one "for whom it was well known that I had a singular affection." 
 Vide pages 18, 21, and 31. 
 
 ON THE WALL FACING THE FIREPLACE. 
 
 (To the extreme left.) 
 
 COSWAY. — George fifth Duke of Marlborough and his brother 
 Lord Charles S. Churchill when boys, in fancy costume, 
 seated beside a shield and cuirass ; Lord Charles holds a 
 mace. His brother tries the helmet on ; a white dog jump- 
 ing up to them Engraved in mezzotint by W. Whiston 
 Barney, and published 1805. 
 
 (To the right of the preceding.) 
 
 KNELLER. — A family group of the Marquis of Blandford, son of 
 John Duke of Marlborough, with his three sisters. The 
 youthful Marquis standing, in a crimson velvet dress near 
 the centre, turns towards his sister in the left hand corner, 
 playing with a large spotted dog. On the opposite side the 
 youngest child wearing a white dress, with black hat and 
 feathers, is seated ; whilst her eldest sister, dressed in yellow, 
 Blenheim. k 2 
 
132 
 
 THE BOW WINDOW EOOM. 
 
 places her left hand affectionately on her shoulder, and 
 seems at the same time showing some flowers to the dog. 
 Lord Blandford also points to them. A garden is seen 
 "beyond the balustrade in the background, and the entire 
 group forms a very pleasing family picture. 
 
 (To the right of the preceding.) 
 
 COSWAY. — A fancy portrait of Lady Caroline Spencer Churchill, 
 daughter of George fourth Duke of Marlborough, under the 
 figure of an angel on clouds, playing a triangle. 
 
 Engraved in mezzotint by W. Whiston Barney, and pub- 
 lished in 1807. 
 
 (Between the windows.) 
 Above. 
 
 SANT. — Two girls amid flowers, looking at a butterfly. 
 
 (Over the door leading to the Duchess's Sitting-room.) 
 
 SANT. — " The Inexorable." Two children illustrating the sub- 
 ject ; a bright and very cheerful picture. 
 
 (To the right of the preceding, between the door and the fireplace.) 
 
 SMITH, after SIR WILLIAM ROSS.— George fifth Duke of 
 Marlborough. 
 
 Standing in his robes at a table, upon which he holds a 
 book upright with his right hand. Another book is lying 
 beside it. The figure is seen to the knees, and turned 
 towards the right. Life-size. Enlarged from a miniature. 
 Lithographed by Leon Noel in 1850. 
 
 THE BOW WINDOW EOOM. 
 
 (Over the fireplace.) 
 
 KNELLER. — John Duke of Marlborough, in large blue mantle, 
 seated at a table covered with a crimson cloth. He* points to 
 a map of the siege of Bouchain, which General Armstrong 
 holds open on the right hand side. The background exhibits 
 a view of the town, seen through the curtains of the tent. 
 The figures are life-size, and the picture is powerfully and 
 richly painted. 
 
 The investment of Bouchain took place in 1711. Marlborough, having prescribed 
 the direction of the lines, left the superintendence to General Cadogan, under 
 whose inspection it was carried on by Colonel Armstrong, deputy quarter- 
 master, with equal ability and success. See Coxe's Marlborough, chap. 103, 
 vol. iii. p. 236 of Bohn's edition, 1848. 
 
 Blenheim. 
 
THE BOW- WINDOW ROOM — continued. 133 
 
 (To the right of the fireplace.) 
 Above. 
 
 SCHALCKEN. — King William III., an oval picture, seen to the 
 breast; in armour, with the blue ribbon of the Garter. The 
 face viewed in three-quarters, looking at the spectator, with 
 very dark long wig. 
 
 (Below the preceding.) 
 
 KNELLER. — Prince Eugene of Savoy, an oval picture, life-size. 
 Painted on canvas. He is represented in gilded armour, 
 with very dark hair, black eyes, and a swarthy complexion. 
 The collar, with pendent ornament, of the Order of the 
 Golden Fleece, hangs from his shoulders, and a part of the 
 truncheon held in his right hand is visible. 
 
 A fine, mellow, and very powerful picture. The figure, 
 looking at the spectator, is turned towards the right. 
 
 Kneller most probably painted this portrait during the 
 Prince's visit to England. He arrived in this country 
 January 4th, 1711, and took his departure in the middle of 
 the March following. For a portrait of this Prince in the 
 Corridor, see page 191. 
 
 Eugene Francois, Prince of Savoy and son of the Comte de Soissons, was born at 
 Paris, 1663. He signalised himself at the siege of Vienna in 1683, and in 
 1691 received the command of the Imperial army in Piedmont. He defeated 
 the Turks in a great battle at Zeuta in Hungary in 1697, on which occasion 
 the enemy lost above thirty thousand men, and the Grand Vizier himself fell in 
 the engagement. He commanded the Imperial troops at the battle of Blenheim, 
 and in the following year checked the advances of the French in Piedmont, and 
 after the battle of Turin, 1706, succeeded in expelling them. He again 
 co-operated with Marlborough, and when his brother Charles succeeded to the 
 empire visited England in the hopes of deterring the Queen from concluding a 
 treaty with France. Eugene and Marlborough were not rivals, but friends ; 
 but the former, notwithstanding the popularity of his reception, failed in his 
 undertaking, and the Treaty of Utrecht followed soon after. Swift describes 
 his personal appearance as " plaguy yellow and literally ugly besides." 
 
 In 1716 the war with the Turks was resumed, and the Prince again took the field in 
 Hungary. In the August of this year he gained the great battle of Peterwaradin, 
 and in the year following besieged Belgrade. He died at Vienna, 1736, aged 73. 
 
 Prince Eugene was fond of the arts, and collected some fine paintings. Originally 
 intended for the church, he always entertained a deep sense of religion, and in 
 all his expeditions Thomas a Kempis was his constant companion. 
 
 (Below the preceding.) 
 
 An emblazoned copy, in a square frame, of the Thanks voted by 
 Parliament to John Duke of Marlborough, inscribed in gold 
 letters upon purple. 
 
 The figures of Mars and Minerva stand at the sides, and 
 various subjects, views and emblems, complete the rest of 
 the border. 
 
 At the lower part of the border is represented the Duke of Marlborough leaving 
 the field of Blenheim, accompanied by Prince Eugene, the Prince of Anhalt, and 
 the Prince of Hesse Cassel, followed by Marshal Tallard, seated in the Duke's 
 coach. This composition is taken from a spirited etching by Huchtenburgh. 
 
 Blenheim. 
 
134 
 
 THE BOW- WINDOW EOOM— continued. 
 
 (Over the door leading into the State Bedroom.) 
 
 LUC A GIORDANO.— The Nativity and Adoration of the Shep- 
 herds. The Virgin and two angels kneel in adoration before 
 the infant Saviour. The ox looks reverently towards the 
 new-born child (in early paintings it is always represented 
 kneeling). The ass also is introduced in the right hand 
 corner. 
 
 The style of the composition shows that Luca Giordano 
 had been much influenced by earlier representations of this 
 subject. 
 
 (Between the columns.) 
 Above. 
 
 PAOLO VERONESE.— A small square picture of a lady's head, 
 with a very narrow frill. 
 
 (Below the preceding.) 
 Unknown. — A small square portrait, in steel armour. 
 
 This is very probably the portrait of Admiral Russell, who was an intimate 
 friend of the Duke when Lord Churchill, during the reign of William III. 
 He was created Earl of Orford in 1697, and died 1727, in his 76th year. 
 
 Below and in front of this is a beautiful bust by Weekes of Jane, 
 first wife of George, fifth Duke of Marlborough. 
 
 1 Nearer to the window is an octagonal case, containing nine miniatures. See 
 ante, page 109. 
 
 (Over the door leading into the Duke's Private Room.) 
 J. VAN BALEN. — Two naked nymphs, reclining under the 
 shade of a tree, Cupid beside them, whilst a satyr with long 
 ears is playing on a pipe. 
 
 (Between the cojumns.) 
 Above. 
 
 PAOLO VERONESE —Portrait of a lady. 
 
 (Below the preceding.) 
 
 HOLBEIN. — Portrait of a beardless man, with long straight dark 
 brown hair ; the head turned to the right. The background 
 dark green. Erroneously assigned to Da Vinci. 
 Painted on oak. 
 
 (Next the window.) 
 
 LADY CAROLINE SPENCER.— A very pleasing copy, in 
 water-colours, of Raphael's picture of the Virgin lifting the 
 Blenheim. 
 
THE BOW-WINDOW ROOM — continued. 135 
 
 veil from the infant Saviour. St. John kneeling by his side 
 (see ante, page 48). It bears date 1784. The picture is in a 
 square case with folding-doors. For portrait of Lady 
 Caroline see ante, page 132. 
 Below, and in front of the preceding, is an admirable bust by 
 Weekes of GEORGE FIFTH DUKE OF MARLBOROUGH, 
 
 Nearer to the windows is an octagonal case, containing seven miniatures (see List of 
 Miniatures, and plate to show their arrangement, at page 109). 
 
 (Over the door facing the windows.) 
 
 GIORGIONE (School of).— St. Jerome as a penitent before the 
 crucifix. His book lies on the ground at his feet, and the 
 crimson Cardinal's hat is placed against the rock under his 
 left elbow, as usual in paintings of this subject. The Saint 
 holds a stone in his right hand wherewith to bruise himself. 
 The lion is seen to the right in full flank. The landscape 
 and distant towers are capitally painted. 
 
 The chief tapestry of this apartment, a long piece, facing the fire- 
 place, relates to the Battle of Hochstet or Blenheim and the sur- 
 render of M. Tallard. 
 
 Marlborough appears on horseback, receiving the surrender of M. 
 Tallard, who is also mounted. Among the generals attending the 
 Duke may be recognized portraits of Prince Eugene, the Prince of 
 Hesse, Cadogan, Lord Cutts, and General Churchill, the Duke's 
 brother. The officer to whom Tallard surrendered his sword was 
 M. Beinenberg, aide-de-camp to the Prince of Hesse. A grenadier, 
 wearing the peculiar tall cap subsequently represented by Hogarth, 
 is stooping down in the left-hand corner, amid French flags and 
 kettledrums. These tapestries belong to the series already described 
 in the State Apartments. 1 The arms of various cities are displayed 
 in the bordering, and bear the following names : vlm . hooghstet . 
 
 NORDLINGEN . INGOLSTAT . VILLINGEN . MEMMINGEN. In the Second 
 
 piece, between the entrance door and the fireplace, surmounted 
 with the arms and name of wynendael, may be seen a body of 
 guards advancing in front of a waggon ; troops are drawn up in the 
 fields beyond. At the angles of the borders are circular medallions 
 containing female figures which represent Justice, Valour, Tem- 
 perance, and Prudence. 
 
 See Marlborough Dispatches, vol. i. pages 388-406 ; Du Bosc's Military History 
 
 before quoted, vol. i. pages 156-168, and vol. ii. page 73. 
 1 See ante, pages 71-76. 
 
 Blenheim. 
 
136 
 
 THE STATE BEDROOM. 
 
 THE STATE BEDROOM. 
 
 (Over the chimney-piece.) 
 
 KNELLER. — " Anne Princess of Denmark, afterwards Queen of 
 England." 
 
 A fine full-length portrait. The Princess is attired in blue 
 satin, a white flower in her right hand, whilst with the other 
 she holds up her robe. A large jar of flowers to the left. 
 On the opposite side a pilaster and grove of poplars. 
 
 Queen Anne succeeded William III. in 1702, and died 1714. 
 
 (To the extreme left.) 
 Uncertain. — Two little girls playing with a Blenheim spaniel. 
 
 (To the right of the preceding.) 
 
 MIREVELT. — Portrait of a lady, half-length, wearing a ruff and 
 a somewhat peculiar head-dress of the time of James I. 
 
 A very similar picture is preserved among the painted 
 portraits in the British Museum ; it is there called Mary 
 Queen of Scots, and was presented many years back by Dr. 
 A. Gifford. 
 
 Two large medallions or circular plates of metal are sus 
 pended by chains round her neck. They are probably what 
 were termed in those days picture-boxes (see ante, page 98). 
 
 (Below the preceding.) 
 
 REYNOLDS. — Lord Robert Spencer (see ante, page 15) when a 
 boy, looking to the left, resting his right arm on a stone 
 pedestal. Dark grey and brown in general tone. Finely 
 massed shadows, and painted with great power. 
 Blenheim. 
 
THE STATE BEDROOM — continued. 
 
 137 
 
 (Below the preceding.) 
 
 VAN LEEN. — A grand flower piece, in handsome carved frame. 
 Roses, convolvuluses, Narcissus and the Iris, are combined 
 in a jar, with two figures painted on it. A female statue in 
 the distance. The artist's name is introduced on the edge of 
 the cornice as if incised in the stone, " W. van Leen, f t- " 1 
 Painted on canvas. 
 
 1 See plate of Monograms and Signatures, No. 38. 
 
 (To the right of the central picture.) 
 Above. 
 
 VAN DYCK. — Penelope Naunton Countess of Pembroke. A life- 
 sized portrait, in blue satin dress, holding a grey-coloured 
 scarf in her right hand. The figure, seen nearly to the 
 elbow, is turned as if walking to the left ; the eyes are bent 
 upon the spectator. She wears pearls in her hair, and a 
 large pearl earring. A very excellent picture. 
 
 Smith, in his Catalogue Raisonne, page 77, No. 254, calls 
 this the Duchess of Richmond (see ante, page 31). 
 
 It corresponds exactly with the engraving of the Countess, 
 dated 1652. 
 
 Penelope, daughter of Sir Robert Naunton, Secretary of State to James I., married 
 Philip 5th Earl of Pembroke, who succeeded his father in the honours 1649, 
 and died 1669. 
 
 (Below the preceding.) 
 
 HUDSON. — George Marquis of Blandford, son of Charles the 
 second Duke of Marlborough (see ante, pages 15 and 34). 
 Half-length, standing figure, life size, dressed in pale blue 
 satin, with white fancy collar and cuffs, holding a white and 
 tan dog, on the red collar of which is inscribed " Marquis 
 of." A very admirable picture. 
 
 (Below the preceding.) 
 
 VAN LEEN. — A fruit piece, comprising a basket, flowers, peaches, 
 grapes, pomegranate, a dead bird, dragon-fly, and snail. A 
 female statue and a colonnade in the distance. 
 
 Painted on canvas, and signed " W. van Leen, f." 
 
 Blenheim. 
 
138 THE STATE BEDKOOM — continued. 
 
 (To the extreme right, next the window.) 
 
 LELY. — " Louise RenSe Dutchess of Portsmouth' 1 
 
 A very striking picture. She is represented, life-size, 
 seated with a rosary of pearls in her right hand, and resting 
 her left arm on a sculptured pedestal. A fluted column is 
 seen beyond it. A yellow curtain hangs in the opposite, 
 left-hand corner. A chain of jewels passes across her chest 
 from her right shoulder. An abundance of pale blue satin 
 drapery envelopes her figure, showing only her stomacher, 
 which is made of grey satin, and a white sleeve. A narrow 
 grey scarf is wound round the jewelled belt. Neither 
 bracelets nor rings are introduced, and her loose, flowing 
 hair, which falls in a profusion of ringlets, is destitute of 
 artificial ornament. 
 
 Louise Renee de Penencovet de Que'roualle, of a noble but impoverished French 
 family, was appointed maid of honour to the Duchess of Orleans in 1669, and 
 came over to England in her train the following year. She remained in this 
 country as maid of honour to the Queen. Her son, born in 1672, was created 
 Duke of Richmond, and in the following year La Que'roualle became Duchess 
 of Portsmouth. The power which she attained was considered so great that 
 the old Earl of Bedford is said to have offered her one hundred thousand pounds 
 to procure the pardon of his son. The Duchess first introduced the fashion of 
 wearing the blue ribbon of the Order of the Garter over the left shoulder. She 
 died at Paris in 1734, in her 87th year. 
 
 There is a line engraving by Eduardus Davis of the 
 Duchess of Portsmouth, with a lily in her hand instead of a 
 rosary. 
 
 (Over the door leading into the Bow-window Room.) 
 
 HUDSON.—" Robert fourth Earl of Sunderland:' 
 
 A half-length, life-size figure in a blue dress, standing 
 with the right hand in his vest : the left resting on the hip. 
 A black hat under his arm. Face turned to the right, and 
 looking at the spectator. A carefully finished picture. 
 
 Robert Lord Spencer, afterwards fourth Earl of Sunderland, was second son to 
 Charles third Earl and Lady Anne Churchill. He accompanied George I. on 
 the Continent, and did not return till after the death of his father. He again 
 went abroad, and died at Paris, 1729, in the 28th year of his age. His brother 
 Charles, afterwards second Duke of Marlborough, succeeded him. 
 
 (See also page 207.) 
 
 The tapestries in this apartment, like those in the Godolphin 
 Bedroom (see page 200), are taken from Le Brun's battles of Alex- 
 ander the Great. 
 
 Blenheim. 
 
THE STATE BEDKOOM — continued, 139 
 
 The large battle-piece represents the passage of the Granicus, a 
 magnificent composition, and one of the most favourable specimens 
 of Le Bran's varied attainments. 
 
 The original picture is now in the Louvre. 
 
 A tall, narrow piece, represents Alexander on horseback address- 
 ing some old men. 
 
 The companion piece (on the side towards the fireplace) exhibits 
 Alexander visiting Diogenes. 
 
 Below, in the centre of each frame, is a chalice containing a 
 flaming heart, and trumpets and shields around it. The arms of 
 the Duke of Marlborough encircled with the Garter are introduced 
 in the upper part of each compartment, forming altogether a part of 
 the same series as that in the Godolphin Bed-room (see post, p. 200). 
 
 (To the right of the large tapestry facing the fireplace.) 
 
 HOLBEIN. — King Edward VI. ; a full-length figure standing on 
 a marble pavement, in brown dress ornamented with black 
 and gold. He wears grey stockings and white shoes. Life 
 size. Painted on panel. A dark deep-brown toned picture. 
 
 *x* The magnificent old pointlace on the bed and window hangings is worthy of 
 particular attention. It is of extreme value and rarity. 
 
 Blenheim. 
 
140 
 
 THE DEESSING ROOM. 
 
 THE DRESSING ROOM. 
 
 * # * The pictures in this apartment are not definitely arranged. The localities 
 are therefore omitted. 
 
 MINDERHOUT. — View of a quay on the Scheldt opposite to 
 Antwerp, chiefly interesting as a view of the city at a known 
 date. The spire of the cathedral is in the centre of the 
 picture. To the left, in front, a passage-boat with peasantry. 
 To the right, on the quay, are cavaliers escorting ladies to a 
 boat; others riding away on horseback. To the extreme 
 right are two girls with large round brass vessels on their 
 heads. The sky is very heavy with warm-grey clouds, and 
 the picture is slovenly in execution. Grey and india-red are 
 the prevailing colours. It is signed in large grey letters 
 upon a stone ground H. van Minderhout, 1678. 1 A large pic- 
 ture painted on canvas. 
 
 1 See plate of Monograms and Signatures, No. 25. 
 
 Uncertain. — A battle-piece, probably Spanish. The picture is com- 
 posed principally of soldiers loading and discharging large 
 cannon against an enemy in the distant plain. The cannons 
 are pointed towards the right. Rocks tower on the left. 
 In front, towards the right, is a general mounted on a brown 
 and white horse. Several persons wear broad brimmed 
 brown hats. Soldiers in steel armour on white horses oc- 
 cupy the extreme right. The picture is well painted, and 
 very interesting as exhibiting foreign costume and details of 
 warfare early in the 17th century. A monogram, 2 unfortu- 
 nately much obliterated, may be partially traced close to the 
 frame, in the centre, below the figure of a youth in blue 
 holding a halberd. 
 
 2 See plate of Monograms and Signatures, No. 22. 
 
 WATTE AU. — A small picture on canvas, containing six figures. 
 The central one, a harlequin with a guitar and his face un- 
 covered. A lady and a little boy are seated on the left, 
 Blenheim. 
 
THE DRESSING RO OM — continued. 
 
 141 
 
 WATTE AU. — A similar picture on canvas, containing also six 
 figures. A lady holding a music book is seated between two 
 gentlemen, one playing a fife and the other a guitar. Above 
 them rises a high rock or fountain. Two lovers are seen in 
 the distance, and also a child climbing up to a vase of flowers. 
 
 BOUDEWYNS. — A small and very richly coloured landscape 
 with deep green and brown trees against a brilliant blue and 
 grey sky, only to be equalled in point of force and richness 
 of tones by the modern water-colour paintings of Miiller and 
 Bonington. The figures are small and minutely finished. 
 A hawking party is seen halting in the foreground. 
 Painted on oak. 
 
 CASTIGLIONE. — Jacob and Laban. The sheep and cattle are 
 finished with the care of Adrian van der Velde, but brown 
 and heavy in colour. The old man dressed in white raises 
 his hands in surprise. 
 
 The picture is painted on canvas. 
 
 WATTEAU. — A composition of five figures close together. The 
 centre one is a lady in - white satin. Pierot and a lady-har- 
 lequin support her. It is called " La Troupe Italienne," and 
 engraved " a l'eau forte " from the original design by Boucher. 
 
 WATTEAU. — A composition of six figures. A lady dressed in 
 yellow satin seated with her family under some trees. The 
 distance is grey and of a wild character, very different from 
 Watteau's works generally. 
 
 BOUDEWYNS. — A small richly-coloured picture. A piece of 
 water in the middle distance. Persons on horseback are 
 seen winding round a road in the right-hand corner. A laden 
 camel bearing also a youth follows them. The vegetation is 
 remarkable for the intense richness of its colouring. 
 Painted on oak. 
 
 Blkn t heim. 
 
142 
 
 THE DRESSING ROOM— continued. 
 
 PANNINI. — Ancient ruins. A fancy composition with a pyramid 
 — perhaps that of Cains Cestius — and the statue of the 
 Farnese Hercules forming the most prominent features. 
 
 Unknown. — Horses and dogs in a farm-yard. A small, clever sketch 
 in light oil colours on a brown ground. 
 
 PANNINI. — Ancient ruins. A fancy piece, very mellow in colour, 
 with the Florentine group of the Wrestlers (see ante, page 21) 
 on a lofty pedestal as the chief feature. This picture closely 
 approaches the excellence of the elder Weenix. (See ante, 
 page 27.) 
 
 TINTORETTO (School of). The Massacre of the Innocents. Pro- 
 bably the picture spoken of in the English Connoisseur by 
 the name of "Herod's Cruelties." A good, small picture 
 with numerous figures. Richly coloured. 
 
 Unknown. — Head of a bald and bearded old man looking up to the 
 right. Life size and pale in colour. 
 
 Unknown. — Portrait of a young man. The head seen in three- 
 quarters turned to the left, the eyes fixed on the spectator. 
 Hair dark and low upon the forehead. Dress black with a 
 white collar. 
 
 Painted on panel. 
 
 Unknown. — Portrait of an elderly lady, with a double chin, in a 
 black hood and the white head-dress of a nun. The face is 
 round and full, and her dark eyes are turned towards the 
 spectator. The hair is entirely concealed from view. A 
 companion picture to the preceding. 
 Painted on oak. 
 
 MACARTHY. — A small copy, very carefully painted, of the Carlo 
 Dolci in the Grand Cabinet. (See ante, page 58.) Inscribed 
 at the back "presented to Jane Blandford as an heir-loom." 
 Blenheim. 
 
THE DRESSING ROOM— continued. 
 
 143 
 
 Unknown.— A pleasing moonlight scene, with the Holy Family in 
 the foreground. St. Elizabeth on her knees caresses the in- 
 fant Christ in the lap of the Virgin. St. Joseph appears be- 
 hind. The rays of the moon are seen bursting from a clond. 
 A rich although dark and cold picture. 
 
 Unknown. — A laughing head, life size, looking down towards the 
 right. Apparently taken from Baroccio. 
 
 D. MAAS. — View of Al thorp. A large open space in front with 
 numerous figures promenading. Many of them on horseback. 
 For a miniature with a view of Althorp in the background, 
 see ante, page 112. 
 
 Unknown.— Head of an old man looking down. The size of life. 
 
 ROTTENHAMMER. — A large panel picture representing the 
 Seasons constructing garlands with fruit and flowers. Satyrs 
 also appear bearing a basket of fruit. Cornfields and plough- 
 ing occupy the centre of the picture, whilst above Ceres is 
 seen presenting her gifts to Jupiter, Neptune, Minerva, and 
 other Olympian deities seated at a table. 
 
 PANNINI. — Fancy piece of ancient ruins. A small picture with 
 the statue of the Farnese Flora on a pedestal very prominent. 
 
 PANNINI. — A vaulted building in ruins, and a sarcophagus on a 
 lofty pedestal. 
 
 Painted on canvas. 
 
 PANNINI. — Ruins of the Coliseum, and the equestrian statue of 
 Marcus Aurelius introduced in the foreground. 
 
 PANNINI. — A fancy combination of the Arch of Titus, the Arch of 
 Trajan, and the Pantheon. A clever and spirited sketch. 
 Painted on canvas. 
 Blenheim. 
 
144 
 
 THE BILL1AED EOOM. 
 
 THE BILLIAED ROOM. 
 
 CONTAINING A SERIES OF 120 PAINTINGS BY D. TENIERS. 
 
 The Archduke Leopold William, 1 when governor of the Low 
 Countries, appointed Teniers his principal painter, and gave him the 
 superintendence of his gallery, which contained the works of the 
 most distinguished masters of the Italian as well as of the Flemish 
 school. Many of these pictures had been purchased from the col- 
 lection of King Charles I., on their dispersion by the Parliament in 
 1649. Teniers painted small copies of the principal pictures in the 
 Archduke's collection, in which he imitated the particular style of 
 each master so successfully, that he was called the Proteus of 
 painting. These imitations he caused to be engraved and published 
 in a folio volume, dedicated to his patron ; it is now generally called 
 the Teniers Gallery. The following is on the title-page : — ' Thea- 
 trum Pictorium Davidis Teniers, Antverpiensis pictoris serenissi,- 
 morum principum Leopoldi Guillelmi Archiducis Austriae, & 
 Joannis Austriaci proPhilippo IV., Eege Hispaniarum Belgij Guber- 
 natorum. In quo exhibentur ipsius manu delineatae ejusque cura in 
 aes incisae Picturae Archetypae Italicae quas ipse Ser 1 ™ 8 - Archidux 
 in Pinacothecam suam Bruxellis collegit.' The first edition was 
 published at Brussels in 1660, and contains about two hundred 
 engravings. 
 
 His own portrait, engraved by Lucas Vorsterman, jun., from a 
 painting by Petrus Thys, is prefixed to the volume. The plate is 
 entitled : — 
 
 ' Dauid Teniers, Antuerpianus Sereniss iB Leopoldo Archiduci, & 
 Ioanni Austriaco Belgy Gubernatoribus Pictor familiaris, & Utriqu: 
 a Cubiculis. A°- m.d.c.lix. iEtat: 49.' 
 
 Teniers painted a picture of the interior of the gallery of Prince 
 
 1 Leopold William, the son of Ferdinand II., Emperor of Germany, was born in 16C4, 
 and devoted to the ecclesiastical profession. He became bishop of Passau, Strasburg, 
 Halberstadt, Olmutz, and Breslau, Grand Master of the Teutonic Order, and afterwards 
 Governor of the Low Countries. He occasionally exchanged the crosier for the sword, and 
 ranks among the distinguished military characters of the period. On the death of his 
 brother, the Emperor Ferdinand III., he was put in nomination against his son Leopold; but 
 he refused it from attachment to the interests of his house, and became a guardian to his 
 nephew, who, at the age of 18, ascended the Imperial throne as Leopold I. in 1057. The 
 Archduke Leopold William from this period relinquished the pursuit of arms and politics, 
 and spent the remainder of his life in retirement, indulging his taste for the arts and botany. 
 He died in 1662. See Coxe's ' House of Austria,' 
 
 Blenheim. 
 
THE BILLIARD ROOM — Teniers Paintings continued. 145 
 
 Leopold William, exhibiting a collection of fifty pictures. In this 
 painting the Archduke 'himself is represented dressed in black and 
 wearing a high-crowned hat, in conversation with the artist, and 
 pointing with his cane to one of the pictures. 
 
 This painting is still in the collection in the Belvidere Palace at 
 Vienna (page 121 of the catalogue published in 1845 by Albert 
 Krafft), and described also in Smith's ' Catalogue Raisonne,' No. 26 
 of the works of Teniers. 
 
 Most of the pictures were removed from Brussels to Vienna on 
 the retirement of the Archduke from the government of the Nether- 
 lands, and are now to be seen in the gallery of the Belvidere at 
 Vienna. 
 
 The numbers upon the pictures and next to the titles in the fol- 
 lowing list correspond with numbers on the plates in the ' Teniers 
 Gallery ' above-mentioned. 
 
 The engravings in this work, it should be borne in mind, are, for 
 the most part, the reverse of the originals, and also of the copies by 
 Teniers in this apartment. 
 
 References have been added to Krafft's catalogue of the Belvi- 
 dere pictures, and to the plates in the ' Galerie de Vienne,' 4 vols. 
 4to., by Charles Haas. 
 
 As these pictures were formerly numbered and catalogued by the 
 late Rev. Vaughan Thomas, those references are still given at the 
 conclusion of each description. The letters v. t. stand for his name. 
 
 (1.) No. 1. — The Frontispiece, designed by Teniers for the ' Thea- 
 trum Pictorium,' now commonly known as the ' Teniers 
 Gallery,' is engraved in that volume by J. Troyen. 
 
 It represents a portrait of the Archduke Leopold encircled 
 in a wreath, with a sword and baton on one side, and a 
 painter's palette, &c. on the other. Among the stems of the 
 wreath, which comprises the palm branch, laurel, and garden 
 flowers, is twisted a band with the motto "forttter svavi- 
 ter " on it. 
 
 On the pedestal supporting this centre-piece is a dedication 
 to the Archduke by Teniers, dated A°- m.d.c.lviii. A youth- 
 ful figure of Valour, in full armour, stands at the side, and 
 the busts of five eminent men are ranged on the cornice of an 
 architectural recess in the background. Three boy-Cupids 
 are introducing pictures and a tray of coins, books of music 
 and drawings, and engraving tools lie in the foreground. 
 
 Two of the pictures supported by the Cupids are recog- 
 nizable by being separately engraved in the volume ; they 
 were probably special favourites with the owner of the 
 Blenheim. l 
 
146 THE BILLIARD ROOM— Tenters Paintings continued. 
 
 gallery. One of these, the portrait of a young lady, by Palma 
 Vecchio, will be described subsequently under No. 194. 
 The other picture, however, is not included in the series at 
 Blenheim, and a description of the original, by Giorgione, 
 now preserved in the Belvidere Gallery at Vienna, may not 
 be unacceptable in this place. It represents two male 
 figures, half length. One, wearing a cuirass, but bare- 
 headed, lays his hand on the shoulder of a young man 
 crowned with vine-leaves, and at the same time conceals the 
 handle of a stiletto behind him. The young man, apparently 
 trying to escape, is in the act of drawing his sword. The 
 background is dark, and the picture may be said to exhibit 
 many of the characteristics of Giorgione in full force. 
 
 Ridolfi describes this picture in the first edition of his 
 * Maraviglie dell' Arte,' published in 1648, as still in Venice 
 (vol. i., p. 82), and names the personages as 0. Plotius and 
 C. Luscius, on the authority of Valerius Maximus. According 
 to this writer (Lib. vi. 12) Plotius attacked and slew Luscius. 
 
 This picture is engraved in the ' Teniers Gallery,' pi. 23, 
 by J. Troyen. 
 
 The original, painted on canvas, is in the Belvidere Gal- 
 lery at Vienna. See Krafft's Catalogue, p. 16, No. 10. 
 
 It has also been engraved in mezzotint by Prenner and by 
 G. Leybold in Haas's ' Galerie de Vienne,' pi. 26. 
 
 Passavant, in the text which he contributed to the last- 
 named work, remarks that the face of the youth wearing the 
 vine-wreath much resembles that of Giorgione himself, and 
 expresses a suspicion that the real subject of the picture 
 relates to some forgotten incident in the painter's own life. 
 
 (This frontispiece is numbered by v. t. 25.) 
 
 (2.) 4. — St. Nicholas and a female Saint, half-length figures, 
 copied from Bellini. 
 
 St. Nicholas wears a brown cope, richly embroidered with 
 gold, the figure of Moses being prominent in the border near 
 the large morse, or brooch, which fastens the garment on his 
 breast. His under-dress is white, and he holds three gold 
 balls on a red book in one hand, and a long pastoral staff 
 in the other. His hair is short and grey, and his eyes are 
 fixed on the spectator. The female saint is seen in profile ; 
 a gold band with pearls and jewels encircles her brown hair, 
 and her dress is lilac and gold. 
 
 A pilaster behind the figures suggests the idea that the 
 original was only the portion of a larger picture. 
 Blenheim. 
 
THE BILLIARD ROOM— Teniers Paintings continued. 147 
 
 It is rich and mellow in colour, with a black background. 
 This picture is signed with Teniers' monogram E). 
 Engraved in the 1 Teniers Gallery' by L. Vorsterman, jun. 
 (Numbered by v. t. 113.) 
 
 (3.) 5. — The Virgin and Child, full-length figures, seated on a 
 throne. A tall, narrow picture, copied from Bellini. 
 
 The head of the Virgin is covered with a hood. Both 
 figures look at the spectator. The Virgin holds out her hand 
 as if for charity. The infant Christ, seated on her lap, wears 
 a small shirt, and raises one hand in benediction ; a small 
 book also rests upon his knee. 
 
 The under-dress of the Virgin is a richly-patterned brocade. 
 A peculiar girdle, or joined-band, is on the ground at her 
 feet. 
 
 Painted on canvas stretched upon board. 
 Engraved in the ' Teniers Gallery ' by Lisebetius. 
 (Numbered by v. t. 60.) 
 
 (4.) 8. — A naked Female, partially covered with a crimson drapery, 
 seated on the ground at the foot of a leafless tree. A rich 
 landscape beyond. Copied from Bellini. 
 
 Painted on canvas strained on board. 
 
 Engraved in the 4 Teniers Gallery ' by Lisebetius. 
 
 (Numbered by v. t. 21.) 
 
 (5.) 9. — St. Sebastian. A half-length figure, copied from Bellini. 
 
 The saint is represented tied to a column, of which only 
 the shaft is visible, looking upwards, pierced with three 
 arrows and wounded also in the arm. 
 
 The background is very dark. 
 
 Engraved in the 'Teniers Gallery' byL. VorstermaD, jun. 
 (Numbered by v. t. 116.) 
 
 (6.) 14. — Copied from Giorgione. Half-length figure of a rough- 
 haired, bearded man, holding a roll of paper in his left 
 hand, and with the other pointing forward. 
 
 The complexion is very ruddy ; he wears a brown fur cap, 
 and a grey dress. The hands are red-brown. The scroll in 
 his left hand is white. 
 
 The fore-shortening of the hand, which is raised above 
 the elbow, exhibits many of the characteristics of Van Cleef, 
 or the German School of that period. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 
 (Numbered by v. t. 29.) 
 
 (7.) 15. — Portrait of a Musician. Copied from Giorgione. 
 Blenheim. l 2 
 
148 THE BILLIAED ROOM — Teniers Paintings continued. 
 
 He is represented, half-length, in a full mantle, resting his 
 left hand on a violin. He is crowned with leaves, and looks 
 towards the spectator. 
 
 The background exhibits a crescent moon, with the rest of 
 the disk traceable. The sky is stormy, and the distant 
 building appears as if illumined by a flash of lightning. 
 
 Painted upon canvas stretched on board. 
 
 Engraved in the ' Teniers Gallery' by L. Vorsterman, jun., 
 but not reversed as in all other instances in this series. 
 
 (The late Rev. Vaughan Thomas, who numbered this pic- 
 ture 50, called it " Nero fiddling. Rome burning in the 
 distance.") 
 
 (8.) 16. St. John the Evangelist. Copied from Giorgione. 
 
 He is represented in old age, holding a book open in one 
 hand and his red mantle in the other. The eagle appears 
 at the side behind him. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman, jun. 
 
 (Numbered by v. t. 90.) 
 
 %* This picture is still in the Gallery of the Belvidere at Vienna, and described 
 in Albert Krafft's Catalogue, Vienne, 1845, p. 15, Chambre deuxierne, No. 3. 
 
 18. — Etjropa. Copied from Giorgione. 
 
 The bull is seen dashing through the waves with Europa 
 on his back, who appeals with violent gestures to her two 
 companions, who stand in the foreground in attitudes of 
 despair. Two oxen are in front of them. A shepherd, with 
 a gourd hanging at his girdle, leaning against a tree on the 
 opposite side, is absorbed in playing upon a pipe. Two oxen 
 are at the foot of the same tree. 
 
 Grey and brown in tone, but, at the same time, a pale, 
 clear picture. The absence of warm colours is remarkable. 
 
 The shepherd wears a blue jacket with white sleeves, 
 brown breeches and bare legs. 
 
 This picture corresponds in size with the Europa by Titian 
 (No. 69), also in this collection. 
 
 Engraved in the ' Teniers Gallery' by T. van Kessel. 
 
 (Numbered by v. T. 104.) 
 
 (10.) 20. — Three figures in a Landscape. Copied from " The 
 Three Magi," by Giorgione, and subsequently altered by 
 Teniers into three persons of a totally different character. 
 
 On a careful investigation, the former state of the picture 
 can be traced, showing that it was in the first instance a 
 faithful copy of the original. This is further attested by 
 the engraving by J. Troyen in the ' Teniers Gallery.' 
 Blenheim. 
 
THE BILLIARD ROOM — Tenters Paintings continued. 149 
 
 The long robe of the central standing figure has been 
 changed into a pair of grey trowsers, a scarlet jacket and 
 white handkerchief take the place of a large cape, and a dark 
 green cap encircles his head. The most singular change 
 perhaps is that of the conversion of the angle and compasses 
 held by the young man seated on the ground into a spoon 
 and a bowl of milk. 
 
 The old bearded man in a cowl, holding a tablet inscribed 
 with astronomical figures, is converted into an old peasant 
 with a broad-brimmed hat holding a sack. Instead, also, of 
 a pair of compasses, he carries a spade. The left hand of the 
 middle man is likewise introduced as holding a stick. 
 
 (Numbered by v. t. 12.) 
 
 *** The original picture is now in the Belvidere Gallery, page 8, No. 6, of 
 Kraff't's Catalogue. Engraved also in Haas's ' Galerie de Vienne,' pi. 25. 
 
 Mrs. Jameson thus explains the significance of this picture in her ' Legends of the 
 Madonna,' page 240 : — " It represents a wild, rocky landscape, in which are 
 three men. The first, very aged, in an oriental costume, with a long grey 
 beard, stands, holding in his hand an astronomical table ; the next, a man in 
 the prime of life, seems listening to him ; the third, a youth, seated and 
 looking upwards, holds a compass. I have myself no doubt that this beautiful 
 picture represents the ' three wise men of the East ' watching on the Chaldean 
 hills the appearance of the miraculous star, and that the light breaking in the 
 fir horizon, called in the German description the rising sun, is intended to 
 express the rising of the star of Jacob." 
 
 (11.) 27. — Herodias bearing the head of St. John in a Charger: 
 the Executioner in profile at her side. Copied from the 
 School of Leonardo da Vinci. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 (Numbered by v. t. 85.) 
 
 * # * The original picture on panel is still in the Belvidere Gallery. See Krafft's 
 Catalogue, page 37, No. 12. 
 
 (12.) 28. — St. Sebastian. Copied from Andrea Mantegna. 
 
 The saint, a whole-length figure, is bound by cords to a 
 column which forms part of a ruined triumphal arch. Frag- 
 ments of bas-reliefs lie on the chequered marble pavement. 
 
 In the distance are seen figures on a road winding between 
 two rocks, and beyond this, across an expanse of water, a 
 rich landscape of houses and mountains. The martyr is 
 pierced with numerous arrows, one of which has entered his 
 forehead. 
 
 A clear, silvery-toned picture, with much blue in the 
 broad expanse of sky. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 (Numbered by v. t. 111.) 
 
 %* The original picture is now in the Belvidere Gallery at Vienna. Sec KraDVs 
 Catalogue, page 53, No. 46. Painted on panel. 
 
 Blenheim. 
 
150 THE BILLIARD BOOM — Tenters Paintings continued. 
 
 (13.) 30. — The Toilet of Venus. Copied from Correggio. 
 
 Venus, naked after leaving the bath, seated at a table 
 holding a looking-glass, in which a dove sees the reflection 
 of itself; a comb in her right hand. 
 
 Through a distant window, Cupid is seen in the air guiding 
 a warrior, carrying a lance on his shoulder, and advancing 
 with rapid steps. 
 
 Engraved in the ' Teniers Gallery ' by T. van Kessel, and 
 copied again for Landon's Series ' Vie et QEuvre du Correge,' 
 Paris, 4to. 1811, pi. 66. 
 
 (Numbered by v. T. 75.) 
 
 (14.) 31. — An Incantation. Copied from Correggio. 
 
 A witch, kneeling in front of a chair upon a magic circle, 
 inscribed on the ground, upon which also are laid a book, 
 vases, compasses, a knife, a lamp, and a human arm-bone, 
 turns round to Cupid as he flies off towards a window. A 
 bearded man with two spears and a helmet lies asleep on the 
 opposite side of the circle. A star shines over his head. 
 
 Engraved in the ' Teniers Gallery ' by Q. Boel, and also 
 in Landon's ' Vie et (Euvre du Correge,' ph 65. 
 
 (Numbered by v. T. 67.) 
 
 (15.) 36. — Adam and Eve in Paradise. Copied from Padovanino. 
 
 They are seated under a tree, round the trunk of which the 
 serpent is coiled ; a leopard and rabbit are seen on one side. 
 Engraved in the ' Teniers Gallery ' by Q. Boel. 
 (Numbered by v. t. 41.) 
 
 (16.) 38. — Moses striking the Rock. Copied from Primaticcio. 
 
 Six figures, all standing, with the exception of one woman, 
 who kneels. The garments of Moses are lilac, with a yellow 
 mantle. His hair and beard are quite white. The old man in 
 front with white hair wears a blue dress and crimson mantle. 
 
 The original picture is now in the Belvidere Gallery at 
 Vienna : see Krafft's Catalogue, p. 145, No. 4. 
 
 Engraved in the ' Teniers Gallery ' by P. Lisebetius. 
 
 (Numbered by v. t. 74.) 
 
 (17.) 39. — Judith with the Head of Holofernes. Copied from 
 Saraceno, called Carlo Veneziano. 
 
 A night scene, with the rich brown effect of Honthorst. 
 An old woman holds a candle, and at the same time opens a 
 sack to receive the head. 
 
 Judith wears a crimson bodice. Her dark arm against 
 the white sleeve is very effective. The head of St. John is in 
 deep brown shade. 
 Blenheim. 
 
THE BILLIARD ROOM — Tenters Paintings continued. 151 
 
 H 
 
 The original picture is still in the Belvidere Gallery at 
 Vienna: see Krafft's Catalogue, p. 12, No. 41. 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 (Numbered by v. t. 45.) 
 .) 41. — Cupid subduing Pan. Copied from Carracci. (See ante, 
 page 99.) 
 
 The god of Love kneels upon Pan, as he struggles on the 
 ground, and ties a cord round his neck. The syrinx and the 
 bow and quiver lie beside them. A tall, upright picture. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 
 (Numbered by v. t. 95.) 
 .) 46. — Virgin and Child seated between two Saints. Copied 
 from Polidoro Veneziano (Lanzani). 
 
 St. Nicholas kneels, resting one hand on a book, and with 
 the other holding a pastoral staff, towards which the infant 
 Christ extends his arms. He wears a dark blue robe lined 
 with crimson over a white dress. A monastic female saint, 
 probably St. Theresa or St. Clara, kneels by the side of 
 St. Nicholas. Her dress is grey-black, with a white wimple. 
 
 A rich landscape in the background. 
 
 The three balls, the emblem of St. Nicholas, are in the 
 extreme right-hand corner. The dress of the Virgin is 
 crimson. 
 
 Engraved in the ' Teniers Gallery ' by Lisebetius. 
 (Numbered by v. t. 16.) 
 
 .) 47. — A Holy Family. Copied from Polidoro Veneziano 
 (Lanzani). 
 
 The Virgin, in a crimson dress, reclining against a bank 
 under a tree, holds a book in both hands, and looks down 
 towards the infant Saviour lying on white linen upon a blue 
 mantle. St. Joseph, beside her, rests with both hands on a 
 crutch-shaped staff, and looks towards the book. 
 
 Distant landscape, with sea beyond ; towers and buildings. 
 A long picture. 
 
 Engraved in the ' Teniers Gallery ' by P. Lisebetius. 
 
 (Numbered by v. t. 4.) 
 .) 48.— A Holy Family. Copied from Polidoro Veneziano 
 (Lanzani). 
 
 The infant St. John brings a lamb to the infant Christ, 
 who, as he stands on the Virgin's lap, leans forward with an 
 expression of pleasure. A parrot on the ruined wall behind 
 the Virgin. A long landscape. 
 
 Engraved in the ' Teniers Gallery ' by P. Lisebetius. 
 
 (Numbered by V.T. 3.) 
 Blenheim. 
 
152 THE BILLIARD EOOM— Tenters Paintings continued. 
 
 (22.) 51. — Herodias with the Head of John the Baptist. Copied 
 from Titian. 
 
 Half-length figures. A black boy and an attendant, with 
 hands raised to a veil on his head, are introduced. A very 
 subdued and grey-toned picture. It seems to have been 
 enlarged at the lower part. The dress of Herodias is a dull 
 pink, with grey-white sleeves and frill. Her hair is light 
 yellow. She wears a string of beads round her neck. 
 
 Engraved in the 4 Teniers Gallery ' by L. Vorsterman. 
 
 An inner frame is introduced in this painting which does 
 not appear in the engraving. 
 
 (Numbered by v. t. 42.) 
 
 (23.) 52. — Titian. Copied from Titian. 
 
 His own portrait in a black cap, with long grey beard, a 
 black furred robe, and a turned-down white collar ; a triple 
 gold chain round his neck. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman. 
 
 The original picture on panel is in the Belvidere Gallery 
 at Vienna : see Krafft's Catalogue, p. 21, No. 44. 
 
 It was engraved in 1587 by Agostino Carracci ; engraved 
 also in Haas's 1 Galerie de Vienne,' No. 28. 
 
 (Numbered by v. t. 119.) 
 
 (24.) 54. — Portrait of a Gentleman, bare-headed, with dark 
 beard. Copied from Titian. 
 
 A half-length figure in a dark furred robe, holding a 
 letter ; the thumb of his left hand thrust into his girdle. 
 
 Engraved in the £ Teniers Gallery ' by J. Troyen. 
 
 (Numbered by v. t. 56.) 
 
 (25.) 55. — A Male Portrait. Copied from Titian. 
 
 Half-length figure, with black-brown hair, in a blue-grey 
 satin dress with slashed sleeves ; his left hand holding the 
 grey- white fur trimming of his dress on the opposite side. 
 Dark beard and short straight hair. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 
 (Numbered by v. t. 92.) 
 
 (26.) 56.— A Male Portrait. Copied from Titian. 
 
 A half-length figure, with dark beard and black cap, 
 wearing a furred gown ; his right hand, with a letter, resting 
 on a table at his side. The thumb of the other hand fixed in 
 his girdle. A ring on the fore-finger. 
 
 Engraved in the 4 Teniers Gallery' by L. Vorsterman, jun. 
 (Numbered by v. t. 89.) 
 Blenheim. 
 
THE BILLIARD ROOM — Teniers Paintings continued. 153 
 
 (27.) 57. — Portrait of the Artist's Physician, called II Parma. 
 Copied from Titian. 
 
 A half-length figure, with flowing grey hair, no beard, 
 but small moustaches, in a plain black dress, part of which 
 he holds with his left hand. Two large rings are on his 
 fingers. 
 
 Engraved in the * Teniers Gallery ' by J. Troyen. 
 The original picture is in the Belvidere Gallery at Vienna : 
 see Krafft's Catalogue, p. 21, No. 40. 
 (Numbered by v. t. 93.) 
 
 (28.) 58. — St. Catherine. Copied from Titian. 
 
 Half-length figure in a white dress. Her right hand holds 
 the broken wheel ; the left, holding a palm-branch, rests on 
 a pedestal. Her eyes are fixed on the spectator. She wears 
 a crimson dress, and white sleeve with blue band passing 
 across from her shoulder. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman, jun. 
 
 The original picture is now in the Belvidere Gallery at 
 Vienna : see Krafft's Catalogue, p. 143, No. 29. 
 
 (Numbered by v. t. 61.) 
 
 (29.) 59. — Portrait of a Sculptor, or Anatomist. Copied from 
 Titian. 
 
 Half-length figure holding a fragment of a small figure, 
 dressed in black, with a white lining to his sleeve, and look- 
 ing over his shoulder at the spectator ; his left arm is par- 
 tially bare. Very dark brown hair ; sallow complexion. 
 
 Simple and clear in colour, and remarkably well painted. 
 The torso of grey marble is excellent. 
 
 The portrait has till recently been called Sansovino. It 
 is now named Vesalius. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman, jun. 
 
 The original picture is now in the Belvidere Gallery at 
 Vienna: see Krafft's Catalogue, p. 18, No. 24. 
 
 It is also engraved in Haas's ' Galerie de Vienne,' No. 35. 
 
 (Numbered by v. t. 15.) 
 
 (30.) 62.— A Holy Family. Copied from Titian. 
 
 The Virgin holding the infant Saviour standing on a table. 
 He shows her with both hands some fruit which the youthful 
 St. John has given him. The Virgin is also receiving flowers 
 in her left hand from St. John, who looks anxiously towards 
 Christ, and holds in his left hand the strip of parchment. 
 Cherries lie on the table. St. Joseph with a staff, and 
 Zacharias wearing a turban, stand at the sides. The drapery 
 Blenheim. 
 
154 THE BILLIARD ROOM — Tenters Paintings continued. 
 
 of a canopy is behind the central figures. Half-length figures. 
 Very dark and grey in tone. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman, jun. 
 
 The original picture is in the Belvidere Gallery at Vienna : 
 see Krafft's Catalogue, p. 21, No. 45. 
 
 (Numbered by v. t. 62.) 
 
 (31.) 66. — The Virgin and St. Louis adoring the infant Saviour. 
 Copied from Titian. 
 
 Half-length figures. The youthful Saviour lies on the 
 Virgin's lap, and raises his arms as he looks towards her. 
 St. Louis, with bare head and tonsure, wears a cope embroi- 
 dered with fieurs de lis. A distant church is seen between him 
 and the curtain which falls behind the figure of the Virgin, 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman, jun. 
 
 (Numbered by v. t. 30.) 
 
 (32.) 69.-^-The Rape of Europa. Copied from Titian. 
 
 Europa, on the bull dashing through the water, occupies 
 the extreme right-hand corner. Her three companions are 
 seen lamenting her departure on the distant shore.'* 
 
 The figures are altogether subordinate to the landscape, 
 which is of a wild and rocky character. The general tone 
 is very cold, but softer and more pleasing than the engraving 
 would indicate. 
 
 Engraved in the ' Teniers Gallery ' by Q. Boel. 
 
 (Numbered by v. t. 97.) 
 
 (33.) 74— iEoiNA. Copied from Titian. 
 
 The nymph reclines on a bed, looking upwards to a flame 
 issuing from clouds. An old woman with a stag, or antelope, 
 are at the foot of the couch. iEgina rests one hand on a 
 large circular dish. Jupiter visited this object of his passion 
 under the form of a flame of fire. 
 
 Engraved in the ' Teniers Gallery ' by P. Lisebetius. 
 
 (Numbered by v. t. 106.) 
 
 (34.) 76. — Ulysses Aldrovandi. Copied from Titian. 
 
 He holds in his left hand the claw of a small bird ; his 
 right hand is raised to his breast. 
 
 The original of this picture is painted on canvas, and is 
 considered by Passavant to belong to the class of Titian's 
 finest portraits. 
 
 Ulysses Aldrovandus, the great naturalist, was born of a noble family at Bologna 
 in 1522. He quitted a mercantile life for the pursuit of science, and in 1568 
 induced the senate of Bologna to establish a botanic garden. He formed an 
 extensive museum, and delivered public lectures. His writings on natural 
 history are exceedingly voluminous. He died 1607, in his 85th year. 
 
 Blenheim. 
 
THE BILLIAED BOOM— Tenters Paintings continued. 155 
 
 Engraved in the ' Teniers Gallery ' by L.Vorsterman, jun. 
 
 The original picture is in the Belvidere Gallery at Vienna : 
 see Krafft's Catalogue, p. 15, No. 5. 
 
 It is also engraved by J. Krepp in Haas's ' Galerie de 
 Vienne/ vol. i., pi. 34. In this engraving there is a cap 
 lying on the table beside him which does not appear in the 
 * Teniers Gallery ' plate. 
 
 (Numbered by v. T. 91.) 
 
 (35.) 79. — Portrait of a Lady. Copied from Titian. 
 
 She wears a deep crimson dress with sleeves. AVhite collar 
 and under-dress. A row of pearls hang in front. Her hair 
 is brown. The background dark grey. Her left hand rests 
 on a table covered with a rich carpet ; she wears a girdle 
 and pendant, which she raises with her right hand. 
 
 Engraved in the ' Teniers Gallery' by L.Vorsterman, jun. 
 
 The original is in the Belvidere Gallery at Vienna : see 
 Krafft's Catalogue, p. 15, No. 1. 
 
 (Not specified by v. t.) 
 
 (36.) 81. — St. Aloisius Gonzaga the Jesuit. Copied from Titian. 
 
 A half-length figure, beardless and dressed in black, hold- 
 ing in one hand a brown sponge and two brown arrows, and 
 pressing the other fervently to his breast. He looks upward 
 towards a ray of light descending upon him. His head is 
 encircled with a glory. His hair and eyes are dark brown. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 
 The original is in the Belvidere Gallery at Vienna : see 
 Krafft's Catalogue, p. 19, No. 30. 
 
 (Numbered by v. t. 84.) 
 
 (37.) 82. — An Allegory. Copied from Titian. 
 
 A female figure on her knees embracing a child kneeling 
 beside her, pointing upwards to a ray of light. A winged 
 angel seems about to take charge of the child. 
 
 Engraved in the ' Teniers Gallery ' by L. Popels. 
 
 (Numbered by v. t. 76.) 
 
 (38.) 83. — Portrait of a Nobleman. Copied from Titian. 
 
 Dressed in black, with his left hand on the hilt of his 
 sword ; a gold medallion is prominent in his black cap. A 
 curtain forms the background. 
 
 Engraved in the ' Teniers Gallery ' by L.Vorsterman, jun. 
 
 The original is in the Belvidere Gallery at Vienna : see 
 Krafft's Catalogue, p. 19, No. 27. 
 
 (Numbered by v. t. 100.) 
 
 (39.) 84. — Lucretia. Copied from Titian. 
 Blenheim. 
 
156 THE BILLIABD ROOM — Teniers Paintings continued. 
 
 A half-length figure with furred mantle, and a striped 
 scarf hanging over her right shoulder. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 (Numbered by v. t. 81.) 
 
 (40.) 85. — St. James the Greater. Copied from Titian. 
 
 Seen to the girdle. He holds a staff in one hand, and rests 
 the other on a book. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman, jun. 
 
 The original is in the Belvidere Gallery at Vienna : see 
 Krafft's Catalogue, p. 17, No. 18. 
 
 (Numbered by v. t. 82.) 
 
 (41.) 86. — Portrait of a Nobleman. Copied from Titian. 
 
 A half-length figure, wearing a black cap and long black 
 Spanish cloak. Both hands attached to the girdle in front. 
 Two large rings on the left hand. Expression of counte- 
 nance and grey and brown beard resemble Philip II. The 
 head is admirably painted in mellow tone. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman, jun. 
 
 (Numbered by v. t. 43.) 
 
 (42.) 87.— Diana. Copied from Titian. 
 
 A half-length figure, standing by a pedestal caressing a 
 spaniel which jumps up to her. A very large arrow is in her 
 right hand. She looks towards the spectator. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman, jun. 
 
 (Numbered by v. t. 87.) 
 
 (43.) 88. — Benedetto Varchi, the Historian. Copied from Titian. 
 
 Holding a small book in his right hand, and resting the 
 left arm upon the pedestal of a column. 
 
 The original picture, signed " Titianus F.," is in the 
 Belvidere Gallery at Vienna : see Krafft's Catalogue, p. 20, 
 No. 37. 
 
 Varchi was bom at Florence in 1502. He wrote commentaries on Dante and 
 Petrarch, and published the ' Storia Fiorentina ' from the year 1527 to 1533. 
 He died in 1565. 
 
 Engraved in the 1 Teniers Gallery ' by L. Vorsterman, jun. 
 (Numbered by v. t. 53.) 
 
 (44.) 90. — John Frederick, Elector of Saxony. (?) Copied from 
 Titian. 
 
 Seated in an arm-chair, wearing a mantle trimmed with 
 fur. He holds a cap in his left hand. Seen to the knees. 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman, jun. 
 Blenheim. 
 
THE BILLIARD ROOM — Tenters Paintings continued. 157 
 
 The original picture is in the Belvidere Gallery at Vienna : 
 see Krafft's Catalogue, p. 21, No. 46. 
 (Numbered by v. t. 115.) 
 
 (45.) 93. — Venus and Cupid, known as " La Venus qui se mire." 
 Copied from Titian. 
 
 Cupid holds a square black looking-glass to Venus, who is 
 seen to the knees seated on a couch. A furred dress par- 
 tially covers her right shoulder, and envelopes the lower part 
 of her figure. 
 
 A copy from this picture, attributed to Rubens, is at 
 Hampton Court Palace. 
 
 Engraved in the ' Teniers Gallery' by L.Vorsterman, jun. 
 (Numbered by v. t. 86.) 
 
 (46.) 94. — Half-length Portrait of a Young Lady. Copied from 
 Titian. 
 
 She is seen standing, looking at the spectator, holding a 
 small white animal on her hand. It is fastened to her 
 bracelet by a chain from a collar round its neck. Her dress 
 is of a yellow-brown colour, and peculiarly graceful and 
 simple in form. A rose appears on her bosom. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman, jun. 
 
 (Numbered by v. t. 78.) 
 
 (47.) 97. — Portrait of a Doge of Venice. Copied from Tintoret. 
 
 Nicolas da Ponte, the eighty-seventh Doge of Venice, 
 represented at a very advanced age, seated, wearing the 
 crimson ducal cap and mantle, and leaning his left hand on 
 one of the arms of the chair. Seen only to the waist, but 
 both hands are shown. His beard is yellow-grey. 
 
 Nicolas da Ponte was bora in 1487, elected doge in 1578, and died 1585, at 
 the age of 98. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman, jun. 
 The original picture is in the Belvidere Gallery at Vienna : 
 see Krafft's Catalogue, p. 10, No. 26. 
 (Numbered by v. t. 22.) 
 
 (48.) 99. — The Agony in the Garden. Copied from Tintoret. 
 Engraved in the ' Teniers Gallery ' by P. Lisebetius. 
 (Numbered by v. T. 48.) 
 
 (49.) 101. — An aged Man attended by a Boy. Copied from 
 Tintoret. 
 
 This venerable personage, bending with the weight of 
 years, is seated, resting both hands on the arms of his chair. 
 He wears a furred robe, and a black cap. His figure is seen 
 Blenhkim. 
 
158 THE BILLIARD ROOM — Tenters Paintings continued. 
 
 below the knees. The boy stands on his left side, and looks 
 at the spectator. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman, jun. 
 
 The original is in the Belvidere Gallery at Vienna : see 
 Krafft's Catalogue, p. 13, No. 48. 
 
 (Numbered by v. t. 51.) 
 
 (50.) 103. — A Venetian Senator. Copied from Tintoret. 
 
 An old man in a black robe, with white beard. Half- 
 length figure. 
 
 Engraved in the * Teniers Gallery ' by L. Vorsterman, jun. 
 The original is in the Belvidere Gallery : see Krafft's Cata- 
 logue, p. 8, No. 7. 
 
 (Numbered by v. t. 8.) 
 
 (51.) 105. — Cattle in a Landscape. Copied from Tintoret. 
 
 A cold but clear-toned picture. The cows are white and 
 brown. The distant shepherd pointing to the right wears 
 a crimson jacket. 
 
 Engraved in the ' Teniers Gallery ' by T. van Kessel. 
 
 (Numbered by v. t. 2.) 
 
 (52.) 110. — Lazarus being lifted out of the Tomb. Copied from 
 Pordenone. 
 
 Engraved on a double scale in the ' Teniers Gallery ' by 
 J. Troy en. 
 
 (Numbered by v. T. 58.) 
 
 (53.) 111. — St. Nicholas. Copied from Paul Veronese. 
 
 He stands on a rocky shore ; a ship in a storm is in the 
 background. He is represented at full-length, wearing the 
 mitre and episcopal robes. The three balls are on a book in 
 his right hand. 
 
 St. Nicholas of Myra was invoked by persons in peril of 
 their lives at sea. Harbours of refuge and chapels and 
 altars on the sea-coast were formerly dedicated to him. 
 
 Engraved in the ' Teniers Gallery ' by P. Lisebetius. 
 
 The original picture, on canvas, half the size of life, is in 
 the Belvidere Gallery at Vienna: see Krafft's Catalogue, 
 p. 143, No. 34. 
 
 (Numbered by v. t. 64.) 
 
 (54.) 112. — S r. John seated, with the Lamb by his side. Copied 
 from Paul Veronese. 
 An upright picture. 
 
 Engraved in the ' Teniers Gallery ' by Q. Boel. 
 Dull grey in tone, like No. 51. 
 Blenheim. • 
 
THE BILLIARD ROOM— Teniers Paintings continued. 159 
 
 The original is in the Belvidere Gallery at Vienna : see 
 Krafft's Catalogue, p. 143, No. 35. 
 (Numbered by v. t. 101.) 
 
 (55.) 116. — Venus and Adonis. Copied from Paul Veronese. 
 
 They are seated under the shade of trees and a large 
 drapery. Cupid stands at the side of Venus, and dogs of the 
 chase surround them. 
 
 Engraved in the 4 Teniers Gallery ' by T. van Kessel. 
 
 The original is in the Belvidere Gallery at Vienna : see 
 Krafft's Catalogue, p. 141, No. 17. 
 
 (Numbered by v. t. 69.) 
 
 (56.) 117. — The Resurrection. Copied from Paul Veronese. 
 
 Four figures, one-third the size of nature. An upright 
 picture. 
 
 Engraved in the ' Teniers Gallery ' by P. Lisebetius. 
 The original is in the Belvidere Gallery at Vienna : see 
 Krafft's Catalogue, p. 143, No. 32. 
 (Numbered by v. t. 17.) 
 
 (57.) 118. — Adam and Eve after the Expulsion. Copied from 
 Paul Veronese. 
 
 Our first parents are represented with their first-born 
 seated under the shade of a rough wooden trellis covered 
 with leaves. Adam stoops to collect water from a rill. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 
 The original is in the Belvidere Gallery at Vienna : see 
 Krafft's Catalogue, p. 139, No. 5. 
 
 (Numbered by v. t. 99.) 
 
 (58.) 119. — The Sacrifice of Isaac. Copied from Paul Veronese. 
 Engraved in the ' Teniers Gallery ' by P. Lisebetius. 
 (Numbered by v. t. 5.) 
 
 (59.) 124. — Jesus addressing the woman on his way into the 
 house of Jairus. Copied from Paul Veronese. 
 
 A composition of fifteen figures, one-third the size of 
 nature : see St. Mark v. 33. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 
 The original is/ in the Belvidere Gallery at Vienna : see 
 Krafft's Catalogue, p. 14, No. 52. 
 
 (Numbered by v. t. 11.) 
 
 (60.) 125. — Esther approaching Ahasuerus. Copied from Paul 
 Veronese. 
 
 An elaborate composition, with many figures. 
 A dwarf seated on the ground by a large dog is prominent 
 Blenheim. 
 
3 60 THE BILLIARD BOOM— Tenters Paintings con tinned. 
 
 in the foreground. A turbaned figure seated at the foot of 
 the throne has a dog in his lap. 
 
 Engraved on a double scale in the ' Teniers Gallery ' by 
 W. Hollart. 
 
 *#* This picture is painted on canvas stretched on a frame, and the only one 
 belonging to the Teniers series on that material. 
 
 (Numbered by v. t. 38.) 
 
 (61.) 127. — Venus endeavouring to detain Adonis from the 
 Chase. Copied from Schiavone. 
 
 This composition is taken from the well-known picture 
 now in our National Gallery. Cupid is here introduced 
 flying away with a bird in his hand. A vase or metal jar 
 lies in the corner. 
 
 Engraved in the ' Teniers Gallery,' where it is ascribed to 
 Schiavone, by Q. Boel. 
 
 The original picture is in the Belvidere Gallery at Vienna, 
 and attributed to the School of Titian : see Krafft's Cata- 
 logue, p. 14, No. 54. 
 
 (Numbered by v. t. 65.) 
 
 (62.) 128. — The Infancy of Jupiter. Copied from Schiavone. 
 
 Two Corybantes are seen blowing strangely crooked 
 trumpets to drown the cries of the infant god, who is being 
 suckled by his nurse. 
 
 Engraved in the ' Teniers Gallery ' by T. van Kessel. 
 
 (Numbered by v. t. 71.) 
 
 (63.) 130. — A Holy Family. Copied from Schiavone. 
 
 The infant Saviour bends from the Virgin's lap across the 
 cradle to kiss St. John. Elizabeth, on the other side, leaning 
 on a book, gazes at the children. A lamb lies in front of the 
 Virgin's foot-stool. 
 
 Engraved in the ' Teniers Gallery ' by C. Lauwers. 
 
 (Numbered by v. t. 110.) 
 
 (64.) 131. — The Escape of .ZEneas. Copied from Schiavone. 
 
 He bears Anchises on his shoulders, who holds the palla- 
 dium aloft. Ascanius runs at their side. The ship with 
 persons embarking is in the distance. 
 
 Engraved in the ' Teniers Gallery ' by C. Lauwers. 
 (Numbered by v. t. 70.) 
 
 (65.) 132. — An Allegorical Subject. Copied from Schiavone. 
 Three female figures and a child. 
 Engraved in the * Teniers Gallery ' by T. van Kessel. 
 (Numbered by v. t. 79.) 
 Blenheim. 
 
THE BILLIARD ROOM — Teniers Paintings continued. 161 
 
 (66.) 134. — Adoration of the Shepherds. Copied from Schiavone. 
 
 An upright picture, with ruins in the background. 
 
 Engraved in the ' Teniers Gallery ' by Q. Boel. 
 
 The original picture is in the Belvidere Gallery at Vienna : 
 see Krafft's Catalogue, p. 13, No. 47. The figures are on a 
 small scale. 
 
 (Numbered by v. t. 59.) 
 
 (67.) 135. — An Historical composition, with five principal figures. 
 Copied from Schiavone. 
 
 A female kneeling before two armed warriors. She is 
 attended by two women, one of whom holds a casket. Nu- 
 merous figures in the background embarking with stores and 
 treasure would indicate that the lady is about to depart. 
 
 Engraved in the 1 Teniers Gallery ' by Q. Boel. 
 
 (Numbered by v. t. 36.) 
 
 (68.) 136.— An Historical Sketch. Copied from Schiavone. 
 
 Curius Dentatus, the Roman general, refusing the presents 
 of the Samnites. 
 
 Engraved in the ' Teniers Gallery ' by Q. Boel. 
 
 The original picture is in the Belvidere Gallery at Vienna : 
 see Krafft's Catalogue, p. 146, No. 12. 
 
 (Numbered by v. t. 13.) 
 
 (69.) 133. — Christ bound before Pilate. Copied from Schiavone. 
 
 Six half-length figures. The Saviour's hands are tied by 
 cords. His dress is grey. Pilate wears red and yellow. A 
 brown-toned picture. 
 
 Engraved in the 1 Teniers Gallery ' by J. Troyen. 
 
 (Numbered by v. t. 28.) 
 
 (70.) 148. — The Ascension. Copied from Bassano. 
 An upright picture with an arched top. 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 (Numbered by v. t. 37,) 
 
 (71.) 149. — Portrait of an Ecclesiastic Copied from Bassano. 
 
 Dressed in a white surplice, with dark eyes, moustaches, 
 and beard, and a rather bald and round head. Seen to the 
 elbows. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 (Numbered by v. t. 1.) 
 
 (72.) 150. — A Shepherd Boy playing a Pipe. Copied from Bassano. 
 Crowned with vine leaves, and looking at the spectator. 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 Blenheim. m 
 
162 THE BILLIAKD KOOM— Tenters Paintings continued. 
 
 The original picture, in the Belvidere Gallery at Vienna, 
 is signed on the background franc . bass . fec. It is painted 
 on copper : see Krafft's Catalogue, p. 8, No. 8. 
 
 (Numbered by v. t. 32.) 
 
 (73.) 151. — A Landscape, with Sheep and Goats. Copied from 
 Bassano. 
 
 Engraved in the ' Teniers Gallery ' by Q. Boel. 
 (Numbered by v. t. 9.) 
 
 (74.) 152. — The good Samaritan. Copied from Bassano. 
 Engraved in the ' Teniers Gallery ' by Q. Boel. 
 The original is in the Belvidere Gallery at Vienna : see 
 Krafft's Catalogue, p. 9, No. 12. 
 (Numbered by v. t. 26.) 
 
 The monogram D and 17 are marked on the back of the 
 panel of this picture. 
 
 (75.) 170. — St. Jerome. Copied from Palma Giovane. 
 
 The saint is seen naked, seated among rocks reading the 
 Scriptures. A skull is placed on a rock at his side. The 
 lion sleeps in the foreground. 
 
 Engraved in the ' Teniers Gallery ' by Q. Boel. 
 
 (Numbered by v. t. 102.) 
 
 (76.) 171. — The Magdalene dying in the Wilderness. Copied 
 from Palma Giovane. 
 
 She is extended naked upon rocks ; a skull in her hand, a 
 book at her feet, and the vase of ointment on the ground at 
 a little distance. A rough wooden cross is planted beside 
 her. Eays of light descend upon her closing eyes. 
 
 Engraved in the ' Teniers Gallery ' by T. van Kessel. 
 
 (Numbered by v. t. 72.) 
 
 (77.) 172. — St. John in the Wilderness. Copied from Palma 
 Giovane. 
 
 Seated among rocks holding a reed-cross. The lamb lies 
 in the foreground. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 (Numbered by v. t. 52.) 
 
 (78.) 173.— St. Mary of Egypt dying. Copied from Palma 
 Giovane. 
 
 A very emaciated form, with long hair, reclining on a rock 
 among wild trees. A cross made of branches of trees planted 
 before her. 
 Blenheim. 
 
THE BILLIARD ROOM — Teniers Paintings continued. 163 
 
 Engraved in the ' Teniers Gallery ' by P. Lisebetius. 
 (Numbered by v. t. 96.) 
 
 (79.) 174. — The Saviour risen from the Tomb. Copied from 
 Palma Yecchio. 
 
 He holds the banner of redemption, and exhibits the 
 wounds in the hands and feet. A fine full-length figure. 
 
 Engraved in the ' Teniers Gallery ' by R. Eynhouedts. 
 
 (Numbered by v. t. 68.) 
 
 (80.) 175. — Daniel in the Lions' Den. Copied from Palma 
 Giovane. 
 
 An angel descends with a basket of loaves. Daniel is 
 seated on the ground with his hands folded in prayer. 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 (Numbered by v. t. 88.) 
 
 (81.) 176. — St. John the Baptist. Copied from Palma Giovane. 
 
 He is represented as a full-grown man drawing water from 
 the spring. The lamb jumps up beside him, as if anxious 
 for the draught. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 
 (Numbered by v. t. 49.) 
 
 (82.) 177. — A Holy Family. Copied from Palma Giovane. 
 
 The Virgin, seen to the knees, folds her hands in prayer 
 as she observes the two infants embracing. 
 
 Engraved in the ' Teniers Gallery ' by P. Lisebetius. 
 This picture is marked at the back E). 
 (Numbered by v. t. 80.) 
 
 (83.) 178. — Cain killing Abel. Copied from Palma Giovane. 
 Engraved in the ' Teniers Gallery ' by P. Lisebetius. 
 The original is in the Belvidere Gallery at Vienna : see 
 Kraift's Catalogue, p. 147, No. 22. 
 (Numbered by v. t. 40.) 
 
 (84.) 180. — Salvator Mundi. Copied from Palma Giovane. 
 
 Resting the left hand on a globe, and raising the right in 
 the act of blessing. A half-length figure. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 (Numbered by v. t. 47.) 
 
 (85.) 181. — Sr. Peter. Copied from Palma Giovane. 
 
 A half-length figure, very aged, holding the book and one 
 key only. 
 
 Blenheim. m 2 
 
164 THE BILLIARD ROOM — Tenters Paintings continued. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman, jun. 
 (Numbered by v. t. 109.) 
 
 (86.) 182. — St. Paul. Copied from Palma Giovane. 
 
 A corresponding figure to the preceding. He rests the 
 book on a table, and retains the sword in his left arm ; the 
 right hand is raised, pointing upwards. 
 
 Engraved in the ' Teniers Gallery ' by L. Yorsterman, jun. 
 
 (Numbered by y. t. 39.) 
 
 (87.) 184. — Portrait of a young Lady. Copied from Palma 
 Vecchio. 
 
 Seen nearly to the knees, standing with one hand resting 
 on her hip, and the other raised to her long, luxuriant light 
 tresses. Dark background. Her dress is white ; her hair 
 light brown. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman. 
 (Numbered by v. t. 77.) 
 
 (88.) 186. — Herodias with the Head of St. John. Copied from 
 Palma Giovane. 
 
 Clad in a gracefully-shaped dress, and with her hair pecu- 
 liarly arranged. She looks at the spectator, and holds the 
 head of the Baptist in a charger. A woman beside her 
 wearing a peculiar coif, or head-dress, looks at the head and 
 raises her hand. Figures half-length. 
 
 Engraved in the ' Teniers Gallery ' by J. Troy en. 
 
 The original is in the Belvidere Gallery at Vienna : see 
 Krafft's Catalogue, p. 12, No. 39. 
 
 (Numbered by v. t. 112.) 
 
 (89.) 187. — St. Justin a of Padua. Copied from Palma Giovane. 
 
 A seated figure, seen to the knees, with a book before her, 
 and a dagger plunged into her bosom. Gondolas on the 
 water are seen in the background. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 
 (Numbered by v. t. 103.) 
 
 (90.) 190. — Portrait of a beardless old Man. Copied from Palma 
 Vecchio. 
 
 He wears a black cap over his long yellow-grey hair, and 
 holds his black mantle with one hand. Sky and rocks form 
 the background. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 
 (Numbered by v. t. 117.) 
 
 (91.) 192. — Angel in Adoration. Copied from Palma Vecchio. 
 
 Half-length figure with hands folded in prayer. The 
 Blenheim. 
 
THE BILLIAED ROOM — Tenters Paintings continued. 165 
 
 colour of the dress is a madder-red, with blue collar and rich 
 brown hair. 
 
 Engraved in the ' Teniers Gallery' by L. Vorsterman. 
 (Numbered by v. t. 34.) 
 
 (92.) 193.— Angel in Adoration. Copied from Palma Vecchio. 
 
 Companion picture to the preceding. The hands are 
 crossed on the breast. The dress here is green. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman. 
 (Numbered by v. t. 94.) 
 
 (93.) 194. — Portrait of Violante, the Painter's Daughter. * 
 Copied from Palma Vecchio. 
 
 Seen to the waist, wearing very full sleeves. One hand 
 is visible. Her hair is flaxen and flowing. She wears a 
 violet, in allusion to her name, on her bosom. Her sleeve is 
 pale orange-brown, puffed or slashed with white and edged 
 with black. A pale blue mantle over her left arm, hanging 
 also behind the right shoulder. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman. 
 
 The original picture, painted on panel, is in the Belvidere 
 Gallery at Vienna : see Krafft's Catalogue, p. 16, No. 11. 
 
 This picture is also introduced in the frontispiece to the 
 ' Teniers Gallery,' engraved by Troyen : see ante, p. 145. 
 
 (Numbered by v. t. 33.) 
 
 (94.) 195. — Portrait of a young Lady. Copied from Palma 
 Vecchio. 
 
 Eichly dressed, with flaxen hair, and holding in one hand 
 a fan of feathers. Seen to the waist. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman. 
 
 The original, painted on panel, is in the Belvidere Gallery 
 at Vienna : see Krafft's Catalogue, p. 16, No. 9. 
 
 (Numbered by v. t. 120.) 
 
 (95.) 196. — Portrait of a young Lady. Copied from Palma 
 Vecchio. 
 
 Dressed in rich green silk lined with orange, with a white 
 under-dress, holding a small brown circular box in one hand. 
 Her hair is a rich light brown, with dark eyes. 
 
 Engraved in the ' Teniers Gallery' by L. Vorsterman. 
 
 The original, painted on panel, is in the Belvidere Gallery 
 at Vienna: see Krafft's Catalogue, p. 16, No. 12. 
 
 (Numbered by v. t. 54.) 
 
 (96.) 197. — A naked Female, partially enveloped in a richly- 
 embroidered drapery. Copied from Palma Giovane. 
 
 Seen to the knees, crowned with white and pink flowers, 
 Blenheim. 
 
166 THE BILLIAED ROOM — Tenters Paintings continued. 
 
 and holding roses in her lap. Light brown hair and grey 
 drapery. 
 
 Engraved in the 4 Teniers Gallery ' by J. Troyen. 
 (Numbered by v. t. 31.) 
 
 (97.) 199. — The Virgin and Child with Saints. Copied from 
 Palma Giovane. 
 
 Half-length figures. St. Catherine with the wheel and 
 palm-branch on one side, and St. John, as a bearded man, 
 with cross and scroll attached to it, on the other. 
 (Numbered by v. t. 44.) 
 
 (98.) 200. — Apollo flaying Marsyas. Copied from Palma 
 Giovane. 
 
 Marsyas is bound to a tree. A violin lies near Apollo. 
 Engraved in the ' Teniers Gallery ' by P. Lisebetius. 
 (Numbered by v. t. 6.) 
 
 (99.) 201. — Pan playing on his pipes in presence of Apollo and 
 Midas. Copied from Palma Giovane. 
 
 Three figures in a landscape. Apollo holds the violin, and 
 Midas has pointed ears. 
 
 Engraved in the ' Teniers Gallery ' by T. van Kessel. 
 (Numbered by v. t. 55.) 
 
 (100.) 202. — Cain killing Abel. Copied from Palma Giovane. 
 
 An upright square picture, with much breadth of shadow 
 on the figures. Abel falls with his head towards the spec- 
 tator. 
 
 Engraved in the ' Teniers Gallery ' by P. Lisebetius. 
 (Numbered by v. t. 7.) 
 
 (101.) 203. — Virgin and Child and Saints. Copied from Palma 
 Vecchio. 
 
 The infant Saviour, clad in a little shirt, stands in the 
 Virgin's lap, one of his feet being held in her right hand, 
 and receives a banner from St. Ursula, who kneels with 
 three other virgins at his feet. St. Ursula holds an arrow 
 in her left hand. The female behind her (probably the 
 vo tress of the picture) folds her hands in prayer ; the 
 others carry palm-branches of martyrdom. On the op- 
 posite side of the picture, St. Mark is seated, with his head 
 covered, writing in a book. The lion crouches at his feet. 
 
 Engraved in the ' Teniers Gallery ' by P. Lisebetius. 
 
 The original is in the Belvidere Gallery at Vienna : see 
 Krafft's Catalogue, p. 16, No. 8. It is engraved by Kotterba 
 in Haas's ' Galerie de Vienne,' pi. 39. 
 Blenheim. 
 
THE BILLIARD ROOM — Teniers Paintings continued. 167 
 
 Passavant, in speaking of this picture, says that it was 
 removed, together with the rest of the collection, from 
 Brussels to Vienna in 1657. The figures are nearly the size 
 of life. 
 
 (Numbered by v. t. 98.) 
 
 (102.) 209.— The Fall. Copied from Paris Bordone. 
 
 Eve holds the apple towards Adam. He seems to avoid it. 
 Engraved in the ' Teniers Gallery ' by Lisebetius. 
 (Numbered by v. t. 73.) 
 
 (103.) 211. — Venus and Cupid. Copied from Paris Bordone. 
 
 Venus reclines on the ground under a tree, holding an 
 arrow in one hand, and stretches the other towards Cupid, 
 who approaches her with a basket of fruit. A rich landscape 
 background. 
 
 Engraved in the ' Teniers Gallery ' by P. Lisebetius. 
 (Numbered by v. t. 35.) 
 
 (104.) 215. — The Blind leading the Blind. Copied from Dome- 
 nico Feti. 
 
 A landscape with four figures. 
 
 Engraved in the ' Teniers Gallery ' by Q. Boel. 
 
 Painted on very rough board. 
 
 (Numbered by v. t. 24.) 
 
 (105.) 219. — Andromeda. Copied from Domenico Feti. 
 
 Andromeda seated and bound to a rock surrounded by 
 waves forms the centre of the picture. On one side Perseus, 
 mounted on the winged steed Pegasus, descends upon the 
 monster. On the opposite side numerous figures crowd 
 - the distant shore, whilst others are seated on the rocks above 
 them observing the contest with intense anxiety. Clearly 
 and freshly painted ; excellent. 
 
 Engraved in the ' Teniers Gallery ' by Q. Boel. 
 
 (Numbered by v. t. 105.) 
 
 (106.) 220. — The Triumph of Galatea. Copied from Domenico 
 Feti. 
 
 The sea-nymph is borne along the surface of the waves in 
 a shell-car drawn by dolphins, and led by Naiads and Tritons. 
 Cupid, with white wings, hovers in the air above her, holding 
 aloft a fluttering pale crimson drapery. Polyphemus, a large 
 brown figure, gazes upon her from a rock in the distance. 
 
 A brilliant and clear picture. 
 
 Engraved in the ' Teniers Gallery ' by Q. Boel. 
 
 The original, painted on panel, is in the Belvidere Gallery 
 Blenheim. 
 
168 THE BILLIAED "ROOM.— Tenters Paintings continued. 
 
 at Vienna : see Krafft's Catalogue, p. 147, No. 17. The 
 figures in the original are small. 
 (Numbered by v. t. 10.) 
 
 (107.) 221. — St. Margaret victorious over Sin. Copied from 
 Domenico Feti. 
 
 She holds the demon at her feet by a cord, and looks 
 upward to a flood of light which bursts over an altar with 
 bas reliefs on it. 
 
 Engraved in the ' Teniers Gallery ' by Q. Boel. 
 
 The original, painted on panel, is in the Belvidere Gallery 
 at Vienna: see Krafft's Catalogue, p. 153, No. 29. 
 
 (Numbered by v. t. 107.) 
 
 (108.) 222. — The Marriage of St. Catherine. Copied from 
 Domenico Feti. 
 
 The infant Saviour seated on the lap of the Virgin places 
 the ring on the finger of St. Catherine, who rests her right 
 hand upon the broken wheel. St. Dominick, holding the 
 lily, with the star on his forehead, and St. Peter Martyr, with 
 a knife penetrating his head, stand on each side. A circle of 
 stars surround the head of the Virgin. An arch and curtain 
 compose the background. 
 
 A grand composition, with full-length figures on a large 
 scale, and coloured with a force and richness resembling 
 Guercino. St. Dominick, with dark brown hair, is clothed 
 in black. St. Catherine, with a white sleeve, wears a dark 
 crimson robe. 
 
 Engraved in the ' Teniers Gallery ' by P. Lisebetius. 
 
 The original, painted on canvas, is in the Belvidere Gal- 
 lery at Vienna : see Krafft's Catalogue, p. 31, No. 46. 
 
 Engraved also by Axmann in Haas's ' Galerie de Vienne,' 
 pi. 82. 
 
 (Numbered by v. T. 57.) 
 
 (109.) 226. — St. Peter in repentance. Copied from Guido Eeni. 
 
 An octagonal picture. A very aged head ; both hands are 
 seen. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman. 
 The original is in the Belvidere Gallery at Vienna : see 
 Krafft's Catalogue, p. 45, No. 22. 
 (Numbered by v. t, 118.) 
 
 (110.) 227. — Susanna and the Elders. Copied from Guido. 
 Three full-length figures. 
 Blenheim. 
 
THE BILLIARD ROOM — Tenters Paintings continued. 169 
 
 Engraved in the ' Teniers Gallery ' by T. van Kessel. 
 (Numbered by v. t. 27.) 
 
 (111.) 233. — Susanna and the Elders. Copied from Guido. 
 Half-length figures. Susanna wears a turban. 
 Engraved. in the ' Teniers Gallery ' by P. Lisebetins. 
 There is a repetition of the original of this picture in the 
 National Gallery. 
 
 (Numbered by v. t. 14.) 
 
 (112.) 232. — St. Jerome seated before his cell, and holding up 
 a Crucifix. Copied from Dosso Dossi. 
 
 A long picture, remarkable for the punning device by 
 which the painter expressed his name. A human bone is 
 thrust through a large letter D in the foreground. A church, 
 with figures at the entrance, is observable in the distance. 
 A large book is open before the saint, and the lion slinks 
 away, as if frightened, up the steps of his retreat. 
 
 Engraved in the ' Teniers Gallery ' by ,Q. Boel. 
 
 The original picture, upon canvas, is in the Belvidere 
 Gallery at Vienna : see Krafft's Catalogue, p. 49, No. 8. 
 
 It is also engraved by Kovatsch in Haas's 'Galerie de 
 Vienne,' pi. 15. 
 
 Passavant observes that the original has been much injured 
 by time. 
 
 (Numbered by v. t. 23.) 
 
 (113.) 236. — Angels bearing the body of St. Catherine. 
 
 A composition of six figures. A boy angel at one side 
 sits upon the broken wheel, and raises a crown with both 
 hands. The sword is behind him. On the opposite side a 
 child holds the palm of martyrdom. 
 
 Engraved in the 1 Teniers Gallery ' by J. Troyen. 
 
 The inscription on this plate attributes the original to 
 " C. Byioni." 
 
 (Numbered by v. t. 20.) 
 
 (114.) 238. — Ecce Homo. Copied from Varotari or Padovanino. 
 
 A half-length figure of the Saviour crowned with thorns ; 
 the hands tied, and holding a reed. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 
 The inscription on this plate attributes the original to 
 "P. Varrotary." 
 
 (Numbered by v. t. 66.) 
 
 (115.) 239. — Mater Dolorosa. 
 
 A half-length figure. Companion to the preceding picture. 
 Blenheim. 
 
170 THE BILLIAED BOOM— Tenters Paintings continued. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 (Numbered by v. t. 83.) 
 
 (116.) 241.— Martha imploring her sister Mary Magdalene to 
 abandon her Vanity. Copied from G. B. Lopicino. 
 
 Mary is seated at her toilet, whilst a maid arranges her 
 profuse tresses of hair. The vase of ointment is on the table 
 beside her looking-glass. Martha, covered with a white 
 hood, wrings her hands in agony. 
 
 The figures are seen to the knees. 
 
 Engraved in the ' Teniers Gallery ' by J. Troyen. 
 
 The original picture is in the Belvidere Gallery at Vienna : 
 see Krafft's Catalogue, p. 37, No. 19. 
 
 (Numbered by v. t. 114.) 
 
 (117.) 242. — Portrait of an Ecclesiastic. Copied from Vincenzio 
 Catena. 
 
 A half-length figure, representing a canon in a robe of 
 violet patterned silk, holding a large book upright on a 
 table before him with both hands. He is beardless, and 
 wears a dark cap over his dark and rather short-cut hair. 
 
 Perhaps one of the simplest and most impressive of the 
 whole series. 
 
 It is a rather pale picture in point of general tone. The 
 background is light grey. 
 
 A pink scarf is thrown over his right shoulder. The dress 
 is blue-grey with broad sleeves. The folio volume is pale 
 brown. His complexion is fair, with dark hair. 
 
 Engraved in the ' Teniers Gallery ' by L. Vorsterman, jun. 
 
 The original picture, nearly the size of life, and painted on 
 wood, is in the Belvidere Gallery at Vienna : see Krafft's 
 Catalogue, p. 20, No. 33. The picture is inscribed on the 
 upper part of the plain grey background, " vincentius catena 
 pinxit." 
 
 (Numbered by v. t. 108.) 
 
 In addition to these are three pictures which do not belong to the 
 Teniers Series : — 
 
 (118.) A. — Travelling Beggars reposing, with a Donkey. 
 Painted on canvas stretched on a frame. 
 Of doubtful authenticity. 
 (Numbered by v. t. 18.) 
 
 (119.) B. — The Snail Gatherers. 
 
 Two men and a woman. The latter points to the snail's 
 horns. 
 Blenheim. 
 
THE BILLIARD ROOM— Teniers Paintings continued. 171 
 Of doubtful authenticity. 
 
 Painted on canvas stretched upon board. Marked II at 
 the back. 
 
 (Numbered by v. t. 19.) 
 
 (120.) C. — Portrait of a Venetian Senator. 
 
 A half-length figure, turned to the right, bald headed, with 
 a grey forked beard ; in black robe, edged with grey fur. 
 Both hands shown. It is painted on linen laid upon wood. 
 
 (Numbered by v. t. 46.) 
 
 The remainder of this series of paintings by Teniers seems to 
 have been dispersed. Two very fine ones, Nos. 64 anfl. 68, both 
 engraved by Lisebetius, are in the Royal Collection at Windsor 
 Castle. The originals are in the Belvidere Gallery at Vienna. 
 Others are also in the collection of Lord Spencer at Althorp. 
 
 Blenheim. 
 
THE PRINCE OF WALES'S EOOMS. 173 
 
 THE PRINCE OF WALES'S ROOMS. 
 BEDROOM. 
 
 (Over the chimney-piece.) 
 
 VAN DYCK (School of).— Queen Henrietta Maria. (See ante, 
 p. 25.) 
 
 Full length, in deep blue satin, trimmed with ermine. 
 Her mantle is black, edged with ermine. 
 
 She rests her right hand on a table covered with black 
 and yellow, upon which is a glass containing red roses. A 
 yellow curtain descends on this side, and a column is at the 
 back in the centre of the picture. 
 
 The picture is mentioned by Dr. Waagen, vol. iii. p. 122, 
 
 and described in Smith's Catalogue, p. 78, No. 260. 
 
 A precisely similar composition, the head alone different, was at the Manchester 
 Exhibition of 1857, as a portrait of Lady Ogle, wife to Sir Charles Cavendish, 
 contributed by the Duke of Portland ; No. 42 of the Portrait Gallery Catalogue. 
 
 (Between the fireplace and the bed.) 
 BACKHUYSEN. — A sea-piece, painted on canvas. 
 
 A large yellow ship in the centre bearing a tricolor flag, 
 and having among the carvings at the stern two lions, and 
 a crown and shield : a boat with flag is putting off from the 
 ship and advancing to the spectator. The ships are firing a 
 salute. The monogram of the painter, " L. B. f.," is inscribed 
 in light letters upon grey at the end of the boat. 1 The sea 
 is extremely well painted, although the picture fails to 
 attract at first sight. 
 
 1 See Plate of Monograms and Signatures, No. 37. 
 
 (To the left of the window.) 
 
 ROTTENHAMMER. — A Feast of the Gods. A repetition of the 
 picture already described in the State Apartments. (See 
 ante, page 71.) 
 Blenheim. 
 
174 THE PRINCE OF WALES'S ROOMS — continued. 
 
 OCTANGULAR SITTING ROOM. 
 
 (On wall facing the fireplace.) 
 
 ROTTENHAMMER. — A wreath of flowers encircling a Holy 
 Family composed of six figures. The Virgin, seated, is 
 receiving a napkin from a naked boy on the left hand, who 
 holds it over a laver. St. John, on the opposite side, 
 embraces the infant Saviour, whilst the Virgin holds his 
 foot as if about to wash it. Joseph and Elizabeth are also 
 present. 
 
 Painted upon copper. 
 
 (Below the preceding.) 
 HUGHTENBERG. — Battle between Turks and Europeans, pro- 
 bably in reference to the wars in which Prince Eugene 
 distinguished himself. 
 
 Small oval picture, seemingly painted on paper. 
 
 (Over the entrance door.) 
 
 LANCE. — A small fruit piece, representing red grapes and a pine- 
 apple on a silver dish. 
 
 (To the left of door, on entering.) 
 
 ROTTENHAMMER.— A wreath composed of pinks, tulips, and 
 roses, encircling a Holy Family of five figures. St. John 
 offers an apple to the infant Saviour as he stands on the 
 Virgin's lap. Elizabeth sits on the left, whilst Joseph is 
 seated on the opposite side writing on a tablet. 
 
 Painted on copper, and companion to the picture described 
 supra. 
 
 (Below the preceding.; 
 HUGHTENBERG.— Generals on horseback, under the walls of 
 a town. 
 
 Probably, as observed in describing the companion picture, 
 a scene connected with the campaigns of Prince Eugene. 
 A cross is raised on the line of wall near the centre of the 
 picture. The costumes in both pictures are curiously brought 
 together, but they are clever designs, and apparently only 
 intended as sketches for larger pictures. Painted on paper in 
 oil colours. 
 Blenheim. 
 
THE PRINCE OF WALES'S ROOMS — continued. 175 
 
 (Facing the two preceding.) 
 LANCE. — Fruit and jewels, an oval picture, painted on panel. 
 The Marlborough Column is introduced in the distant 
 landscape. 
 
 (Below the preceding.) 
 
 STEENWYCK. — A small upright picture. Interior of a church, 
 looking into a side-chapel, in which is a youth lighting the 
 candles before the altarpiece. A beggar-woman seated on the 
 left hand. A young man standing alone in the foreground, 
 crossing himself, hat in hand, as if about to take his departure. 
 Painted on panel. 
 
 IN A SIDE ROOM. 
 
 Uncertain. — Coronation of the Virgin. 
 
 A small, vigorous, and well-coloured sketch on panel. The 
 principal figures are attended by twelve boy-angels playing 
 musical instruments. The background is a rich yellow 
 glory. 
 
 BAMBOCCIO. — A small picture on panel, representing a cow 
 standing towards the left. A girl kneeling at a hen-coop. 
 Other cattle are introduced. 
 
 Blenheim. 
 
176 WAITING BOOM — ANTE-ROOM TO DRAWING-ROOMS. 
 
 IN THE WAITING ROOM. 
 
 (Over the fireplace.) 
 
 MIGNARD. — Louis XIV. of France, seated in full robes, wearing 
 a mantle powdered with fleurs-de lis, and holding a sceptre 
 in his right hand. A very large picture. 
 
 Louis was born 1638, and succeeded his father, Louis XIIL, under the regency 
 of his mother, Anne of Austria, and Cardinal Mazarin, 1643. In 1660 he 
 married Maria Theresa, daughter of Philip IV. of Spain, and renounced all 
 right of succession to her father's dominions. He was the founder of the cele- 
 brated Academie des Sciences in 1666. 
 
 Louis died 1715. 
 
 ANTE-ROOM TO THE DBA WING-ROOMS 
 
 ENTERING FROM THE HALL. 
 
 (Over the fireplace.) 
 
 KNELLER. — A sketch for an allegorical picture. 
 
 Queen Anne, standing in the centre, presents to the Duke 
 of Marlborough on his knees a roll, with an elevation of 
 Blenheim Castle. The Duchess at his side participates in 
 the gift, and her practical interest in the subject is denoted 
 by a pair of compasses in her hands. An eagle with a laurel 
 wreath in its mouth hovers over the hero, whilst Minerva, 
 Hercules, Ceres, and Isis stand round, spectators of his 
 glory. History, seated on the right-hand side, is ready to 
 record the event ; and the artist's name is carefully signed, 
 although on so rough a sketch, " G. Kneller, f." upon the 
 stone that supports the volume of History. 
 
 The whole design is somewhat absurd ; but it is the only 
 attempt I have met with on the part of Sir Godfrey at 
 historical composition. 
 
 Blenheim. 
 
ANTE-ROOM TO DRAW IN Gr-ROOMS — continued. Ill 
 
 (To the right of the Fireplace.) 
 Above. 
 
 P. RE IN AG LE. — A small, long Italian landscape. 
 
 (Below the preceding.) 
 
 OWEN. — The first Lord Churchill, wearing a hussar dress with 
 fur-collared cloak. Face, seen nearly three-quarters, turned 
 to the left. Life-size ; to the elbow (see ante, page 34, note). 
 Engraved in mezzotint by C. Turner, from a duplicate picture 
 belonging to the Honourable Cropley Ashley Cooper, M.P. 
 
 (To the left of the Fireplace.) 
 Above. 
 
 Uncertain. — Head of a beardless man, with white frill and black 
 dress. Painted on oak panel, and very fine in character. 
 
 Although it has hitherto been attributed to Titian, I would 
 rather infer, both from the style and from the material upon 
 which it is painted, that this picture is by the hand of a 
 Flemish master who has made a study of Spanish art. This 
 surmise is partially supported by the remarks made by 
 Dr. Waagen at page 123 of his work so frequently re- 
 ferred to. 
 
 (Below the preceding and next to the door leading into the Drawing Room.) 
 
 Uncertain. — Lady Ann Egerton, daughter to Scroop Duke of 
 Bridge water, and grand-daughter to John Duke of Marl- 
 borough. Wearing a peculiar white collar, black dress, white 
 sleeves, and a black veil falling down upon her left shoulder, 
 with a small brown dog under her right arm. 
 
 Painted on canvas within an oval. A portrait of the same 
 lady is at the Dowager Countess of Jersey's, Middleton Park. 
 
 Lady Ann married firstly in 1725 Wriothesley Russell, third Duke of Bedford, 
 and secondly William Earl of Jersey ; and died June, 1762. 1 She is probably 
 represented in mourning for the loss of her first husband. 
 
 1 See Collins's 4 Peerage,' ed. 1779, vol. iv., p. 194. 
 
 ON THE OPPOSITE WALL. 
 
 (Facing the last named picture.) 
 
 Uncertain. — Portrait of an old Dutch lady wearing a very broad 
 plain white collar and cap. 
 Blenheim. n 
 
178 ANTE-KOOM TO DRAWING-ROOMS— conftnuec/. 
 
 (Facing the Portrait of Lord Churchill.) 
 
 PHILLIPS, — Lady Amelia Boyce, daughter of George third Duke 
 of Marlborough, dressed in white satin, her arms folded, 
 a glove on her left arm, a white rose in her hair. The face 
 turned to the left (see ante, page 34, note). 
 
 (Over the door leading from the Hall.) 
 
 KNELLER, — Henrietta Countess of Godolphin, eldest daughter 
 of John Duke of Marlborough. 
 
 A pleasing picture, leaning her right elbow on a stone 
 pedestal, whilst a rich red drapery passes over her right 
 arm. Her green dress is open in front. She looks to the 
 spectator. 
 
 (To the left, and somewhat below the preceding.) 
 
 LADY DIANA BEAUCLERK. — The Countess of Pembroke, 
 her sister (see ante, page 15). A crayon drawing ; life-size. 
 
 (Below the preceding, to the left of the entrance-door.) 
 
 LADY DIANA BEAUCLERK. — A crayon drawing of the child 
 in Rubens' Family picture in the Dining-room (see ante, 
 page 23). 
 
 The size of the original. 
 
 (On the opposite side of the door.) 
 
 LADY DIANA BEAUCLERK,— Her own portrait, copied in 
 crayons. The same size as the original : from Hudson's 
 large family picture on the staircase (see ante, page 15). 
 
 (Below the preceding.) 
 
 LADY DIANA BEAUCLERK.— A crayon drawing, probably 
 taken from nature, of a child asleep in a bed. The size 
 of life. 
 
 Blenheim. 
 
ANTE-ROOM TO DUCHESS'S SITTING-ROOM. 
 
 179 
 
 (Over the opposite door.) 
 
 Uncertain, — " Lady Ann Churchill, second daughter of John 
 Duke of Marlborough.'" A pretty portrait, life-size, in a 
 yellow dress, holding a wreath. 
 
 CORRIDOR OR ANTE-ROOM TO THE DUCHESS'S 
 SITTING-ROOM. 
 
 (Over the fireplace.) 
 LSLY. — James Duke of Monmouth. 
 
 Half length, life size, in long black flowing wig, wearing 
 the robes and collar of the Garter. His right hand raised, 
 holding his hat with the white plumes in it, and the other 
 hanging down by his side. A pleasing picture. The face 
 very handsome. General tone rich brown. Painted on 
 canvas. 
 
 Monmouth, the natural son of Charles II., was born at Rotterdam, 1649. He 
 was the particular favourite of his father, and educated under the special direc- 
 tion of Henrietta Maria, the Queen mother. He was created a Knight of the 
 Garter in 1663, and appointed Master of the Horse in 1665. He married 
 Anne, daughter and sole heir of the Duke of Buccleuch, which title was also 
 conferred on him. His well-known ambition brought him to the block, and he 
 was executed on Tower Hill, July 15th, 1685. 
 
 (Over the entrance-doov.) 
 VEKRIO. — A small square allegorical picture of the Duke enter- 
 ing London in triumph on a white horse. A triumphal 
 arch and crowds of people can be discerned. ■ 
 
 (Between the windows.) 
 
 ALBERTINELLI. — A Holy Family. St. John receives the 
 embraces of the infant Saviour as he leans forward from the 
 arms of the Virgin. St. Joseph and Elizabeth are also 
 present. A very pure picture, painted on panel in clear 
 and pleasing colours. Figures the size of life. 
 
 (Over the door leading towards the Bow-Window Room.) 
 
 Uncertain. — Seemingly of the Venetian School. A Holy Family : 
 a dark moonlight scene. The naked infant Saviour bends 
 over to St. John, who is held towards him by a female saint 
 in a dark dress on the extreme left. Joseph is seated on the 
 opposite side. 
 
 Blenheim. n 2 
 
180 
 
 GRAND STAIRCASE. 
 
 GRAND STAIRCASE. 
 
 (Over the large family pictures by Closterman and Hudson. See ante, pages 13, 14.) 
 
 In the centre. 
 
 KNELLER. — Sarah Duchess of' Marlborough, in Coronation 
 robes, with crimson mantle. A whole-length figure, standing 
 by a table covered with a dark-blue cloth, on which she 
 rests her left hand. The coronet is placed near it. The 
 golden key, symbol of her office of Mistress of the Robes, 
 and resigned in January, 1711, hangs just below her right 
 arm. The background is partly composed of dark stone archi- 
 tecture, and a landscape with heavy trees and a sunset sky. 
 Painted on canvas. The size of life. 
 
 (To the left of the preceding.) 
 
 Uncertain. — Frederick the First, King of Prussia. — Full-length 
 figure, life-size, wearing steel and gold armour under a large 
 red mantle embroidered with crowns and lined with ermine. 
 He stands by a table, on which he rests his right hand. The 
 other is placed upon his hip. He wears the ribbon and badge 
 of the Order of the Garter ; but the collar and pendant hang- 
 ing over his ermine cape belong to the Prussian Order of the 
 Blue Cross and Black Eagle. The Danish Order of the Ele- 
 phant is also perceptible hanging beneath the ribbon of the 
 Garter. An arched crown and a sceptre or mace are laid on 
 a cushion near his right hand. The features of the face are 
 dark, his complexion pale, and the full hair of his wig a brown 
 colour. The table is covered with grey velvet ; two columns 
 and a red curtain occupy the background to the left, whilst a 
 tree and mountain against a dull grey sky are seen beyond a 
 parapet to the right. 
 
 Frederick the Third. Elector of Brandenburg, was born 1657, and assumed the 
 regal dignity in 1701 under the style and title of Frederick, King of Prussia. 
 He instituted the Order of the Black Eagle at his coronation, and died 1713. 
 
 Blenheim. 
 
GRAND STAIRCASE — continued. 
 
 181 
 
 (To the right of the picture of the Duchess.) 
 
 Uncertain. — A full-length portrait, life-size, of a nobleman standing 
 in his Parliamentary robes, resting his right hand on a stick, 
 wearing grey gloves, and a plain white turned-down collar. 
 His hair is long and curling, of a grey colour ; his moustaches 
 flattened and turned upwards ; an imperial reaches from the 
 lower lip below the chin. The colour of the eyes is grey. 
 His leggings are brown, and a brownish-yellow curtain falls 
 behind to the left. A Turkey carpet covers the floor. 
 
 Painted in a warm, powerful tone, with all the character- 
 istics of Dobson. 
 
 Blenheim. 
 
182 PORTRAITS IN THE CORRIDOR. 
 
 PORTRAITS IN THE SOUTH CORRIDOR. 
 
 UPSTAIRS. 
 
 (Beginning at the extreme west end.) 
 
 " The Hon. Edward Trevor" inscribed in black on left-band 
 corner of tbe picture. Painted on canvas, in the style of 
 Sir Peter Lely; life-size, wearing a red mantle and long 
 white necktie. Within a painted oval frame : figure turned 
 to the left. 
 
 The Hon. Edward Trevor was son of the first Lord 
 Trevor, and uncle to Elizabeth Trevor, Duchess of Marl- 
 borough. (See ante, page 15.) He died young. 
 
 ,k The Hon. William Bateman, son to Lord Bateman, by Lady 
 Anne Spencer, his wife, eldest daughter to Charles 3rd Earl 
 of Sunderland, by Lady Ann Churchill, his Wife, 2nd 
 daughter to John Duke of Marlborough'.' (See ^>os£, page 189.) 
 
 This great-grandson of the first Duke is represented to 
 the knees, dressed in a blue coat and red waistcoat, resting 
 his right hand on a cannon, and pointing with the left. 
 
 " Queen Anne, when a child," gathering orange-blossoms from a 
 tree growing in a brown vase. A small basket with orange- 
 blossoms in her right hand. The lace trimming in front of 
 her blue dress indicates the costume of a later period. 
 
 A formal picture, but careful and truthful in the details. 
 Yv 7 hole-length, with distant view of, a garden seen through 
 an arch on the left-hand side. 
 
 This picture more probably represents one of the daughters 
 of the first Duke. 
 
 " Lady Diana Spencer, Youngest daughter to Charles 3rd Earl of 
 Sunderland, by Lady Ann Churchill, Daughter to John 
 Duke of Marlborough." 
 
 This lovely granddaughter of the first Duke is represented 
 in a white dress, seated under a tree, and holding peaches 
 and grapes in her lap. The figure is seen nearly full length. 
 Blenheim. 
 
PORTRAITS IN THE CORK 1 DOE —continued. 
 
 183 
 
 A garden, with an angle of the house, are introduced in 
 the background to the left. 
 
 " John 1st Marquis of Blandford, son to John 1st Duke of Marl- 
 borough" Signed, " G. Kneller faciebat." 
 
 A full-length figure, life-size, in Roman costume, standing 
 by a fountain, on the carved stone pedestal of which he 
 rests his right elbow. His left hand hangs close by the hilt 
 of his sword. The front of this pedestal is ornamented with 
 a basso-rilievo of three Cupids tormenting Silenus, who is 
 stretched helplessly on the ground, his pipe of reeds still 
 retained in his left hand. Above this pedestal, in the left- 
 hand corner, may be discerned water trickling from the 
 mouth of a dolphin into a shell basin. A terrace and land- 
 scape occupy the right side of the background. 
 
 The youthful Marquis, with a charming expression of 
 countenance and beautiful flowing hair, is attired in a Roman 
 cuirass with dark blue body, and yellow appurtenances upon 
 white. His mantle is of a rich red, and gathered up in 
 folds, which are very statuesque and highly creditable to the 
 painter, who, on these points, generally showed a more 
 refined taste than his predecessor, Sir Peter Lely. 
 
 This, or a very similar picture, has been capitally engraved in mezzotint by 
 J. Smith. The alterations are very slight, and have been made incidentally by 
 the artist when copying the picture for the engraver. The underdress is not 
 precisely the same : it is a velvet coat, instead of a cuirass ; the shoes are plain, 
 and not open ; the handle of the sword has no eagle's head. The colours of the 
 black and white pavement are shifted to different slabs. In all other respects 
 the engraving corresponds exactly with the picture before us. 
 
 (For full-length portrait- of Lord Blandford, attended by a negro, jsee ante, 
 page 131.) 
 
 A third full-length portrait of the youthful Marquis exists at Althorp. It has 
 been well engraved in line for Dibdin's well-known work ' Mdes Althorpiana',' 
 page 238. In this picture a helmet is introduced upon the pedestal near his 
 right arm. Instead of the Silenus and Cupids on the side, a bas-relief of 
 Roman horsemen encircled by a wreath is introduced. Large thistles, boldly 
 drawn, occupy the right-hand corner. 
 
 The Hon. Charles Spencer, second son to Charles third Earl of 
 
 Sunderland, b^ Lady Anne Churchill, afterwards Duke of 
 
 Marlborough. (See ante, page 15.) 
 
 This brother of the preceding lady is represented in a 
 
 blue velvet coat and white embroidered waistcoat ; seen to 
 
 below the knees. A pug-dog, on which he lays his left 
 
 hand, jumps up to him. 
 
 " Robert 2nd Earl of Sunderland." 
 
 Dressed in a dark red fancy coat, with full deep-brown 
 mantle. His wig is very dark, and covers much of the face. 
 
 Only son of Henry Spencer, first Earl of Sunderland, and 
 Dorothy Sidney, daughter of Robert Earl of Leicester; a 
 Blenheim. 
 
184 P0KTBA1TS IN THE GOItmBOB— continued. 
 
 lady whose beauty and virtues have been celebrated by the 
 poet Waller under the name of Sacharissa. Robert Spencer 
 was born 1640. Succeeded his father when only 3 years of 
 age. In 1671 King Charles II. appointed him Ambassador 
 to the Court of Spain, and he became in 1673 one of the 
 Plenipotentiaries for the Treaty of Cologne. On his return 
 from that service he was sworn of the Privy Council. The 
 confidence of the King was again marked in his being sent 
 Ambassador Extraordinary to Louis XIV. Early in the 
 following year he became one of the principal Ministers of 
 State. On the occasion of Sunderland voting for the famous 
 Exclusion Bill in 1680 he lost his master's favour and was 
 compelled to withdraw. He succeeded, however, in recon- 
 ciling himself with the Duke of York, and regained his 
 Ministerial post, and his seat at the Council, which he had 
 forfeited. On the accession of James II. Sunderland enjoyed 
 the royal favour, but maintained correspondence at the same 
 time with the Prince of Orange and the King of France. 
 He succeeded Lord Halifax in 1685 as President of the 
 Council, and was elected a Knight of the Garter 1687. 
 Notwithstanding his adoption of the Eoman Catholic religion, 
 the majority who held that persuasion mistrusted him, and 
 found their fears justified by his machinations in favour of 
 the landing of the Prince of Orange. William extended 
 marks of protection and even favour to him. He was 
 appointed Lord Chamberlain in 1697, but soon after with- 
 drew into seclusion at Althorp, where he died 1702. 
 
 He married Anne, daughter and heir to George Digby, 
 second Earl of Bristol. (See also post, page 189.) 
 For a second portrait of this nobleman, see post, page 192. 
 
 Anonymous. 
 
 Full-length figure of a girl, standing in a garden, at the 
 foot of some steps which ascend to the right, in front of a 
 stone vase with jasmine growing over the pedestal. Her 
 dress is blue, with a pale crimson mantle over it, one end of 
 which flutters over her shoulder to the left. The colour of 
 her eyes is dark- blue grey ; the hair light brown. Her left 
 hand holds a bunch of flowers to her bosom. A very pleasing 
 and delicate picture. Painted on canvas. 
 
 " Henri/ Spencer , Earl of Sunderland" 
 
 Eepresented in steel armour; seen to the waist. Com- 
 plexion very pale, corresponding with the countenance 
 engraved in ' Lodge's Portraits,' vol. 6, pi. 103. Painted on 
 canvas. 
 Blenheim. 
 
PORTE AITS IN THE CORRIDOR — continued. 185 
 
 Henry Spencer, first Earl of Sunderland, son of William 
 second Lord Spencer, and Penelope, daughter of Henry 
 Wriothesley, Earl of Southampton, was born at Althorp in 
 Northamptonshire, 1620. He completed his education at 
 Magdalen College, Oxford. Three years after his father's 
 death, which took place in 1636, he married Lady Dorothy 
 Sidney (the Sacharissa of Waller's poems), daughter of 
 Robert Earl of Leicester. In the House of Peers he advo- 
 cated the cause of the people, and accepted the office of Lord 
 Lieutenant of Northamptonshire in the* hopes of gaining a 
 position which might enable him to modify those excesses 
 which at that time began to threaten both parties. In the 
 field he warmly espoused the King's interest, and especially 
 distinguished himself at the battle of Edgehill (a.d. 1642) 
 by the manner in which he overthrew the cavalry of the 
 rebel party. He followed the King to Oxford, and in the 
 following year, whilst engaged with Prince Rupert in 
 reducing the city of Bristol, was raised to the Earldom of 
 Sunderland. He was slain at the battle of Newbury, 
 September 20, 1643, at the early age of 23. Few appear to 
 have been so generally admired, beloved, and regretted as 
 this valiant and unfortunate nobleman. 
 For the portrait of his Countess, see page 190. 
 
 ON OPPOSITE WALL OF THE CORRIDOR. 
 
 (Facing the preceding, commencing at the extreme west end.) 
 
 " Anne Viscountess Bateman." (Grand-daughter to John Duke of 
 Marlborough.) 
 
 Dressed in crimson and white, trimmed with white fur, 
 holding her coronet in the left hand. Seen to the waist. 
 
 This picture has been very much injured. 
 
 The Lady Anne Spencer, eldest daughter of the Earl of 
 Sunderland, married Viscount Bateman (created 1725), of 
 the kingdom of Ireland, and of Shobdon Court in Hereford- 
 shire. She died February 19, 1769. 
 
 (For her son's portrait see ante, page 182.) 
 
 " Diana Dutchess of Bedford." (Sister of the preceding.) 
 
 A standing figure, seen to the knees, turned to the right, 
 resting her left hand on a globe, and with the right hand 
 pointing upwards. The colour of her dress is white. A 
 sadly injured and much peeled picture. 
 
 Second daughter of Charles third Earl of Sunderland, and 
 Blenheim. 
 
180 PORTRAITS IN THE CORRIDOR— continued, 
 
 Lady Anne Churchill, second daughter of John Duke of 
 Marlborough. This granddaughter of the great Duke mar- 
 ried John fourth Duke of Bedford, 1731, and died 1735, 
 leaving no issue. 
 
 " Elizabeth Dutchess of Marlborough, Wife to Charles 2nd Duke 
 of Marlborough, only daughter to Thomas Lord Trevor." 
 (See ante, page 15.) 
 
 Seen to the knees, seated, . in white satin and a pink robe, 
 resting her right elbow on a high table, with hand raised to 
 her forehead. A much worn and maltreated picture, painted 
 on canvas. Apparently painted by Hudson (see also page 
 191). 
 
 " Lady Viscountess Falmouth." 
 
 A pleasing picture of a pretty lady, dressed in grey, with a 
 deep blue mantle partly covering a stone table, at which she 
 is seated, and on which her left elbow rests. The figure is 
 seen nearly full-length. 
 
 This lady, niece to the first Duke of Marlborough, and 
 eldest daughter to Charles Godfrey, Esq., and Arabella 
 Churchill, was one of the Maids of Honour to Queen Anne. 
 She married in April, 1700, Hugh Boscawen, created Viscount 
 Falmouth, 1720. The lady survived her husband twenty 
 years, and died in March, 1754. 
 
 " Henrietta 2nd Daughter to Frederick Elector Palatine and 
 titular King of Bohemia!' Painted on panel by Honthorst, 
 within a black-painted oval frame. Her right hand is raised 
 to support a brown mantle. 
 
 PORTRAITS ON THE OPPOSITE WALL — continued. 
 
 Anonymous. A full-length picture, life-size, of a lady, in blue 
 satin dress, with a brown scarf or sash fastened under her 
 right arm, advancing to the right, and holding forward a red 
 rose in her left hand, whilst with the right she raises the folds 
 of her dress. A large vase with two masks on the sides is 
 on the ground to the right ; a red curtain falls behind her 
 on the opposite side. Two large pearls are appended to her 
 right ear, and a row of pearls encircle her neck. Her hair is 
 light, and the features of her face are peculiarly round. The 
 lower edge of her dress is cut into circular patterns. Com- 
 pare portrait of Dorothy Countess of Sunderland, page 190. 
 The condition of this picture is such, in consequence of 
 Blenheim. 
 
PORTBAITS IN THE CORRIDOR — continued. 187 
 
 its barbaric and remorseless overpainting, as to destroy all 
 traces of the original countenance. As it now stands, tbe 
 general appearance somewhat reminds the spectator of 
 Dorothy Percy, Countess of Leicester, daughter of Henry 
 Percy, ninth Earl of Northumberland, and wife to Robert 
 Sidney, Earl of Leicester, whom she married in 1618. The 
 two youngest children of King Charles I. were placed under 
 her care at Penshurst in 1649. She died ten years afterwards. 
 
 " William Marquis of Blandford and Lady Harriot Godolphin." 
 Full-length life-size figures, standing in a landscape. The 
 young lady is represented as a shepherdess. A spaniel is 
 jumping up between them. A very pleasing picture, painted 
 in Kneller's best style. 
 
 These were grandchildren to the great Duke, being son 
 and daughter to Francis Earl of Godolphin, and Henrietta, 
 eldest daughter to the Duke of Marlborough. (See ante, 
 page 77.) 
 
 The young Marquis was remarkable for his accomplish- 
 ments, and, after spending considerable time abroad, he was 
 chosen one of tbe representatives of Woodstock in the Par- 
 liament of 1727. In 1729 he married Maria Catharina de 
 Jonghe of Utrecht, and sister to the Countess of Denbigh. 
 He died of apoplexy at Oxford, August, 1731. 
 
 His sister, Lady Henrietta, married Thomas Pelham Holies, 
 Duke of Newcastle, and died 1776. 
 
 Prince George of Denmark. J Thege tkr@e pictureg have been pre _ 
 Queen Anne. V viously described. (See ante, pages 
 
 The Countess of Essex. ) 18 and 19.) 
 
 " John Lord Brachley, son to Scroop, Duke of Bridgewater, by 
 Lady Elizabeth Churchill, Daughter to John Duke of 
 Marlborough," and " Lady Anne LJgerton, Daughter to 
 Scroop Duke of Bridgewater, by Lady Elizabeth Churchill, 
 Daughter to John Duke of Marlborough." 
 
 Figures full-length, standing, in a landscape. This picture 
 corresponds in size and position with that of William Mar- 
 quis of Blandford and his sister. 
 
 A bridge over a cascade to the left evidently implies a 
 pun on the family name. 
 
 John Viscount Brackley, son of the 4th Earl and first 
 Duke of Bridgewater, was born February, 1703, and died at 
 Eton School 1718. His sister, Lady Anne Egerton, was 
 married in 1725 to Wriothesley Russell, second Duke of 
 Bedford. 
 Blenheim. 
 
188 PORTRAITS IN THE CORRIDOR — continued. 
 
 " Scroop, first Duke of Bridgewater." 
 
 A full-length life-size figure, standing, in a landscape, 
 with a church-spire to the left. He holds a gun, and carries 
 a powder flask. A dog at his side looks np to him. He 
 wears a long flowing wig, and no hat. 
 
 The Duke of Bridgewater was born 1681, and in the reign 
 of Queen Anne received the appointment of Master of the 
 Horse to Prince George of Denmark. At the accession of 
 George I. he was made Lord Chamberlain to the Princess of 
 Wales, and in 1716 was appointed one of the Gentlemen of 
 His Majesty's Bedchamber. He was advanced to the honours 
 of Marquis of Brackley and Duke of Bridgewater 1720. His 
 beautiful wife, the third daughter of the Duke of Marlborough, 
 did not live to enjoy these dignities ; she died at the age of 
 26, seven years previously. (See ante, page 14.) 
 
 Anonymous. Male portrait, with long thin features, very similar 
 to those in the previous portrait, seen to the waist, in steel 
 armour. A crimson mantle over his right shoulder. 
 
 " Lady Mary Churchill, fourth daughter to John Duke of Marl- 
 borough, Wife to John Duke of Montagu." 
 
 Represented life-size, seated, in a blue dress, resting her 
 right elbow upon some crimson drapery on a table. Her 
 face turned to the right, and partly looking up. Seen rather 
 below the knees. (See ante, page 14, and, for a beautiful 
 whole-length, page 194.) 
 
 She was married in 1703 to Viscount Mounthermer, son of 
 Ralph Earl of Montagu, who was soon after created Duke of 
 Montagu. John Montagu succeeded his father in the Duke- 
 dom, 1709, was a Knight of the Garter, and Grand Master 
 of the Order of the Bath on its revival. 
 
 ' ' Lady Elizabeth Churchill, 3rd daughter to John Duke of 
 Marlborough, $ Wife to Scroop, Earl of Bridgewater" 
 
 Represented as a shepherdess, with a staff in her left hand, 
 and head turned towards the right. Two sheep appear 
 following her ; others are grazing among the trees to the 
 right. Figure life-size, seen nearly to the knees. She is 
 attired in white satin. The background is dark, with heavy 
 blue sky. (See ante, pages 14, 79, andpos£, page 196.) 
 
 The Countess died in 1713, and her death gave rise to the 
 following beautiful verses by Pope, the preceding line to 
 which has been much more frequently quoted — 
 " An angel's sweetness, or Bridgewater' s eyes." 
 
 Blenheim. 
 
PORTRAITS IN THE CORRIDOR — continued. 189 
 
 He proceeds — 
 
 " Muse ! at that Name thy sacred sorrows shed, 
 Those tears eternal, that embalm the dead : 
 Call round her Tomb each object of desire, 
 Each purer frame inform'd with purer fire: 
 Bid her be all that cheers or softens life, 
 The tender sister, daughter, friend, and wife : 
 Bid her be all that makes mankind adore ; 
 Then view this Marble, and be vain no more." 
 
 Pope, who occasionally indulged in the graphic art, and 
 who received instruction from his friend Jervas, the portrait- 
 painter, is said to have thrown all the drawings he had made 
 of the Countess into the fire ! 
 
 " Lady Anne Churchill, 2nd Daughter to. John Duke of Marl- 
 borough, and Wife to Charles Earl of Sunderland." 
 
 Represented in a white satin dress, seated to the right, 
 resting her right elbow in some blue drapery. Her eyes are 
 directed to the spectator, but her countenance is turned 
 towards the left. (See ante, pages 14, 78, and 112, and post, 
 p. 207.) 
 
 She was married to Lord Charles Spencer, afterwards Earl 
 of Sunderland, in 1701. 
 
 " Lady Henrietta Churchill, Eldest daughter of John Duke of 
 Marlborough, and wife to Francis Earl of Grodolphin" 
 
 Represented in a pale scarlet dress, with her hair hanging 
 in long tresses over her right shoulder. She is seated on a 
 stone bench, in front of a balustrade, resting her right hand, 
 holding a white flower, against a green covered table, a basket 
 of flowers upon it. (See ante, page 14.) 
 
 It is remarkable that in the four preceding portraits no 
 ornament whatever is introduced into the hair ; its natural 
 colour is retained, and the tresses are allowed to fall in 
 graceful curls either on one side or the other. Compare 
 also page 196. 
 
 " Anne Countess of Sunderland, Youngest daughter to George Earl 
 of Bristol, by the Lady Anne Russell, his wife, 2nd Daughter 
 to Francis Russell, Earl of Bedford, and wife to Robert 
 second Earl of Sunderland." 
 
 Represented as Diana, wearing a plumed helmet, and her 
 fair hair garnished with pearls falling over her left hand. 
 She holds a spear in her right hand, leaning her cheek upon 
 the left. A figure of Cupid, part of a stone fountain, appears 
 on the right-hand side, and in the lower corner is a stag's 
 head seen in full view, painted with great spirit. Her dress 
 is pale crimson, partly covered with a light blue drapery 
 Blknueim. 
 
190 PORTRAITS IN THE CORRIDOR — continued. 
 
 lined with ermine, and passing under her left elbow. It is a 
 picture of great richness in colour, and one of the best works 
 of Sir Peter Lely. Painted on canvas. Life-size ; seen to 
 below the knees. 
 
 The marriage of this excellent lady to Robert second Earl 
 of Sunderland (see ante, page 148) was celebrated in 1663. 
 Her eldest son, Robert, died at Paris, 1688. Charles, her 
 second son, succeeded to the Earldom. Much of her time 
 was spent at Althorp. She was personally attached to 
 William Lord Russell and his Lady, and is deservedly 
 remembered for her friendship to John Evelyn. 
 
 The Countess survived her husband several years. She 
 expired at Althorp, 1715, having lived to see her accom- 
 plished son, the third Earl, Lord Lieutenant of Ireland, 
 Privy Seal, and Secretary of State. 
 
 "Dorothy Countess of Sunderland, daughter to Robert Earl of 
 Leicester, and Wife to Henry 1st Earl of Sunderland!' 
 
 Represented resting her left hand on the edge of a large 
 stone , vase containing a rose-tree ; she points with the 
 other to one of the flowers upon it. Pier mantle is orange- 
 yellow over a black brown dress, the upper edge of which 
 is cut into a curved pattern that frequently appears in 
 portraits of this period. The same peculiarity may be 
 observed in the full-length portrait presumed to represent 
 Dorothy Percy, Countess of Leicester. (See ante, page 186.) 
 
 This portrait is a repetition of a very fine painting by 
 Van Dyck at Petworth. It is engraved by J. Thomson in 
 Lodge's Portraits. As Lodge justly observes, " The subject 
 of this memoir has been so largely celebrated under a ficti- 
 tious title, that she is little known by her own, and Sacha- 
 rissa, but for the pains of modern commentators, might have 
 been mistaken for a lovely creature of the poet's imagination." 
 
 The lady was born in 1620, and married in 1639 to 
 Henry Lord Spencer, soon afterwards created first Earl of 
 Sunderland. (See ante, page 184.) 
 
 Waller, although in his poems he did not neglect any 
 opportunity of addressing his passion to the lady as Sacha- 
 rissa, seems to have always been aware of the hopeless 
 nature of his suit, and at the close of his lines " at Pens- 
 hurst " clearly expresses this sentiment — 
 
 " His humble love, whose hope shall ne'er rise higher 
 Than for a pardon that he dares admire." 
 
 His full sense of the lady's rank is curiously recognized 
 in the poem " to Mrs. Braughton, servant to Sacharissa," 
 Blenheim. 
 
PORTRAITS IN THE CORRIDOR— continued. 
 
 191 
 
 where he engages her sympathy to forward his suit. He 
 propitiates her quaintly — 
 
 " Fair fellow-servant ! may your gentle ear 
 Prove more propitious to my slighted care 
 Than the bright dame's we serve : for her relief 
 (Vexed with the long expressions of my grief) 
 Receive these plaints ; nor will her high disdain 
 Forbid my humble Muse to court her train. 
 So, in those nations which the sun adore, 
 Some modest Persian, or some weak-eyed Moor, 
 No higher dares advance his dazzled sight 
 Than to some gilded cloud, which near the light 
 Of their ascending god adorns the east, 
 And, graced with his beams, outshines the rest." 
 
 The Countess of Sunderland married secondly Robert 
 Smythe, Esq., of Kent, of the family of the Viscounts 
 Strangford in Ireland, and, dying in 1683, was buried with 
 her lord at Brington. 
 
 " Elizabeth Duchess of Marlborough." 
 
 Probably painted by Hudson. (See ante, pages 15, 79, 
 and 186.) In fancy costume, holding a feather fan, and 
 attended by a black boy holding an umbrella and a mask. 
 The figures are life-size, seen to the knees, and represented 
 as if walking to the right. A very pleasing picture, painted 
 with much spirit. 
 
 " John Duke of Marlborough" 
 
 Represented at an advanced age, wearing the ribbon of 
 the Garter over gilded steel armour, with a crimson and 
 ermine mantle. Life-size, seen to the waist. Painted on 
 canvas. A very impressive picture, when compared with 
 the fulness of health and manly beauty exhibited in the 
 pictures already described. 
 
 PORTRAITS ON THE OPPOSITE WALL OF THIS CORRIDOR. 
 
 (Commencing opposite to the Anonymous portrait.) 
 
 " Prince Eugene of Savoy." 
 
 Represented in armour, with a grey velvet and ermine 
 mantle thrown over his shoulder. His hair is long and 
 grey ; the eyes and eyebrows dark. Evidently a much later 
 portrait than the one already described in the Bow-window 
 room. (See ante, page 133.) The background in this picture 
 Blenheim. 
 
192 PORTRAITS IN THE CORRIDOR — continued. 
 
 consists of a glowing deep red-grey sky, and is enclosed 
 within a painted oval frame. 
 
 The Prince looks at the spectator over his left shoulder. 
 Painted most probably by Rigaud. On canvas, life-size. 
 
 " Peter the Great, Czar of Muscovy." 
 
 An imposing picture, and one of the best portraits of that 
 monarch existing in England. The Czar is represented the 
 size of life, in steel armour, with a blue mantle embroidered 
 with crowns, and the imperial eagle having lightning in its 
 claws and bearing on its breast a shield, with the device of 
 St. George and the Dragon. A jewelled cross is attached to 
 a blue ribbon across his breast, and hangs at his left side. 
 He holds a baton in his right hand, and rests the left on his 
 hip. His hair is dark, and his moustaches peculiarly thin 
 and black ; the complexion is ruddier than in Sir Godfrey 
 Kneller's well-known picture at Hampton Court. The 
 arched crown is at his side on a table, and a cannon to the 
 right. The hilt of his sword terminates in an eagle's head. 
 The figure is seen nearly to the knees. Painted on canvas. 
 
 Peter the Great was born 1672. Had an interview with 
 William III. at Utrecht 1697, and visited England in the 
 following year. Founded Petersburg 1703. Died 1725. 
 
 " Sir Thomas Isham." 
 
 Seated at a table, upon which he rests his right hand, 
 holding a miniature or antique gem set with brilliants. His 
 other hand points far away to the right. His fine handsome 
 beardless countenance, with a profusion of dark hair hanging 
 down on each side, looks towards the left. A full brown 
 cloak partially covers his red and white dress. The figure 
 is seen to below the knees. A dark-red curtain is discern- 
 ible in the background, but the general tone of the picture 
 is very heavy and brown, although extremely well painted. 
 It bears much resemblance in colour and treatment to Clos- 
 terman's large family picture on the Staircase. (See ante, 
 page 13.) Painted on canvas. Life-size. 
 
 Sir Thomas Isham, Bart., was son of Sir Justinian Isham 
 of Lamport. He was a young gentleman of great expecta- 
 tion, but died in 1681, soon after he had finished his travels. 
 
 " Robert 2nd Earl of Sunderland" (See ante, page 183.) 
 
 Represented, life-size, resting his right arm on a pedestal. 
 His dress is brown, fastened on the chest with jewel links ; 
 the undersleeves are white and made very full. A very 
 Blenheim. 
 
PORTRAITS IN THE CORRIDOR — continued. 
 
 193 
 
 dark blue cloak passes across his right arm. The head is 
 turned to the left, but the eyes are piercingly fixed upon the 
 spectator. A column is on the right-hand side, and trees 
 and sky occupy the rest of the background. Painted on 
 canvas. 
 
 Anonymous. In large wig ; wearing armour and a red mantle. 
 
 It might possibly be intended to represent John Duke of 
 Marlborough at an advanced period of life. The face is 
 round and full, but less aged than in the portrait which hangs 
 opposite. 
 
 THE EAST CORRIDOR. 
 
 (After passing the angle of the gallery, and resuming the line of portraits facing the 
 
 windows.) 
 
 Queen Anne, wearing the crown and collar of the Order of the 
 Garter ; a profile portrait turned to the left, with the counte- 
 nance looking up. A very characteristic study, by Sir Godfrey 
 Kneller ; life-size, to the waist. Within a painted oval 
 frame. On canvas. 
 
 The turn of the head and direction of the profile corre- 
 spond with the relief on the coins of Queen Anne. This 
 portrait was probably painted for that purpose. There is 
 also a fine mezzotint engraving from it. 
 
 " John Duke of Marlborough." 
 
 A half-length figure, life-size, in complete armour, standing 
 by a rock, on which he rests the truncheon in his right hand. 
 The helmet is laid on the rock beside it. The face is turned 
 to the left, and the eyes are fixed on the spectator. Perhaps, 
 altogether, the handsomest of the many portraits of the great 
 Duke. It is extremely well painted, and the neglect which 
 it has suffered is the more to be regretted. Painted on 
 canvas. 
 
 Anonymous. 
 
 Portrait of a lady in blue, resting her right elbow on a 
 high rock. Seen to the knees. 
 
 A curious German-printed Almanack, headed with an engraving of 
 John Duke of Marlborough on horseback, galloping to the 
 left. It is dated 1705, and inscribed — " Johannes Herzog 
 von Marleborow, Margr. von Blanfort, &c. &c, Generalis- 
 simus der Englischen Troupen in Teutschlandt." 
 Blenheim. o 
 
194 POETEAITS IN THE COEEIDOE— continued. 
 
 Mary Magdalen. A large full-length figure, attributed to Carracci, 
 is more probably by Caravaggio. One hand is raised to 
 her breast ; the other, the left, rests on a skull. The vase 
 of ointment is placed on the ground. A dark-brown gloomy 
 picture. Painted on canvas. 
 
 " Sophia Dorothy, Electress of Hanover." 
 
 Eepresented seated, in a pale pink dress and a blue mantle 
 lined with ermine. Seen to the knees. The fashion of her 
 hair being arranged in two large curls over the temples is a 
 peculiarity of costume. 
 
 Sophia, daughter of the King and Queen of Bohemia, and 
 granddaughter of King James I., married Ernest Augustus 
 of Brunswick Lunenburg, 1658. Her son, George Louis, 
 became King of England a few months after her death, which 
 took place in June, 1714. 
 
 " Mary Dutchess of Montagu, 4:th daughter of John first Duke of 
 Marlborough," written in black letters in the left hand 
 corner of the picture. (See ante, pages 14 and 188.) 
 
 A full-length portrait, life size, seated at the foot of a 
 tree, resting her right elbow on a grassy bank. Although 
 not bearing the signature of the painter, this picture may 
 certainly be regarded as one of the best and most beautiful 
 productions of Sir Godfrey Kneller. The folds of the blue 
 dress are painted with extraordinary mastery. The expres- 
 sion of the countenance is life-like and pleasing. 
 
 " The Right Hon. the Earl of Sunderland." 
 
 This noble full-length, representing Charles the third 
 Earl, in the robes of the Garter, is signed and dated in 
 brownish letters on the pedestal to the right beyond the 
 black and white marble pavement, " G. Kneller, Baron, §c. f. 
 1720." 1 
 
 His right hand is placed in the vest : a white glove covers 
 the other. The hat is placed behind, to the left. A fluted 
 column on the opposite side. His countenance is pale, and 
 his flowing wig of a very light colour, confirming the 
 description given by Mackay, that he was " very fair com- 
 plexioned, and of a middle stature." The high scarlet heels 
 to his white shoes are remarkable points of costume. 
 
 Charles, the second son of Eobert second Earl of Sunder- 
 land and Lady Anne Higby daughter of the Earl of Bristol, 
 was bom about 1665. He sat in Parliament for Tiverton in 
 1695. This nobleman had been married young to Lady 
 
 1 See plate of Monograms and Signatures, No. 35. 
 
 Blenheim. 
 
PORTRAITS IN THE CORRIDOR — continued. 
 
 195 
 
 Arabella Cavendish, and her death is said to have thrown a 
 gloom over his mind in addition to his usual coldness and 
 severity of manner. His marriage with the second daughter 
 of John Duke of Marlborough was solemnized in January, 
 1701, when Lady Anne was not quite sixteen. This portrait 
 appears to have been painted four years after her decease. 
 His eldest son Robert became fourth Earl of Sunderland, and 
 was succeeded by his brother Charles, the fifth Earl, who 
 became Duke of Marlborough (see ante, pages 15 and 79). 
 
 In 1705 the Earl accompanied his father-in-law to the 
 Continent, and proceeded to Vienna, where they met with 
 an honourable reception from the Emperor. At Hanover, 
 also, they were received with marked distinction. 
 
 In 1706 the Earl was appointed one of the Commissioners 
 of the Union, sworn of the Privy Council, and one of the 
 principal Secretaries of State. On the accession of George I. 
 he received the appointment of Lord-Lieutenant of Ireland, 
 which ill-health, however, prevented him from accepting. 
 He was, in consequence, made Lord Privy Seal, and in 1717 
 became one of the principal Secretaries of State. His instal- 
 lation as a Knight of the Garter, which took place in May, 
 1720, was most probably the cause of this picture being 
 painted. He died a few months before the Great Duke in 
 1722. 
 
 For his bust as founder of the Sunderland Library, see ante, page 81. 
 
 " King George the First." 
 
 Represented, half-length, life-size, in steel armour, with 
 red mantle and white fur, holding a truncheon in his right 
 hand, and the Electoral cap on the rock at his elbow. His 
 complexion is sallow, with very dark eyes, and full black 
 wig. Blue sky background. The pale blue ribbon of the 
 Garter crosses his breast. 
 
 Painted on canvas. 
 
 George Louis, son of the Electress Sophia Dorothea, and 
 great-grandson of King James I. in the female line, was 
 born 1660, and in 1681 visited England with the view of 
 paying his addresses to the Princess Anne. He, however, 
 married his cousin, Sophia Dorothea of Zell, the following 
 year. His accession to the throne of England took place in 
 1714. He was struck with apoplexy whilst visiting his 
 continental dominions 1727, and lies buried at Hanover. 
 
 This picture was probably painted by Hirschmann. There 
 is a fine mezzotint engraving after a similar picture by John 
 Smith. 
 
 Blenheim. o 2 
 
196 PORTRAITS IN THE CORRIDOR — continued. 
 
 ON THE OPPOSITE WALL. 
 
 (Facing the Queen Anne Portrait.) 
 
 "Elizabeth Countess of BridgewaterT (See ante, pages 14 and 188.) 
 
 Seen within a painted oval frame, to the waist. The 
 figure is turned to the right and dressed in pale blue, with 
 a pink drapery on her right shoulder. 
 
 " Lady Henrietta Churchill, eldest daughter to John Duke of 
 Marlborough $ Wife to Francis Earl of Grodolphin" 
 
 Very superior, although similar in composition, to the 
 portrait previously described at page 189. 
 
 Signed and dated in black letters on the brown ground, 
 in the right hand comer, " G. Kneller, 1709." 1 
 
 She is represented seated at a table holding white lilies. 
 
 Her blue dress is moderate in tone and delicate in execu- 
 tion, although by no means highly finished. 
 
 The table-cover in this picture is dull red, and there is a 
 greater space between the basket and her arm than in the 
 picture described at page 189. 
 
 1 See plate of Monograms and Signatures, No. 33. 
 
 " Mrs. Bunch, Baughter to Mrs. Grodfrey, $ niece to John 1st 
 BuJce of Marlborough." 
 
 A seated figure towards the right, seen to the knees, the 
 face turned in the opposite direction, but the eyes fixed on 
 the spectator. Signed and dated on the rock below her 
 right elbow, " G. Kneller, 1718." 1 A landscape to the right. 
 
 Mr. Edmund Dunch, the husband of this lady, was grand- 
 son of Lord Burnell, one of Oliver Cromwell's peers, and in 
 some degree related to him by blood. Mr. Dunch was born 
 about 1657, and married when young to one of the daughters 
 and co-heiresses of Colonel Godfrey by Lady Arabella 
 Churchill. He was appointed Gentleman of the Horse to 
 Queen Anne and George I. Mr. Dunch died 1719, and was 
 buried in the family vault at Wittenham. 
 
 See memoirs of the Dunch family in Noble's Protectoral House of Cromwell, 
 8vo. Lond. vol. ii. page 163. 
 
 1 See plate of Monograms and Signatures, No. 34. 
 
 Cardinal Fleury. A bust-portrait life-size, nearly full face, seen 
 within a painted oval frame. A small red cap covers the 
 top of his head ; his hair is silvery, eyeballs grey, and com- 
 plexion fair. He wears a scarlet mantle and a broad white 
 fur cape, in front of which the Order of the Saint Esprit is 
 suspended by a golden chain. Painted on canvas. 
 Blenheim. 
 
PORTKAITS IN THE COEEIDOR— continued. 197 
 
 Cardinal Andre Hercule de Fleury was born in Langue- 
 doc, 1653, and studied at Paris in the College of the Jesuits. 
 He became almoner to the Queen-Consort of Louis XIY. and 
 Bishop of Frejus. The King appointed him preceptor to his 
 son, afterwards Louis XV. ; and after 1723 he became a 
 member of the Council of State. During the last seventeen 
 years of his life he held the office of Prime Minister of 
 France, and left the country prosperous and happy in his 
 administration. At the close of his life in 1741 Cardinal 
 Fleury found himself implicated in the war of the Austrian 
 succession. He died in 1743, at eighty-nine years of age. 
 
 This statesman must not be confounded with the Abbe 
 Claude Fleury, who lived at the same period, and wrote an 
 Ecclesiastical History. 
 
 The character of the Cardinal is fully expressed in his 
 countenance. " His love of peace, the integrity of his deal- 
 ings, and his strict economy of the finances, were productive 
 of the most beneficial results : but his genius was better 
 calculated to direct the helm in a calm than to guide it in a 
 stormy sea, and he ought to have resigned when he could 
 maintain peace no longer." 
 
 Painting of a Horse and Groom, by G. Stubbs. 
 
 View of Holdenby Castle, with figures and animals in the fore- 
 ground. Painted by J. Wootton. An upright picture on 
 canvas, signed with the artist's name on a large stone, upon 
 which an artist is seated sketching. The name Holdenby 
 Castle is inscribed on the frieze between the two arches. 
 The columns of the building are of the Tuscan order. 
 
 A brown Horse, turned to the left. Painted by G. Stubbs. 
 
 Anonymous. Portrait of a lady, half-length, life-size, standing at a 
 table and resting her right hand on a book, held upright, 
 and lettered at the back " Spectator, vol. 1." 
 
 The countenance somewhat resembles the Countess Spen- 
 cer in the Large Library (see ante, page 79). 
 
 Blenheim. 
 
198 THE GODOLPHIN BEDROOM. 
 
 THE GODOLPHIN BEDROOM. 
 
 (Over the fireplace.) 
 
 KNELLER.— Sidney Godolphin, Earl of Godolphin. 
 
 Holding the white wand as Lord High Treasurer. He is 
 represented in full robes, seated, with the hat and feathers 
 placed on a table beside him. 
 
 Two high steps are introduced in the foreground. 
 
 Painted on canvas in a free and spirited manner. 
 
 Burnet calls the Lord Treasurer "the silentest and mo- 
 destest man that ever was bred in a Court." He succeeded 
 Sir Leoline Jenkins as Secretary of State in 1684 : he 
 adhered to King James in his adversity, and was appointed 
 by that Monarch one of the Commissioners to treat with the 
 Prince of Orange on his landing. His friendship with the 
 Duke of Marlborough was strengthened in 1698 by the 
 marriage of his son Francis with the Duke's eldest daughter, 
 and on the Queen's accession the Duke of Marlborough 
 made Lord Godolphin receiving the Treasurer's staff the 
 condition of his assuming the command of the troops abroad. 
 In 1706 he was created Earl of Godolphin and Viscount 
 Rialton, and four years later received his dismissal from 
 office at the Queen's own hand — a disgrace which he did 
 not long survive. He expired at St. Albans, 1712, and was 
 buried in Westminster Abbey. 
 
 Engraved, a portion only, by T. W. Mote, for ' Lodge's 
 Portraits,' vol. 10, plate 182. 
 
 (To the right of the preceding.) 
 LELY. — Lady Henrietta Boyle, Countess of Rochester. 
 
 The lady is represented extremely fair, standing in a light 
 blue dress, with brown-grey mantle, resting her left arm on 
 a stone pedestal, and with the right hand gathering a rose. 
 A very pleasing, delicate picture, with landscape back- 
 ground, Life size, and rather more than half length. 
 Blenheim. 
 
THE GODOLPHIN BEDKOOM — continued. 199 
 
 A replica of one of the series of King Charles's Beauties at Hamp- 
 ton Court. 
 
 Engraved in mezzotint by Thomas Watson, and in 
 stipple by J. Thomson, for Mrs. Jameson's " Beauties of the 
 Court of King Charles II. " London, 1833, page 120. 
 
 Lady Henrietta Boyle, daughter of Eichard first Earl of Bur- 
 lington, married about 1663 to Lawrence Hyde, Earl of 
 Rochester, son of the great Lord Chancellor Clarendon. She 
 died in 1687. 
 
 (To left of the fireplace.) 
 
 HUDSON. — Elizabeth Duchess of Marlborough (see ante, page 15). 
 
 Attired in white satin with a blue bow on the stomacher ; 
 hair dressed very plain. Seen to the knees. 
 
 (To the left of the preceding, over the door.) 
 
 KNELLEE. — " His Royal Highness the Duke of Gloucester, Son 
 to her Majesty Queen Anne. " 
 
 Represented full length in Roman costume, standing by a 
 carved pedestal on which his helmet is laid. His breast- 
 plate and sleeves are of white satin, with a large pale-blue 
 mantle fastened on his right shoulder, and grey stockings. 
 His right hand rests on his hip : the other grasps the sword. 
 A red drapery partly covers the pedestal on the left hand 
 side. A rich and well-painted picture. Life size. 
 
 This prince William was the only son of Queen Anne who 
 lived to any age. He was the hope of the nation, and especially 
 beloved by William III. The Earl of Marlborough and the 
 Bishop of Salisbury were appointed his instructors. He 
 caught cold by overheating himself in dancing on his birth- 
 day, 1700, when he had just completed his eleventh year. 
 
 (Over the opposite door.) 
 
 Unknown. — Prince Eugene of Savoy (see ante, pages 133 and 191). 
 
 A half-length picture, life-size. The prince is represented 
 in armour, resting his left hand on a helmet which is placed 
 on a pedestal in the left hand corner : the baton lies beside 
 Blenheim. 
 
200 THE GODOLPHIN BEDROOM — continued. 
 
 it. He looks towards the spectator over his left shoulder. 
 A scarlet and ermine mantle is gathered up so as to display 
 his steel suit of armour to the utmost. The background is 
 dark grey sky. 
 
 This picture, erroneously inscribed " Prince George of 
 Denmark," is very probably painted by Rigaud. 
 
 The Tapestries in this apartment are executed after 
 Le Brun's series of the Battles of Alexander the Great. 
 Facing the windows is the grand composition of Alexander 
 and Darius at the Battle of Arbela. (See ante, page 138.) 
 
 To the left of the door, surmounted with the portrait of 
 the Duke of Gloucester, is a strip of tapestry which forms 
 part of the subject known as Porus brought into the presence 
 * of Alexander. The prominent figure in this portion is a 
 naked prisoner, dragged and fastened to the tail of a horse 
 ridden by a bowman. 
 
 The opposite piece of tapestry exhibits Porus in the pre- 
 sence of Alexander on horseback. The arms of the Duke 
 of Marlborough surmount each tapestry. When Porus, the 
 Indian king, was brought captive and wounded into the 
 presence of Alexander the Great, the conqueror demanded of 
 him how he wished to be treated. " Like a King J" was his 
 magnanimous reply. (See Plutarch's ' Life of Alexander ; ' 
 and also Quintus Curtius, viii. c. 8.) 
 
 Blenheim. 
 
GODOLPHIN DEESSING KOOM. 
 
 201 
 
 GODOLPHIN DRESSING ROOM. 
 
 (Over the fh*eplace.) 
 
 H. HYSING. — " The Hon. John Spencer, 3rd son to Charles, 3rd 
 Earl of Sunderland, by Lady Anne Churchill, his Wife, 
 2nd Daughter to John Duke of Marlborough." 
 
 Eepresented resting his left hand on a stone circular 
 pedestal. The sword and a black cocked hat lie on the 
 pedestal, on the edge of which is inscribed, in brown letters, 
 " H. Hysing pinx. 1739." 1 The face is seen in three quar- 
 ters, looking upwards to the right. He wears his own 
 brown hair, and is dressed in a brown coat. His left hand 
 points downwards. The figure is seen to the knees. 
 
 A very low, grey-toned picture. 
 
 The Hon. John Spencer, youngest brother of the third and 
 fourth Earls of Sunderland, was born 1708 ; the first Viscount 
 Spencer, and father of John, the first Earl Spencer. He 
 married the daughter of Earl Granville, 1733. At the death 
 of his grandmother Sarah Duchess of Marlborough, in 1744, 
 he became Ranger and Keeper of Windsor Park. He also 
 inherited from the Duchess a very great estate, and died at 
 Wimbledon in Surrey, 1746. He was buried at Althorp. 
 He was a universal favourite, and commonly known as Jack 
 Spencer. For his portrait by Slaughter, see ante, p. 79. 
 1 See Plate of Monograms and Signatures, No. 31. 
 
 (Over the door leading into the Bedroom.) 
 
 VENETIAN SCHOOL. 
 
 Portrait of a sculptor, a young man dressed in black, and 
 seen to the knees, receiving gifts in his right hand from a 
 cornucopia held by a figure hovering in the right hand 
 corner. Below, in the distance, trees, and apparently a city 
 gate. A female statue, brownish in tint, lies at the opposite 
 corner. Figure life-size. A rich and powerfully -painted 
 picture, in the style of Tintoretto. 
 Blenheim. 
 
202 GODOLPHIN DKESSING ROOM— continued. 
 
 (Over the door leading to the Staircase.) 
 
 VASARI. — St. Jerome. An upright picture, the figure life-size. 
 He is represented with bare arms and body, writing in a 
 large book which partly rests on his left knee, which is 
 raised by the foot being planted on a low pedestal, support- 
 ing also a skull and another volume. The lion attends him 
 in the left hand corner. 
 
 A very good academic picture, and exceedingly character- 
 istic of this scholar of Michael Angelo and highly-esteemed 
 biographer of the Italian painters. 
 
 (To the left of the fireplace.) 
 
 FRANCESCO MOLA. — A very large and pleasing landscape. A 
 piece of water forms the centre of the picture. A shepherd 
 and shepherdess recline under large trees to the right, and 
 goats are introduced in the foreground. 
 
 Highly characteristic of the master. Painted on canvas. 
 
 Blenheim. 
 
GREEN BEDROOM. 
 
 203 
 
 GREEN BEDROOM. 
 
 (Over door, to the left of the bed, leading into the Dressing Room.) 
 
 LELY. — " Anne Duchess of York, 1st wife to King James II., 
 and Daughter to Lord Chancellor Clarendon.'" 
 
 Seated and dressed in rich amber coloured satin. Her 
 right hand is raised to her long flowing hair ; the other hand 
 falls in her lap, with the fingers pointing downwards. A 
 grey-black scarf passes across her chest, and is looped and 
 twined with a pearl necklace ; her right elbow rests on 
 yellow-brown drapery, part of a curtain which descends on 
 the left-hand side. Boldly painted, life size, seen to the 
 knees. On canvas. 
 
 A similar picture is at Hampton Court, and also a large 
 and very fine whole length at the same palace, in the room 
 of King Charles's Beauties. 
 
 Anne Hyde was privately married to the Duke of York at 
 Brussels in 1659. She died 1673, leaving two daughters, 
 who became successively queens of England. It was this 
 duchess who began the collection of beauties above alluded 
 to, and which was long known as the " Beauties of Windsor." 
 She commanded Sir Peter Lely to paint for her the hand- 
 somest women of the time, commencing with her own lovely 
 maids of honour, Frances and Sarah Jennings, afterwards 
 Lady Tyrconnel and the Duchess of Marlborough. 
 
 (Over the door, facing the preceding.) 
 CASSANA. — James Fitz-James Duke of Berwick. 
 
 A half-length figure, in armour, wearing a very full grey 
 stone coloured wig, and decorated with the ribbon, jewel, 
 and star of the Order of the Garter. A fort in flames is seen 
 in the distance to the left. He rests a red baton in his left 
 hand on a stone, upon which is inscribed in dark letters the 
 name of the artist " Xuc U9 Cassana P." 1 He points downward 
 
 1 See Plate of Monograms and Signatures, No. 28. 
 
 Blenheim. 
 
204 
 
 DEESSING EOOM TO GREEN BEDEOOM. 
 
 with his right hand, and looks away towards the left. The 
 face is seen nearly in full. A well painted picture — life-size. 
 
 The Duke of Berwick was son to Lady Arabella Churchill, 
 and nephew to John Duke of Marlborough. 
 
 He was educated in France, and taken under the especial 
 protection of Louis XIV. He became one of the most cele- 
 brated warriors of his time, a Marshal of France, and Knight 
 of the Golden Fleece. He accompanied King James II. into 
 Ireland. Besieging Philipsburgh he fell by a cannon ball, 
 1734, aged 63. 
 
 (To the right of the preceding, towards the wiudow.) 
 
 VALENTINO. — A large square picture, on canvas, of a gipsy 
 woman with white head dress, telling a young man's fortune. 
 She holds his right hand. Two persons are looking on ; and 
 a soldier wearing a steel helmet is in the act of separating 
 two combatants on the right side of the picture. Brown and 
 heavily painted, in the style of Caravaggio. 
 
 The Tapestries in this apartment are surmounted with the arms 
 of the Duke of Marlborough. They are four in number, and exhibit 
 allegorical compositions of the Virtues, &c. The devices in the 
 borders correspond with those already described at page 139. 
 
 DEESSING EOOM TO THE GEEEN BEDEOOM. 
 
 Unknown. — " Barbara Countess of Pembroke" 
 
 A full length portrait, life size, dressed in blue, sitting at 
 a marble-topped table upon which she rests her left arm. 
 The face is seen in three-quarters turned towards the left, and 
 the eyes directed to the spectator. A yellow curtain hangs 
 in the righthand corner. 
 
 This lady was daughter to Sir Thomas Slingsby of York- 
 shire, and became second wife to Thomas eighth Earl of 
 Pembroke. She died 1721. 
 Blenheim. 
 
DRESSING ROOM TO GREEN BEDROOM — continued. 205 
 
 (To right of the preceding.) 
 DOB SON. — A large family picture, containing seven figures the 
 size of life, seen to the knees. In the centre a lady, dressed 
 in blue, is seated nursing a naked infant partially wrapped 
 in a scarlet cloth and having a white skull cap on its head. 
 The father of the family, on the righthand side, leans on a 
 terrestrial globe on which the words atlanticvs and Africa 
 are traceable ; other flourishes also may be discerned, 1 but 
 the picture has been rubbed in many parts. He holds a pair 
 of compasses in his left hand, and with the other takes that 
 of the infant. The eldest son between the figures of his 
 two parents seems showing his father a framed drawing or 
 tablet. The grandfather is behind to the extreme right, and 
 two other sons stand at a respectful distance on the opposite 
 side. Painted on canvas. 
 
 This picture is mentioned in Walpole's ' Anecdotes of 
 Painting/ vol. ii. page 352, where it is conjectured to repre- 
 sent Francis Carter, an architect, scholar and deputy of 
 Inigo Jones. 
 
 Vertuesaw this picture at the Duke's house at St. James's, 
 about 1713. Walpole says, " I have seen nothing of Dobson 
 preferable to this ; there is the utmost truth in it." He 
 also observes that the face of the man holding the compasses 
 resembles Lilly the astrologer. The style of dress and con- 
 ventional mode of wearing the hair have much to do with 
 the numerous resemblances in portraits of this period. The 
 face is certainly more like the picture of Lilly in the Ash- 
 molean Museum, than in Hollar's well-known engraving of 
 him, dated 1658, eetat. 57. 
 
 1 See plate of Monograms and Signatures, No. 20. 
 
 (To the right of the preceding, over a door.) 
 
 RAPHAEL (School of).— The Holy Family, known as the 
 Madonna della Quercia. The Virgin is seated under an oak, 
 and the two children standing on a cradle, Joseph leaning 
 on an architectural fragment behind. 
 
 The original picture, which formerly belonged to King 
 Charles I., is now at Madrid. A good old copy still remains 
 at Hampton Court. It is described by Passavant, page 304. 
 A repetition of this composition, known as " La Lucertola," 
 from a lizard introduced upon the sculptured stone, is at 
 Florence. Engraved by G. Scharf, jun., in small outline, 
 No. 36 of the plate of Raphael's Holy Families, in ' Kugler's 
 Handbook of Italian Painting.' 
 Blenheim. 
 
206 
 
 BOW- WINDOW BEDEOOM. 
 
 (Opposite to the preceding.) 
 
 BONIFAZIO. — A large Holy Family, attended by several saints. 
 The infant Saviour on the lap of the Virgin, who is seated 
 on a raised step, holds a crown over the head of a kneeling 
 female saint, bearing a palm branch ; a second female kneels 
 by her side, and a boy angel in the clouds holds out a 
 wreath, which seems to have been prepared for her glorifica- 
 tion. Two male saints, one with a cross leaning against a 
 tree, are seated with large books on their knees on the 
 extreme right ; St. Elizabeth on the opposite side holds the 
 infant John, who points to the Saviour, having the scroll 
 inscribed " Ecce Agnus Dei" wound round his right arm. 
 
 (To the right of the preceding, over door leading into the Bedroom.) 
 
 RAPHAEL (School of).— The Holy Family, known as the 
 Madonna di Loreto : a composition of three figures, where 
 the Virgin raises the veil from the child, who is awake and 
 stretches forward his arms ; St. J oseph is in the background. 
 The original of this picture was formerly in the sanctuary at 
 Loreto, hence the name, from which place it was stolen 
 whilst the French were in possession. The composition is 
 engraved by George Scharf, jun., in woodcut outline, No.. 25 
 of the plates of ' Eaphael's Holy Families ' above referred to. 
 
 This picture is mentioned by Passavant in his ' Life of 
 Raphael/ vol. ii., page 127. He saw it at Blenheim. 
 
 BOW-WINDOW BEDROOM. 
 
 RAPHAEL (School of).— The Holy Family known as "La 
 belle Jardiniere," the original of which is now in the Louvre. 
 The name rapha-lo • vr is inscribed on the border of the 
 Virgin's dress behind the staff of St. John. 1 There is no 
 gilding on the picture. It is painted on Italian panel. 
 The background represents an Italian, and not a Flemish 
 town as in the picture at Paris. 
 
 Passavant saw this picture, and mentions it with praise in 
 his ' Life of Raphael/ vol. ii. p. 88. 
 
 1 See plate of Monograms and Signatures, No. 3. 
 
 Blenheim. 
 
TOWER BEDROOM. 
 
 207 
 
 Unknown.— Bust Portrait of a nobleman in his coronation robes. 
 Probably Robert Spencer, 4th Earl of Sunderland, who suc- 
 ceeded his father in 1722, and died of a fever at Paris, in No- 
 vember, 1729. The honours and estates devolved on his bro- 
 ther Charles, who became afterwards Duke of Marlborough. 
 
 See ante, page 138. 
 
 Unknown. — Bust Portrait of a clergyman wearing a black gown, 
 bands, and powdered wig. 
 
 TOWER BEDROOM. 
 
 STUBBS. — A Tiger, smaller than life, lying among rocks. A 
 fine picture on canvas. It has been admirably engraved 
 in mezzotint by J. Dixon, and published in November, 1772. 
 Miss Linwood also executed a copy of it in needlework, 
 which formed one of the principal attractions of her exhibi- 
 tion in Leicester Square. This copy was, till recently, in 
 the possession of the Dowager Lady Sitwell, at Rempstone 
 Hall. A similar picture, but with less detail of rocks, and 
 with some little difference in the position of the head, was 
 engraved by John Murphy. It was the property of Mr. 
 Stubbs, the painter. 
 
 BEERSTRAATEN. — A Seaport, with large ships, and nume- 
 rous figures on the quay in front. Painted on canvas. The 
 animation of the figures and warm glow of the setting sun 
 render this picture extremely pleasing. The figures are 
 painted with great boldness, and the peculiar style of head- 
 dress worn by several of the ladies deserves attention. It 
 consists of a white cap with a curious projecting tuft, which 
 becomes the more conspicuous when, as in many instances, 
 a black hood is thrown over the crown of the head. 
 
 Blenheim. 
 
208 
 
 GARDENS. 
 
 GARDENS. 
 
 Over the centre of the garden front of the Palace is placed a 
 colossal bust of Louis XIV., taken from the citadel of Tournay, 
 and surrounded with various military emblems. Beneath it is the 
 following inscription : — 
 
 EUROPiE ILEC VINDEX GENIO DECORA ALTA BRIT ANNO. 
 
 Thus rendered into English : — 
 
 " The assevtor of the Liberty of Europe dedicates these lofty honours to the 
 genius of Britain." 
 
 In the gardens, at a little distance from the Palace, is erected a 
 small temple to Diana, supported by four columns of the Ionic 
 order, and dedicated, by an inscription in the pediment, " to the 
 rural, mountain- ranging Diana." 
 
 APTEMIAI 
 ArPIAI.IAAI 
 OPE2TIAAI. 
 
 The building was designed by Sir William Chambers. The bas- 
 relief within represents Hippolytus offering a garland to Diana. 
 
 The following inscription, in a medallion beside it, is taken from 
 the Hippolytus of Euripides : — 
 
 2ot TdVSe irKdKThv ffTtcpavov e| aKripdrov 
 Azifxwvos, w decnroiva, Kocfxritfastyepw 
 EvQ' oure TToifirjv a£to? <pep&€iv fioTa 
 Ovt 7]K6€ 7rco aidripos, aAA' arnqparov 
 MeAtccra t\pivov 5iepx eT « t 
 
 Aidcas 5e irora/xoiaL Krjirevei SpoaoLs. 
 
 Eurip. innOATTOS, ver. 72-77. 
 
 It is accompanied by the following translation, inscribed in a 
 medallion on the opposite side : — 
 
 " To thee, bright goddess, these fair flowers I bring, 
 A chaplet woven from th' untainted mead, 
 Thy cool sequester'd haunt, where never yet 
 Shepherd approach'd ; where the rude hind ne'er heav'd 
 Th' unhallow'd axe; nor voice nor sound is heard, 
 Save the low murmuring of the vernal bee. 
 The day-spring from above the dew distils 
 Genial and mild, from the pure stream exhal'd, 
 On every fragrant herb, and favourite flower." 
 
 Another temple, built in the Corinthian style of architecture, is 
 called the Temple of Health. This votive building was erected in 
 Blenhkim. 
 
GARDENS. 209 
 
 1789, and contains a medallion portrait of King George III., with 
 a loyal inscription. 
 
 In a romantic spot, across the water, is a large circular basin, 
 with a fountain composed of rocks and statuary, surmounted by an 
 obelisk rising out of it. This fountain is the counterpart, on a 
 small scale, of the one so well known in the Piazza Navona at 
 Rome. It is said to have been the last work of the Cavaliere Ber- 
 nini, and was presented to John Duke of Marlborough by Don 
 Guzman de Haro, ambassador from Spain at the court of Pope 
 Innocent XI. The arms of Guzman, Duke of. Medina de las 
 Torres, may be observed on one of the sides. In heraldic language 
 they are as follows : — 
 
 Per saltire azure and ermine in chief and base 2 cauldrons, 
 serpents issuing. The whole within a bordure compony of Castile 
 and Leon. 
 
 A shield on the opposite side bears the arms of the Marquis del 
 Carpio. 1 There are also inscriptions in Latin, Greek, and Spanish. 
 The Latin is here given : — 
 
 Ad Innocentium XI Summum Pontificem 
 
 Pro Carolo II. Hispaniarum Rege 
 Excelc. D.D. Gaspar de Haro et Guzman 
 Murchio de Carpio et Helicheo Orator. 
 Ad Typum Molis, in Agonali Foro erecte. 
 
 Ab Equite Bernino Opus hoc extrui 
 Jussit eodem dirigente qui interim 
 Dum perficeretur defunctus 
 Hos posthumo partu : In exhaustam 
 Mentis Foecunditatem clausit 
 Anno D. M.D.C.L.XXX.I. 
 
 The magnificent fountain in the Piazza Navona at Rome was 
 erected by Pope Innocent X., from the designs of the Cavaliere 
 Bernini, in 1651. 2 On the four corners of the rocky basement are 
 seated colossal figures in white marble, personifying the great 
 rivers of the world— the Danube, the Ganges, the Nile, and Rio 
 de la Plata. These comparatively small figures are said to have 
 been modelled by Bernini. Those at Rome were modelled respec- 
 tively by Andrea Lombardo, Claudius Adam of Lorraine, Antonio 
 Fancelli, and Francesco Baratta. The lion and sea-horse issuing 
 from the rocks were the work of Lazzaro Morelli. The obelisk in 
 the original fountain at Rome was taken from the Spina of the 
 Circus Maximus, and the hieroglyphic inscriptions on it are in 
 honour of the Emperor Domitian. The height of this obelisk is 
 70 palms, and of the entire fountain 133 palms. The Nile, 
 executed by Fancelli, is represented with his head covered, in 
 
 1 See Lopez de Haro, Nobiliario Genealogico de los Reyes, &c, Part II. capitulo xxviii. 
 page 418. Madrid, 4to. 1622. 
 
 2 See Bunsen, Beschreibung der Stadt Rom. Stuttgart und Tubingen, 8vo. 1842, vol. 3, 
 Part III. page 375. 
 
 Blenhkim. p 
 
210 
 
 GARDENS. 
 
 allusion to the source of the river being unknown. The river 
 Plate, the work of Baratta, is personified by a negro, and gold coins 
 are seen issuing from a cleft in the rock under his right hand. 1 
 
 At a little distance from this fountain is a chalybeate spring, the 
 waters of which flow through the mouths of two lions from an 
 antique sarcophagus, and descend into the river. This sarcophagus 
 is adorned with numerous figures in alto relief of a late Roman 
 period, representing Bacchanalian subjects. In the centre, Bacchus 
 as a young man is seen standing supported by two fauns, the right- 
 hand one holding the pedum or crook, and part of a panther's skin 
 hanging from his arm. On the left-hand side Hercules is reclining 
 on the ground. A small figure of Pan supports him, and a second 
 attendant is pouring wine from an askos, or wine-skin, into a vessel 
 held by Hercules. On the opposite side Ariadne reclines, sleeping, 
 in the lap of Somnus. Small figures of Pan and Cupid invite the 
 attention of Bacchus to the sleeping female. Four graceful figures 
 of Bacchantes, with floating drapery, stand on each side of the 
 lions' heads, and serve by their position to separate the groups. It 
 is a genuine specimen of ancient sculpture, and the injuries which 
 it has sustained are much to be regretted. 
 
 1 These statues have been engraved in Maffei's Raccolta di Statue Antiche e Moderne, 
 Roma, fol. 1704. Tavole 97-100. 
 
 Blenheim. 
 
PICTURES IN THE LONDON RESIDENCE. 211 
 
 LIST OF PICTURES IN THE LONDON 
 RESIDENCE, 
 
 No. 10, ST. JAMES'S SQUARE. 
 DINING ROOM. 
 
 (To the left of the Fireplace.) 
 
 KNELLER. — Charles, 3rd Earl of Sunderland. 
 
 A fine full-length portrait, painted in Kneller's best style, 
 and inscribed ^' ^^797' ^ ar ^" > The Earl is represented 
 
 standing, in the robes of the Order of the Garter, holding 
 the hat in his right hand and resting the left on a yellow 
 altar-shaped pedestal. A cuirass and helmet lie on the 
 ground at his feet. A dark cloudy sky is perceptible to the 
 extreme left. (For biographical note, see ante, p. 194.) 
 
 (To the right of the Fireplace.) 
 
 KNELLER. — " Anne Countess of Sunderland, 2nd Daughter to John 
 Duke of Marlborough, and Wife to Charles 3rd Earl of Sun- 
 derland." 
 
 A full-length picture, companion to the preceding. The 
 Countess, in coronation robes, stands on a step covered with 
 a Turkey carpet, and holds her coronet with both hands on a 
 pedestal at her left side. Architectural panelling occupies 
 the background. A pleasing and remarkably mellow-toned 
 picture. No signature of the artist is traceable. (See ante, 
 pages 14, 78, 112, 189.) 
 
 (Facing the Fireplace.) 
 
 WEENIX. — A game-piece. Numerous birds lie scattered about, 
 and among them a dead white swan is prominent in the centre. 
 Blenheim. p 2 
 
212 PICTURES IN THE LONDON RESIDENCE— continued. 
 
 (To the left of the preceding.) 
 TEMPESTA.— A large, tall landscape, with rich vegetation and 
 dark trees. Figures standing by a boat occupy the middle 
 distance. 
 
 (To the right of the Weenix.) 
 TEMPESTA. — The companion picture ; but a much finer scene, 
 composed of dark trees and well-massed buildings. A water- 
 mill in the centre forms a dark mass against the pale yellow 
 sky. Near this building women are seen washing and 
 wringing out linen. Below these, the water falls and foams 
 among rocks in a very picturesque manner. Three men 
 with fishing-nets are in the stream in front, and a soldier 
 standing with a venerable old man, seemingly addressing a 
 group of women and children seated on the rocks, complete 
 the foreground to the left. 
 
 (To the right of the Window.) 
 
 SNYDERS. — A white dog seizing a young wild boar, who rolls 
 on his back under a bramble cover. A small picture. 
 
 (To the left of the Window.) 
 
 SNYDERS. — A companion picture. 
 
 Two wild boars, one turned directly towards the spectator 
 as if advancing ; the other, very small and much younger, is 
 rushing away to the left. 
 
 Blenheim. 
 
APPENDIX. 
 
 213 
 
 APPENDIX (A.) Page 71. 
 
 The tapestries at Blenheim representing the victories of Alexander the Great 
 and John Duke of Marlborough are thus referred to in Lord Lyttelton's poem 
 on " Blenheim " : — 
 
 " The tap'stry rich 
 With gold, and gay with all the beauteous paint 
 Of various coloured silks, disposed with skill, 
 A ttracts her curious eye. Here Ister rolls 
 His purple wave, and there the Gianick flood 
 With passing squadrons foams ; here hardy Gaul 
 Flies from the sword of Britain, there to Greece 
 Effeminate Persia yields. — In arms oppos'd 
 Marlb'rough and Alexander vie for fame 
 With glorious competition, equal both 
 In valour and in fortune ; but their praise 
 Be diff'rent, for with diff'rent views they fought, 
 This to subdue and that to free mankind." 
 
 APPENDIX (B.) Page 77. 
 
 The following inscription was originally engraved on the front of the pedestal of the statue 
 of Queen Anne 1 : — 
 
 The Character. 
 
 Q UEEN ANNE was very Graceful and Majesticlz in her Person : Religious uithout 
 affectation. She always meant well. She had no false Ambition: which appear d by Her 
 never complaining at King William's being preferred to the Crown before Her, when it 
 was taken from the King Her Father, for following such Counsels and pursuing such 
 Measures as render d the Revolution necessary. It was Her greatest Affliction to be 
 forc'd to act against Him, even for Security. Her journey to Nottingham loas never con- 
 certed, but occasion'd by the great Consternation She was under at the King's sudden 
 Return from Salisbury. She always paid the greatest Respect to King William and 
 Queen Mary ; never insisted upon any one Circumstance of Grandeur, more than what 
 was established in her Family by King Charles IT., though, after the Revolution, She was 
 Presumptive Heir to the Crown, and after the Death of Her Sister, was in the Place of 
 Prince of Wales. Upon Her accession to the Tlirone the Civil List was not encreased. 
 
 1 The rough draft for it is published in a curious little 12mo. volume entitled ' The 
 Opinions of Sarah, Duchess of Marlborough, published from original M.S.S. 1788.' At 
 page 2 is her account of Queen Anne, bearing date 1737, which agrees with the inscription, 
 excepting that her opinions are somewhat more prolix and clumsily expressed. The Duchess, 
 page 6, concludes thus : — 
 
 " I have put these facts together for materials for the person who writes the inscription. 
 They are all true, notwithstanding what she was imposed upon in doing at the end of her 
 reign. I never flattered anybody living ; and I cannot be suspected of it now the Queen is 
 dead. But this character of the Queen is so much the reverse of Queen Caroline, that I 
 think it will not be liked at Court. And though I make no observations upon it, nobody 
 can read it without reflecting upon the difference of the proceedings in Queen Anne's reign 
 and the present." 
 
 Blenheim. 
 
214 
 
 APPENDIX. 
 
 The late Earl of Godolphin, Lord High Treasurer of England, often said that, from 
 Accidents in the Customs, and Lenity in the Collection, it did not arise, one Year with 
 another, to more than Five Hundred Thousand Pounds a Year. She had no Vanity in 
 Her Expences, nor bought any One Jewel in the whole time of her Reign. She paid out 
 of Her Civil List many Pensions granted in former Reigns, which have since been thrown 
 upon the Publick. When a War was necessary to secure Europe against the Power of 
 France, She contributed in one Year, towards the War, out of her Civil List, One Hundred 
 Thousand Pounds, in ease of her Subjects. She granted the Revenue arising from the 
 First- Fruits, to augment the Provisions of the poorest Clergy. She never refusd her 
 private Charity to proper Objects. Till a few Years before Her Death, She never h id 
 but Twenty Thousand Pounds a year for Her Privy Purse. At the latter End of Her 
 Reign it did not exceed Twenty-six Thousand Pounds a year ; which was much to Her 
 Honour, because it is subject to no Account, and as to Her Robes, it will appear by the 
 Records in the Exchequer, that in Nine Years She spent only Thirty Two Thousand and 
 Fifty Pounds ; including the Coronation Expence. She was extreamly well-bred, treated 
 Her chief Ladies and Servants as if they had been Her Equals. Her Behaviour to all that 
 approach'd Her was decent, and full of Dignity, and shewed Condescension, without Art 
 or Meaness. 
 
 All this L know to be true, 
 SARAH MARLBOROUGH. MDCCXXXVTII. 
 
 Blknheim. 
 
/ 
 
 BIOGRAPHICAL LIST OF PAINTERS. 215 
 
 BIOGRAPHICAL LIST 
 
 OF THOSE PAINTERS WHOSE WORKS ARE TO BE SEEN 
 AT BLENHEIM ; 
 
 WITH INDICATIONS OP THE SCHOOLS OF PAINTING TO WHICH T#EY BELONG. 
 
 Albani, Francesco (Bolognese School), b. at Bologna, 1578. Pupil of Denis 
 Calvart and friend of Guido ; followed Annibal Carracci to Rome in 1602. 
 d. at Bologna, 1660. p. 99. 
 
 Albertinelli, Mariotto (Tuscan School), b. at Florence, 1475. The friend 
 and imitator of Fra Bartolommeo. d. 1520. p. 179. 
 
 Alessandro Veronese, see Turchi. 
 
 Bakhuisen, Ludolf (Dutch School), b. at Emden, 1631 ; d. at Amsterdam, 
 1709. p. 173. 
 
 Balen, Henry van, b. at Antwerp, 1560 (Flemish School). The first 
 
 instructor of Van Dyck. d. 1632. p. 134. 
 Bamboccio, see Laer, Peter de. 
 
 Barbarelli, Giorgio, called from his large stature Giorgiowe (Venetian 
 School), b. at Castelfranco, 1477 ; d. 1511. Pupil of Bellini. The rival 
 of Titian and contemporary of Raphael. Died of the Plague, p. 41, 135. 
 Copied by Teniers, p. 147, 148. 
 
 Baroccio (Roman School), b. at Urbino, 1528. Scholar of Battista Franco, 
 called Semolei. d. 1612. p. 64. 
 
 Bassano, see Ponte, da. 
 
 Battista Franco, see Semolei. 
 
 Baut, Francis and Peter, natives of Brussels. Flourished about 1700. 
 
 p. 105 (3), 106. 
 Beauclerck, Lady Diana, p. 178 (4). 
 
 Beerstraaten, A. Van. A Dutch painter of seaports and shipping. Little 
 
 is known of his life. He died in 1687. p. 207. 
 Bellini, Giovanni (Venetian School), b. at Venice, 1426. The master of 
 
 Giorgione and Titian, d. 1516. Copied by Teniers, p. 146, 147. 
 
 Blenheim. 
 
216 BIOGEAPHICAL LIST OF PAINTERS. 
 
 Benzi, M. Soldani {sculptor), b. 1658, of a noble family at Florence. Pupil 
 
 of Franceschini and Ciro Ferri. d. 1740. p. 20. 
 Bernini, Cavaliere Giovanni Lorenzo (painter and sculptor), b. 1598 at 
 
 Naples, son of a Florentine painter and sculptor. Became architect and 
 
 sculptor to Pope Urban VIII. Modelled a famous bust of Charles I. of 
 
 England from paintings by Van Dyke. The colonnade and portico of St. 
 
 Peter's at Borne were designed by him. Visited Paris in 1665. d. at 
 
 Rome, 1680. p. 209. 
 Berrettini, Pietro da Cortona {Tuscan School), b. 1596 ; d. 1669. The 
 
 friend of Bernini and the rival of Andrea Sacchi. p. 17. 
 Bonifazio, Veneziano (Venetian School), b. at Verona, 1491. A pupil of 
 
 Titian, d. 1553. p. 206. 
 Bordone, Paris ( Venetian School), b. 1500. A pupil of Titian. Visited 
 
 France in 1538; d. 1570. Copied by Teniers, p. 167. 
 
 BORGOGNONE, See CORTESE. 
 
 Boudewyns, Anton. Franz, a landscape painter, b., 1660, at Brussels. The 
 figures in Sis pictures were generally contributed by Bout. He must not 
 be confounded with A. F. Baudoin. (See Nagler, vol. i., p. 83.) p. 99, 
 141 (2). 
 
 Brauer or Brouwer, Adrian, b. at Haarlem, 1608. Scholar of Frank 
 
 Hals. d. in a public hospital, 1640. p. 65. 
 Breughel, John, called Velvet or Flower Breughel, b. at Brussels, 1565. 
 
 Remarkable for the minuteness of the detail in his landscapes. Much 
 
 employed in the school of Rubens, d. 1642. p. 65, 66. 
 Brill, Paul, b. at Antwerp, 1554. Much employed upon landscapes in the 
 
 Vatican, d. at Rome, 1626. p. 97. 
 Brun, Charles le (French School), b. at Paris, 1619. The son of a sculptor. 
 
 Studied under Vouet. A contemporary of Le Sueur. Received the Order 
 
 of St. Michael. Founded the Royal Academy at Paris, d. at Paris, 1690. 
 
 p. 138, 200. 
 
 Cagliari or Caliari, Paolo, commonly called Paul Veronese ( Venetian 
 School), b. at Verona, 1528 ; d. at Venice, 1588. This painter is the most 
 magnificent of all the Italian artists in point of composition, colour, and 
 costume, and holds a similar rank to that of Rubens in the Flemish 
 School, p. 17, 74, 134 (2). Copied by Teniers, p. 158, 159. 
 
 Campidoglio, Michel Angelo Pace, called Del Campidoglio (Boman 
 School), b. at Rome, 1600; d. 1670. He was a pupil of Fioravente, and 
 painted fruit and flowers with great mastery, p. 45. 
 
 Canaletto, Antonio Canal (Venetian School), b. at Venice, .1697; d. at 
 Venice, 1768. Originally a scene-painter. The figures in his pictures 
 were sometimes introduced by Tiepolo. p. 49, 50, 51 (2). 
 
 Caraglio. p. 85. 
 
 Caravaggio, Amerighi da (Boman School), b., 1569, at Caravaggio. Studied 
 with Cavaliere DArpino. One of the Naturalisti. d. at Porto Ercole, 
 1609. p. 194 (?). 
 
 Carlo Veneziano, see Saraceno. 
 
 Carracci, Agostino (Bolognese School), b. at Bologna, 1559 ; d. at Parma, 
 Blenheim. 
 
BIOGRAPHICAL LIST OF PAINTEKS. 
 
 217 
 
 1601. The son of a tailor. He was especially eminent as an engraver. 
 His masters were Prospero Fontana, Tibaldi, and Cornelius Cort. p. 49. 
 Copied by Teniers, p. 151. 
 
 Carracci, Annibale (Bolognese School), b^at Bologna, 1560 ; d. at Pome, 
 1609. Younger brother of the preceding. He visited Eome in 1600, and 
 completed the decorations of the Farnese Palace in 1604. p. 50. 
 
 Carracci, Lodovico (Bolognese School), b. at Bologna, 1555 ; d. 1619. He 
 was the founder of the famous school of the Carracci, which was opened in 
 1589, and carried on by aid of his two cousins, Agostino and Annibale, to 
 1600, and by Lodovico alone till his death, p. 51, 102. 
 
 Cassana, called Niccoletto, b. at Venice, 1659. Painted portraits in Eng- 
 land, and was court painter to Queen Anne. Died in London, 1714. 
 p. 203. 
 
 Castiglione, Benedetto (Genoese School), b. at Genoa, 1616; d. at Mantua, 
 1670. p. 75, 141. 
 
 Catena, Vincenzio ( Venetian School), b. at Venice, 1470. Imitated at first 
 
 the dry manner of Bellini, but afterwards adopted the broad and rich style 
 
 of Giorgione. d. 1532. Copied by Teniers, p. 170. 
 Cignani, Carlo (Bolognese School), b. at Bologna, 1628. Studied under 
 
 Albani, but was more influenced by the works of Correggio. d. at Forli, 
 
 1719. p. 42, 116. 
 Claude Lorrain, see Gelee. 
 
 Closterman, b. at Osnaburg, 1656. Came to England in 1681, and was em- 
 ployed to assist Riley in his portraits. Visited Spain, and died in London, 
 1710. p. 13, 192 (?). 
 
 Coques, Gonzales (Dutch School), b. at Antwerp, 1618 ; d. in 1684. Studied 
 under David Ryckaert the elder. His pictures have all the force and spirit 
 of Van Dyck in miniature. Charles I. of England, the Archduke Leopold, 
 and the Prince of Orange were anxious to possess his works. He is sup- 
 posed to have been a man of wealth, and to have painted for his own plea- 
 sure, p. 62. 
 
 Correggio, Antonio Allegri da (Lombard School), b. at Correggio, 1493. 
 
 At Parma in 1519. His instructor seems to have been Bartolotto, a 
 
 painter in the town where he was born. His finest works are at Parma. 
 
 d. at Correggio, 1534. p. 100. Copied by Teniers, p. 150. 
 Cortese, Jacopo, called II Borgognone, or Jacques Courtois le Bour- 
 
 guignon, b. at St. Hippolyte in Franche Comte, 1621; d. at Eome, 1676. 
 
 Served in the army for three years, and painted principally battle-subjects. 
 
 p. 46. 
 
 CORTONA, PlETRO DA, See BERRETTINI. 
 
 Cosway, Richard (English School), b. at Tiverton in Devonshire, 1740 ; d. in 
 London, 1821. Very celebrated for his drawings and coloured miniatures, 
 p. 25, 131, 132. 
 
 Court, Susanne de. p. 121. 
 
 Courteys, Jean. p. 126. 
 
 Cuyp, Albert (Dutch School), b. at Dort, 1606, still living in 1683. An 
 artist of extremely varied acquirements, p. 47. 
 Blenheim. 
 
218 BIOGRAPHICAL LIST OF PAINTERS. 
 
 Dance, Nathaniel {English School), b. in London, 1734. Relinquished his 
 profession, and became a baronet, Sir Nathaniel Dance Holland, d. at 
 Winchester, 1811. p. 104. 
 
 Delen, Dikk van. B. at Heusden about 1635. A pupil of Frank Hals. He 
 preferred perspective and arcnitectural subjects. The figures in his pictures 
 were frequently painted by Van Harp. p. 107. 
 
 Dobson, William (English School), b. in London, 1610. Apprenticed to 
 Robert Peake. Van Dyck, chancing to see one of his works in a shop 
 window, took particular interest in his welfare, and introduced him at 
 court. On the death of Van Dyck, Dobson was appointed serjeant painter 
 to the King, who styled him the English Tintoretto. His extravagancies 
 and debaucheries checked his career, and he died in distressed circum- 
 stances, 1646. p. 205. 
 
 Dolci, Carlo (Tuscan School), b. at Florence, 1616 ; d. 1686. p. 44, 50, 58. 
 
 Dosso Dossi (Ferrarese School), b. at Dosso, 1490. Pupil of Lorenzo Costa. 
 Resided in Rome after the death of Raphael. He painted the portrait of 
 Ariosto, and is commemorated by that poet. d. 1560. Copied by Tenters, 
 p. 169. 
 
 Dyck, Sir Anthony van (Flemish School), b. at Antwerp, 1599 ; d. at 
 London, 1641. Scholar of Rubens. Visited Italy, 1621. Invited to 
 England by King Charles I., resided at Blackfriars, and was buried in old 
 St. Paul's, p. 23, 25 (2), 28, 31 (2), 32, 35 (2), 36, 38, 74, 103 (?), 104, 
 107, 137, 173 (?). 
 
 Enamels, p. 117-129. 
 
 France., Franz, called the Elder (Flemish School), b. at Antwerp, 1546 ; d. 
 
 at Antwerp, 1616. p. 61, 101. 
 Ferg, F. P., b. at Vienna about 1689. Died at London, 1710. Walpole says 
 
 1740. See Brulliot's Monograms, No. 392. p. 100 (2). 
 Feti, Domenico (Roman School), b. at Rome, 1589. A pupil of Cigoli. Was 
 
 court painter at Mantua, d. at Venice, 1624. Copied by Tenters, p. 167, 
 
 168. 
 
 Gainsborough, Thomas (English School), b. at Sudbury in Suffolk, 1727; d. 
 1788. A self-taught artist, who found his way to London, and set up as 
 a portrait painter at the age of 16. His landscapes are all confined to the 
 style of scenery belonging to his native country. His portraits are now 
 very highly esteemed ; they are executed in a sketchy but most effective 
 manner, peculiar to himself, p. 26. 
 
 Geerards, Guerards, or Garrard, Marc (Flemish School), b. at Bruges, 
 about 1560 ; d. 1635. Hollar engraved his portrait in 1644, with the 
 inscription, " Hie Ipse Marcus depinxit, A°. 1627." He painted several 
 portraits of Queen Elizabeth, p. 19. 
 
 Gelee, Claude Lorrain, called de Lorraine (Italian School), b. at Cha- 
 magne, 1600; d. 1682. A pupil at Rome of Tassi, who had studied 
 under Paul Brill, p. 48 (?), 100. 
 
 Genovese, II Prete, see Strozzi. 
 
 Giordano, Luca (Neapolitan School), b. at Naples, 1632 ; d. 1705. A pupil 
 of Spagnoletto and Pietro da Cortona. Was called fa presto (quick work), 
 Blenheim. 
 
BIOGRAPHICAL LIST OF PAINTERS. 219 
 
 from his extraordinary facility. He also possessed great powers of imita- 
 tion. Hence his works are deficient in individuality. He visited Spain in 
 1692. He was also employed at Florence, p. 42, 43, 74, 134. 
 
 Giorgione, see Barbarelli. 
 
 Gonzales, see Coqtjes. 
 
 Graves (a living English artist), p. 97. 
 
 Guido, see Reni. 
 
 HlRSCHMANN. p. 195 (?). 
 
 Holbein, Hans (German School), b. at Augsburg, 1498 ; d. of the Plague, in 
 London, 1554. He was especially patronized by our King Henry VIII., 
 whose portrait he frequently painted. He came to England in 1526, with 
 an introduction from Erasmus to Sir Thomas More. Doubts have recently 
 been raised with regard to the date of his death. He does not seem to 
 have lived so long. p. 55, 134, 139. 
 
 Honthorst, Gerard, called by the Italians Gherardo della Notte, b. at 
 Utrecht, 1592. Pupil of Bloemaert. An imitator of M. A. Caravaggio. 
 Painter to the Queen of Bohemia, d. 1660. p. 98, 186. 
 
 Houseman, see Huysman. 
 
 Hudson, Thomas (English School), b. in Devonshire, 1701 ; d. at Twicken- 
 ham, 1779. An English portrait painter, who but for his close proximity 
 to Sir Joshua Reynolds would have been much more generally esteemed. 
 He was the master of Sir Joshua, and possessed a very refined taste, great 
 professional skill, and formed a large collection of works of art. He mar- 
 ried a daughter of Jonathan Richardson, the portrait painter under whom 
 he had begun his studies, p. 14, 26, 137, 193 (?), 199. 
 
 Hughtenberg, John van, b. at Haerlem, 1646. Studied under John Wyck, 
 the friend of Vandermeulen. Prince Eugene employed him to illustrate 
 the campaigns of the Duke of Marlborough in 1708 and 1709, several of 
 which pictures he engraved, d. 1733. p. 174 (2). 
 
 Huysman or Houseman, Cornelius (Flemish School), b. at Antwerp, 1648. 
 Studied at Brussels under Artois. Settled at Mechlin, d. 1727. p. 105. 
 
 Hysing, H. p. 201. 
 
 Ivory Carvings, p. 117. 
 
 Jordaens, Jacob ( Flemish School), b. at Antwerp, 1594 ; d. 1678. Studied, 
 like Rubens, under Van Oort, whose daughter he afterwards married. He 
 became one of the best assistants in the School of Rubens, and was 
 employed by that master to paint a series of designs for tapestry, from 
 sketches which he had made for the King of Spain, p. 54, 70. 
 
 Kneller, Sir Godfrey, Bart. (Dutch School), b. at Liibeck, 1648; d. in 
 London, 1723. Studied in the School of Rembrandt and Ferdinand Bol. 
 He was also much influenced by the works of Frank Hals. Came to 
 England 1674, and knighted 1692. King Charles II. sat to Kneller and 
 Lely at the same time. The former, having almost completed his work 
 before the latter had laid in the dead-colouring, obtained the preference, 
 and from that period became a great favourite at Court. His chief patrons 
 Blenheim. 
 
220 
 
 BIOGEAPHICAL LIST OF PAINTEKS. 
 
 were Queen Anne and the Duke and Duchess of Marlborough. He 
 painted the portraits of Newton and Dryden and an extensive series of 
 his contemporaries, forming the Kit-Cat Club; the latter at the expense 
 of Mr. Jacob Tonson, the publisher, p. 18, 26 (2), 46, 77, 78, 79, 80 (3), 
 81, 106, 109, 130, 131 (3), 132, 133, 136, 176, 178, 180, 183, 194, 196 
 (2), 198, 199, 211 (2). 
 
 Laer, Peter de, called by the Italians Bamboccio, b. at Laaren, 1613. Re- 
 sided at Rome, and was the friend of Claude and Poussin. Returned to 
 Holland, 1639. Eclipsed by Wouwerman. d. at Haerlem, 1673. p. 175. 
 
 Laguerre, Louis {French School), b. at Paris, 1663 ; d. 1721. A pupil of Le 
 Brun. Came to England 1683, and was employed by Verrio. He painted 
 ' The Labours of Hercules,' at Hampton Court, and was at first appointed 
 to paint the Cupola of St. Paul's Cathedral, London. His rival, Sir James 
 Thornhill, was eventually preferred. Sir Godfrey Kneller employed 
 Laguerre to paint the staircase of his country residence at Witton. In 
 1711 he was Director of an academy of painting established in London, 
 and of which Sir Godfrey Kneller was Governor. He died suddenly of 
 apoplexy in Drury Lane Theatre, p. 67. 
 
 Lairesse, Gerard {Flemish School), b. at Liege, 1640 ; d. at Amsterdam, 
 1711. The son of an artist. In 1690 he lost his sight, p. 71. 
 
 Lance, G. (a living English artist), p. 99, 174, 175. 
 
 Lancret, Nicholas {French School), b. at Paris, 1690 ; d. 1745. Pupil of 
 Gillot and of Watteau, to whose style he adhered, and became one of his 
 most successful imitators, p. 71, 106. 
 
 Lanzani, see Polidoro Veneziano. 
 
 Laudin, J. p. 129. 
 
 Leen, van. p. 137 (2). 
 
 Lely, Sir Peter {Dutch School), b. at Soest in Westphalia, 1617; d. in 
 London, 1680. Came to England the year after Van Dyck died. Painted 
 Charles I., Cromwell, Charles II., and James II. He painted a series of 
 the beauties of the Court of Charles II., and died of apoplexy whilst paint- 
 ing the portrait of the Duchess of Somerset. His family name was Vander 
 Faes. p. 138, 198, 203. 
 
 Lens, Bernard, a celebrated copyist in water colours, d. at Knightsbridge, 
 1741. p. 112. 
 
 Leonard Limousin, p. 118. 
 
 Licinio, G. A., called II Pordenone ( Venetian School), b. 1483. An excellent 
 
 and independent painter of the period of Titian and Giorgione, Many of 
 
 his works are attributed to Titian, d. 1539. 
 Lilly, Edward {English School). A painter of whom no particulars are 
 
 known. His name is appended to some mezzotint engravings of Queen 
 
 Anne. p. 18. 
 Lionardo, see Vinci. 
 
 Lombard, Lambert {Flemish School), b. at Liege, 1506 ; d. 1560. Travelled 
 in Italy, and studied under Andrea del Sarto. Many of his works were 
 mistaken for those of Correggio. p. 42. 
 
 Loo, John Baptiste van {French School), b. at Aix in Provence, 1684 ; d. 
 1746. Visited Italy, and was much patronized at Turin by the Duke of 
 Blenheim. 
 
BIOGRAPHICAL LIST OF PAINTERS. 221 
 
 Savoy. In 1737 he came to England, and was introduced to the Prince of 
 
 Wales by Sir Robert Walpole. p. 79 (2). 
 Lopicino, Giovanni Battista, or Lupicino {Florentine School), flourished 
 
 about 1625. Copied by Teniers, p. 170. 
 Lorraine, see Gelee. 
 Luca, see Giordano. 
 
 Ma as, Dirk, b. at Haeiiem, 1656. Studied under Mornmers and Berchem. 
 
 Visited England during the reign of William HI. d. 1715. p. 143. 
 Macarthy. p. 142. 
 
 Maltese, Francesco (Italian School), b. at Malta, and flourished about 
 1670; but no particulars of his life are known, p. 73 (2). 
 
 Mantegna, Andrea (Paduan School), b. near Mantua. Pupil of Squarcione. 
 Married a sister of the Bellini. Entered the service of Lodovico Gonzaga 
 at Mantua, 1468. His pictures of the Triumph of Julius Cassar are at 
 Hampton Court, d. at Mantua, 1506. Copied by Teniers, p. 149. 
 
 Maratti, Carlo (Italian School), b. near Ancona, 1625 ; d. at Rome, 1713. 
 Studied at Rome under Andrea Sacchi. He painted so many pictures of 
 the Madonna that the Italians called him " Carlo delle Madonne." He 
 restored the frescoes of Raphael in the Vatican ; but his own works show 
 more affinity to the style of Guido. His name is sometimes spelt Maratta. 
 p. 49. 
 
 Michel Angelo, see Campidoglio. 
 
 Mignard, Pierre (French School), b. at Troyes. Studied under Vouet. 
 Called the Roman from his residence of 22 years in that city. Succeeded 
 Le Brun as principal painter to Louis XIV. d. at Paris, 1695. p. 176. 
 
 Miniatures, p. 109-116. 
 
 Minderhout, Hendrik. b. at Antwerp, 1637. d. 1696. p. 140. 
 
 Mirevelt, M. Janson. b. at Delft, 1568. d. 1641. p. 136. 
 
 Mola, P. Francesco (Bolognese School), b. at Milan, 1612. Studied the 
 
 works of Guercino and Albani. President of the Academy of St. Luke. 
 
 d. 1668. p. 202. 
 
 Molyn, Peter van, called Tempesta, b. at Haarlem, 1637. Pupil of his 
 
 father, d. 1701. p. 212 (2). 
 Moroni, Giovanni Battista (Venetian School), b. near Bergamo, 1510; d. 
 
 about 1578. Pupil of Moretto da Brescia. Titian used to recommend 
 
 him for portraiture, p. 55 (?). 
 Murillo, Bartolome Estevan (Spanish School), b. near Seville, 1618. 
 
 Sought assistance of Velasquez at Madrid and obtained his friendship. 
 
 Fell from a scaffold whilst painting at Cadiz, d. 1682. p. 105 (?), 
 
 106 (?). 
 
 Mytens, Daniel (Dutch School), b. at the Hague. But little is known of 
 his early history. His portrait of Prince Henry at Knole would show that 
 he was in England before that prince's death. His patent as painter to 
 King Charles is dated 1625. When Van Dyck was invited to England the 
 King would not suffer Mytens to depart, saying that he would find employ- 
 ment enough for both of them. Mytens was an excellent portrait painter, 
 and was also employed to make copies of some of the finest pictures by 
 the Italian masters. In 1656 he painted part of the ceiling of the Town- 
 hall at the Hague, p. 32, 36, 37. 
 Blenhehi. 
 
222 
 
 BIOGRAPHICAL LIST OF PAINTERS. 
 
 Neeffs, Peter {Dutch School), b. at Antwerp, 1570; d. 1651. Scholar of 
 
 Steenwyck. The elder Terriers frequently introduced the figures into his 
 
 architectural scenes, p. 63. 
 Neer, Aart van der {Butch School), b. at Amsterdam, 1619 ; d. 1683. His 
 
 effects of sunset and moonlight are admirable. His pictures are highly 
 
 prized, p. 56, 101. 
 Nieulandt, Willem van {Dutch School), b. at Antwerp, 1584 ; d. 1635. 
 
 Pupil of E. Savery and Paul Brill, p. 64. 
 Nogari {Venetian School), b. at Venice, 1699; d. 1763. A scholar of 
 
 Balestra. Some of his pictures are in the Dresden Gallery, p. 50. 
 
 Oliver, Peter {a distinguished miniature painter), son of Isaac Oliver, b. 
 at London 1601. He was instructed l^y his father, and made many copies 
 on a small scale from the finest pictures belonging to Charles I. d. 1660. 
 p. 110. 
 
 Orbetto, see Turchi. 
 
 Owen, William {English School), b. in Shropshire, 1769 ; d. 1825. p. 177. 
 Padovanino, see Varotari. 
 
 Palamedes, whose real name was Anton Steevens or Stevers {Dutch 
 School), was born at Delft in 1604 ; d. 1680. p. 60. 
 
 Palma, Giovane ( Venetian School), b. at Venice, 1544 ; and great nephew of 
 Palma Vecchio. d. 1628. Copied by Teniers, p. 162, 166. 
 
 Palma Vecchio ( Venetian School), b. near Bergamo, 1480. At first his works 
 were in the dry style of Bellini, but the freedom of Titian led him to ex- 
 pand his manner. His own beautiful daughters, and especially Violante 
 his favourite, afforded him the best models. His colouring was rich and 
 glowing. According to Vasari he only lived to the age of 48. Copied 
 by Teniers, p. 163, 166. 
 
 Pannini, G. P., b. at Piacenza, 1691. d. 1758. p. 142 (2), 143 (4). 
 
 Pantoja de la Cruz, Juan {Spanish School), b. at Madrid, 1551; d. 1609. 
 Pupil of Coello. Appointed Court painter to Philip II. He designed the 
 sepulchral monuments to the Emperor Charles V. and his son Philip. A 
 portrait of Philip IV. by him is at Hampton Court, p. 16. 
 
 Paolo Veronese, see Cagliari. 
 
 Paris, see Bordone. 
 
 Pater, John Baptist {French School), b. at Valenciennes, 1695. Studied 
 
 under Watteau. d. 1736. p. 98. 
 Penicaud, Ja. jun. p. 123. 
 
 Phillips, Thomas (a portrait-painter of the English School), b. in Warwick- 
 shire, 1770. Assisted Benjamin West in the glass paintings in St. George's 
 Chapel, Windsor ; succeeded Fuseli as Professor of Painting in the Eoyal 
 Academy; d. 1845. p. 178. 
 
 Piombo, Fra Sebastiano del ( Venetian School), b. at Venice, 1485 ; d. at 
 Rome, 1547. His family name was Luciani, and he was originally a 
 musician. Studied under Bellini and Giorgione. Chigi, the great banker 
 of Pome, invited him to decorate his villa in that city, in 1512. Here 
 also Raphael painted his celebrated fresco of ' Galatea,' and the story of 
 * Cupid and Psyche.' Piombo attached himself to Michel Angelo Buonar- 
 P Blenheim. 
 
BIOGRAPHICAL LIST OF PAINTERS. 223 
 
 roti, and painted under his guidance several works in rivalry with Eaphael. 
 
 His name was derived from the office of " Frate del Piombo" (the leaden 
 
 seal), which Pope Clement VII. bestowed upon him. p. 43. 
 Polidoro Veneziano (Lanzani). According to Nagler, of the school of Titian, 
 
 and whose works were frequently attributed to the pencil of Titian. He 
 
 died in 1565, aged 50. Copied by Teniers, p. 151. 
 Ponte, Jacopo da, called II Bassano (Venetian School), b. at Bassano, 1510 ; 
 
 d. 1592. His pictures display great spirit of execution and grouping, and 
 
 with very bold foreshortening. They are generally painted on a dark 
 
 ground, p. 17. Copied by Teniers, p. 161, 162. 
 PoRDENOiSE, see Licinio. 
 
 Poussin, Gaspar {Italian School), b. at Rome, 1613 ; d. 1675. His real name 
 was Dughet, and of French descent. He married the sister of the great 
 Nicholas Poussin. His landscapes are bold, but generally with a solemn 
 effect, p. 108 (2). 
 
 Prete, Genovese, see Strozzi. 
 
 Primaticcio, Francesco, b. at Bologna, 1504. Worked under Innocenzio da 
 Imola and Bagnacavallo, and in 1525 began to assist Giulio Romano in 
 decorating the Palazzo del Te at Mantua. Invited to France by Francis I., 
 Primaticcio and II Rosso established themselves in France, and decorated 
 Fontainebleau. He was created Abbot of St. Martin de Troyes in 1544 ; 
 d. at Paris, 1570. Copied by Teniers, p. 150. 
 
 Raphael, Sanzio or Santi {Roman School), b. at Urbino, 1483 ; d. at Eome, 
 1520. Son of an accomplished painter, Giovanni Santi, who was patronized 
 by the Duke of Urbino. Young Raphael, having lost his father, was placed 
 under the tuition of Pietro Perugino in 1495. He visited Florence for the 
 first time in 1504, where he resided for more than four years, with the ex- 
 ception of occasional journeys to Perugia and Bologna. During this period 
 he became personally acquainted with Michel Angelo Buonarroti, and Fra 
 Bartolommeo. Raphael first visited Rome in 1508. It may be said, in 
 illustration of the powers of this painter, that there is not an excellence 
 observable in the works of others that may not in some instances be found 
 also in Raphael. He was painter, poet, sculptor, and architect, p. 39, 
 43 (?), 48, 205 (?), 206 (2) (?). 
 
 Reinagle, P. {English School), b. about 1800 ; d. 1833. p. 177. 
 
 Rembrandt, van Ryn {Dutch School), b. on the Rhine, near Leyden, 1606 ; 
 d. at Amsterdam, 1665. His family name was Gerretz. For colour, com- 
 position, and, above all, for knowledge of light and shade, Rembrandt stands 
 alone. Some of his finest works are in England, p. 33, 38. 
 
 Reni, Guido {Bolognese School), b. near Bologna, 1575. Studied under Denis 
 Calvart ; visited Rome, 1620 ; became slight and careless in style ; and 
 although his pencil commanded enormous prices, he died in debt, 1642. 
 Copied by Teniers, p. 168, 169. 
 
 Reymond, Pierre, p. 120, 125. 
 
 Reynolds, Sir Joshua, England's greatest portrait-painter, b. at Plympton in 
 Devonshire, 1723 ; d. in London, 1792. In 1740 he was sent to London 
 by his father, a clergyman, who kept the grammar-school of Plympton, 
 and was placed with Hudson, the portrait-painter. Reynolds went abroad 
 in 1749, and studied at Rome. The Royal Academy, of which he was 
 Blenheim. 
 
224 BIOGRAPHICAL LIST OF PA IN TEES. 
 
 President, was opened in 1769, and between that period and the year 1790 
 he contributed no less than 240 pictures to its annual exhibitions. The 
 grand picture of ' The Marlborough Family ' in the drawing-room was com- 
 pleted in 1779. He was buried in St. Paul's Cathedral, p. 26, 33, 42, 
 45 (2), 47 (2), 97, 107, 108, 136. 
 
 Ricci, Marco ( Venetian School), b. at Belluno, 1680 ; d. at Venice, 1729. He 
 came to England in 1710, and obtained great popularity for his landscapes 
 and architectural views, p. 56, 70 (2), 71 (3), 97. 
 
 Rigaud, Hyacinth, b. at Perpignan, 1659, a most successful portrait-painter, 
 patronised by Louis XIV. ; d. 1743. p. 192 (?), 200 (?). 
 
 Robusti, Jacopo, commonly called Tintoretto ( Venetian School), b. 1512. 
 His father was a dyer. Dismissed by Titian, after having only been ten 
 days under him ; d. 1594. p. 102, 108 (?) Copied by Tenters, p. 157, 
 158, 201 (?). 
 
 Romney, George (English School), b. at Furness in Lancashire, 1734 ; d. 1802. 
 Son of a cabinetmaker. He obtained several prizes at the Society of Arts, 
 London ; and travelled in Italy with Ozias Humphreys. He returned to 
 London in 1775, and enjoyed an uninterrupted course of success as a por- 
 trait-painter, notwithstanding the attractions of Reynolds and Gainsborough 
 at the same period, p. 70, 73. 
 
 Rosa, Salvator (Neapolitan School), b. near Naples, 1615 ; d. at Rome, 1673. 
 Studied under Falcone, Lanfranco, and Spagnoletto. He was painter, en- 
 graver, poet, and musician, p. 48. 
 
 Rosa da Tivoli, or, more properly, Philip Roos (Italian School), b. at Frank- 
 fort, 1655 ; d. at Rome, 1705. Sent by the Landgrave of Hesse Cassel to 
 study in Italy. He established himself at Tivoli : hence his name. p. 
 17, 104. 
 
 Rottenhammer, John (German School), b. at Munich, 1564 ; d. at Augsburg, 
 1604. He resided for a long time in Italy. His best works are cabinet 
 pictures, and Breughel and Brill frequently assisted him in the landscapes, 
 p. 71 (2), 143, 173, 174 (2). 
 
 Rubens, Sir Peter Paul (Flemish School), b. at Siegen in Westphalia, 1577, 
 one year after the death of Titian. He studied under Van Oort and Otto 
 van Veen. In 1600 he went to Italy, and resided principally at Venice 
 and Mantua. In 1605 he was sent on a mission by the Duke of Mantua 
 to Philip III. of Spain. The illness of his mother summoned him back 
 to Antwerp, where the Archduke Albert and the Archduchess Isabella, 
 daughter of Philip II. of Spain, then ruling the Netherlands, prevailed on 
 him to remain. He was appointed Court painter to Albert and Isabella, 
 1609. He married Isabella or Elizabeth Brants, 1610. In 1620 he was 
 summoned to Paris by Marie de Medicis to paint a series of historical, or 
 rather allegorical, pictures for the Luxembourg, illustrative of the reign of 
 her husband, Henri IV., and of her own regency during the minority of 
 her son. Upon the death of the Archduke Albert, Rubens was appointed 
 one of the Councillors of the State ; and Isabella sent him, in 1628, on a 
 diplomatic mission to her nephew, Philip IV. of Spain. In the following 
 year he appeared in England in a similar capacity, and was greatly honoured 
 by Charles I. He received the honour of knighthood in 1630, and before 
 his departure visited Cambridge, where academic honours w T ere bestoAved 
 Blenheim. 
 
BIOGKAPHICAL LIST OF PAIN TEES. 225 
 
 upon him. The same year he married his second wife, Helena Forment, a 
 beautiful young lady, in her sixteenth year. Rubens died possessed of 
 - great wealth, 1640, and was buried with extraordinary pomp in the church 
 of St. Jacques at Antwerp, p. 22 (3), 23 (2), 24, 27, 28 (3), 29 (2), 30, 
 54, 55, 56, 57, 58, 59 (3), 61, 63 (2), 91. 
 PiUysdael, Jacob {Dutch School), b. at Haarlem about 1630; d. about 1681. 
 p. 56. 
 
 Rysbrack, Michael (a Sculptor), b. at Antwerp, 1694 ; settled in London, 
 1720. His best works are the monuments to Newton and the Duke of 
 Marlborough, d. 1770. p. 20, 77, 82. 
 
 Salvator, see Rosa. 
 
 Sanders (English School), p. 101, 108, 130 (2). 
 Sant, a living artist, p. 130, 132 (2). 
 
 Saraceno, Carlo ( Venetian School), called also Carlo Veneziano, b. at 
 Venice, 1585 ; d. about 1625. Studied the works of Michel Angelo Cara- 
 vaggio, but threw more force and clearness of colouring into his produc- 
 tions, p. 52. Copied by Teniers, p. 150. 
 
 Schalcken, Godfrey, b. at Dort, 1643. Visited England during the reign 
 of William III. d. at the Hague, 1706. p. 133. 
 
 Sebastiano, see Piombo. 
 
 Semolei, Battista Franco (Tuscan School), b. at Udihe, 1498 ; d. at Venice, 
 . 1561. Studied at Rome and Venice. One of the numerous imitators of 
 Michel Angelo Buonarroti. He was also a pupil of Marc Antonio, and pro- 
 duced many engravings. He was the master of Baroccio. p. 53 (?). 
 
 Schiavone, Andrea, called Medula ( Venetian School), b. in Dalmatia, 1522. 
 Studied in Venice, and copied assiduously from prints of Parmigianino. 
 Titian received him into his academy, and procured him employment to 
 decorate the library of San Marco. Tintoretto greatly admired his colouring. 
 His life was a ceaseless struggle with poverty, and many of his works are 
 hurried and careless ; d. at Venice, 1582. Copied by Teniers, p. 160, 
 161. 
 
 Schidone or Schedone, Bartolommeo (Lombard School), b. at Modena about 
 1580 ; d. at Parma, 1615. Ranuccio, the Duke of Modena, was his patron ; 
 he gave him a villa to reside in for a more quiet pursuit of his studies. His 
 works are distinguished by largeness of forms, determination of shadows, 
 and daring foreshortening. Correggio seems to have been his favourite 
 model, p. 42. 
 
 Shelley, Samuel, a miniature painter of considerable celebrity towards the 
 
 close of the last century, p. 113. 
 Slaughter, Stephen (English School), was appointed Keeper of the Royal 
 
 pictures at Kensington, where he died, 1765. p. 79 (2). 
 Smith, John (modern English painter), p. 46, 132. 
 
 Snyders, Francis (Flemish School), b. at Antwerp, 1579 ; d. 1657. Studied 
 under Henry van Balen. He at first painted only fruit and still-life, but 
 afterwards animals and hunting scenes of every description. He frequently 
 assisted Rubens by introducing these subjects in his most important pic- 
 tures. Snyders was employed by Philip III. of Spain and by Albert the 
 Archduke of the Netherlands, p. 18, 212 (2). 
 
 Solimena, Francesco, called L'Abbate Ciccio (Neapolitan School), b. at 
 Blenheim. q 
 
226 BIOGKAPHICAL LIST OF PAINTERS. 
 
 Nocera, 1657 ; d. at Naples, 1747. Studied at first under his father, 
 Angelo Solimena. Like Luca Giordano, whom he succeeded, he possessed 
 extraordinary powers of imitation and rapidity of execution. He frequently 
 imitated Pietro da Cortona, Maratti, and Guido. p. 50. 
 
 Somer, Paul van {Dutch School), b, at Antwerp about 1576 ; d. in London, 
 1621. He was the Court painter of the reign of King James T. Many of 
 his works are to be seen at Hampton Court Palace. Gerards, Van Somer, 
 and Mytens seem to have succeeded one another very closely, p. 16. 
 
 Spencer, Lady Caroline, p. 134. 
 
 Steen, Jan (Dutch School), b. at Leyden, 1636 ; d. at Delft, 1689. A pupil 
 of Kunfter and Van Goyen. p. 62. 
 
 Steenwyck, Henry (Flemish School), b. at Antwerp, 1589. Pupil of his 
 father ; intimate with Van Dyck; invited to England by Charles I. ; d. in 
 London, date unknown, p. 175. 
 
 Strozzi, Bernardo, called II Cappuccino and II Prete Genovese ( Genoese 
 School), b. at Genoa, 1581 ; d. at Venice, 1644. Became a Capuchin friar 
 at the age of 17. He left the monastery to support the wants of his mother, 
 and at her death was recalled to the cloister. In punishment for his dis- 
 inclination to return, he was seized and put into confinement. Having 
 made his escape, he fled to Venice and settled there. An excellent colourist, 
 with great powers of invention, p. 44. 
 
 Stubbs, George, a celebrated animal painter, and author of a valuable work 
 on the Anatomy of the Horse, b. at Liverpool, 1724; d. 1806. p. 197 (2), 
 207. 
 
 Swaine, Francis, an English marine painter who flourished in London be- 
 tween 1770 and 1780. p. 103 (2). 
 
 Tempesta, see Molyn. 
 
 Teniers, David, the Younger (Flemish School), b. at Antwerp, 1610 ; d. 1694. 
 The son of a painter, from whom he received his first instruction in art. 
 Brauwer and Rubens afterwards contributed to complete his education. 
 The Archduke Leopold patronised him, and appointed him director of the 
 magnificent picture-gallery which he had collected. Teniers made many 
 small copies from these pictures, and acquired an almost Protsean power of 
 imitating the style and colouring of any master. The King of Spain 
 erected a gallery expressly to receive the works of Teniers. Teniers resided 
 at a chateau near Mechlin, which became the resort of all lovers of art and 
 literature, p. 62 (2), 65 (2), 144-171. 
 
 Thornhill, Sir James (English School), b. at Melcombe-Regis, in Dorsetshire, 
 1676 ; d. at Thornhill, near Weymouth, 1734. He represented his native 
 borough in Parliament. His principal works are the Hall at Greenwich, 
 the Hall at Blenheim, and the Dome of St. Paul's Cathedral, London, 
 p. 11. 
 
 Tintoretto, see Robusti. 
 
 Titian, or Tiziano Vecellio ( Venetian School), b. at Cadore, 1477 ; d. at 
 Venice, 1576. The greatest master of the Venetian school. Studied under 
 Bellini. He became pre-eminently distinguished in portraiture. The 
 Emperor Charles V. and his son Philip II. were Titian's greatest patrons. 
 Titian painted the portrait of the Emperor at Bologna in 1530. In 1546 he 
 received a visit in the Vatican from Michel Angelo Buonarroti and Vasari. 
 Blenheim. 
 
BIOGKAPHICAL LIST OF PAINTERS. 
 
 227 
 
 Titian died of the plague at the advanced age of 99. His son Orazio died 
 at the same time, aged 60. p. 51, 52 (2), 83-92. Copied by Teniers, p. 
 152-157. 
 
 Turchi, Alessandro, called L'Orbetto and Alessandro Veronese ( Venetian 
 School), b. at Verona, 1582 ; d. at Rome, 1648. Called L'Orbetto from his 
 leading his blind father about. Began first as a colour-grinder to and after- 
 wards a pupil of Brusasorci. He also studied under Saraceno. He fre- 
 quently painted on slate or marble, p. 70. 
 
 Valentino, Moses (fioman School), b. at Colomiers, 1600 ; studied under 
 
 Vouet, but finally adopted the manner of Caravaggio ; d. 1632. p. 204. 
 Vanbrugh, Sir John. p. 12. 
 Vandelen, see Delen. 
 Vander Neer, see Neer. 
 Van Dyck, see Dyck. 
 Van Loo, see Loo. 
 Van Somer, see Somer. 
 
 Varotari, Alessandro, called II Padovanino (Venetian and Padnan 
 Schools), b. at Padua, 1590 ; d. 1650. Son of Dario Varotari, an excellent 
 artist, from whom he received his earliest instruction. He visited Venice 
 in 1614. He devoted himself to study the works of Titian, whose style he 
 imitated with great success, p. 85. Copied by Teniers, p. 150, 169. 
 
 Vasari, Giorgio (Tuscan School), b. at Arezzo, 1512. Studied under his 
 father, Andrea del Sarto, and Michel Angelo. His biographies of the great 
 Italian painters are universally known. He was the intimate friend of 
 Michel Angelo. Died at Florence, 1574. p. 202. 
 
 Vecellio, see Titian. 
 
 Veronese, see Cagliari. 
 
 Verrio, Antonio (Neapolitan School), b. at Lecce, 1639. Painted frescoes at 
 Windsor and Hampton Court for Charles II. For the paintings at Burghley 
 House alone he was paid 18,000Z., besides his keep, and a carriage at his dis- 
 posal. Died at Hampton Court, 1707. p. 179. 
 
 Vinci, Leonardo da (Tuscan School), b. at Vinci, near Florence, 1452. 
 Natural son of a notary. Fellow pupil with Pietro Perugino under Ver- 
 rocchio. Offered his services to Ludovico il Moro in 1480. Studied anatomy 
 with particular care. Finished his great picture of the ' Last Supper ' at 
 Milan, 1497. Returned to Florence, 1500. Visited Rome for the first 
 time in 1514. Accompanied Francis I. to France in 1517 ; d. in the arms 
 of the King at Amboise, 1519. p. 102 (?). 
 
 Watteau, Antoine (French School), b. at Valenciennes, 1684 ; d. 1721. Son 
 of poor parents. Went to Paris in 1702 in connexion with a scene-painter, 
 and became acquainted with Gillot, who afforded him both instruction and 
 the means to live. He visited England at the close of his life. His scenes 
 of Balls, Masquerades, and Fetes Champetres were perfectly original, and 
 have their imitators to this day. His genuine works are very rare. p. 64, 
 140, 141 (3). 
 
 Weekes, H. (Modern Sculptor), p. 81, 134, 135. 
 
 Weenix, John Baptist (Dutch School), b. at Amsterdam, 1621 ; d. 1660. 
 Blenheim. 
 
228 
 
 BIOGRAPHICAL LIST OF PAINTERS. 
 
 An excellent and most universal painter, whose works are very rare. His 
 son John Weenix, whose pictures for the most part represent dead game, 
 is much more generally known, p. 27. 
 Weenix, John {Dutch School), son of the preceding, b. at Amsterdam, 1644. 
 Devoted himself more particularly to subjects with dead game. d. 1719. 
 p. 211. 
 
 Wootton, John (English School), a pupil of old Wyck, an excellent painter of 
 animals and sporting pieces. He also painted landscapes, and imitated the 
 styles of Gaspar Poussin and Claude Lorraine with great success. He died 
 at his house in Cavendish Square, 1765. p. 17, 48 (?), 80, 197. 
 
 Wouwerman, Philip (Butch School), b. at Haarlem, 1620; d. 1668. Son 
 of an artist named Paul Wouwerman. He studied afterwards under John 
 Wynants. p. 56, 103, 104. 
 
 Wyck, John (Butch School), b. at Haarlem, 1640 ; d. at Mortlake, 1702. Son 
 of Thomas Wyck, who came to England at the Restoration. John Wyck 
 sometimes assisted Sir Godfrey Kneller in equestrian and cavalry subjects. 
 He imitated Wouwerman. p. 65. 
 
 GEORGE SCHARF. 
 
 LONDON : PRINTED BV W. CLOWES AND SONS, STAMFOUD STREET, 
 AND CHAKING CKOSS. 
 
To it placed ab end of Catalogiu 
 — 
 
 1 
 
 Jrouced from the. ' origin 
 
 I hf°3 J pa#e 24 
 
 770 20 .„ 727 ' 
 
 iV°38,pageffl 
 \ 
 
 5V5ANNE DE COVRT 
 
 -0 
 
 7 
 
 r JT Qpage 720 jp> ^ pa9& /% 
 
 I EL ILLY. Fecit; i7°3 
 
 |CAROLVS^ 
 RE* M AGISTS 
 
 JP BRITANlX. 
 
 jV°// pap/c 36 
 
 WW page. /Or / 
 ¥°. s 77&/8pa<?v70O< 
 
 N?5,pag&?t3. 
 
 PEETER A/EEjf^ 
 
 D van dejlen P /6.sv5\ 
 
 j 7 ;" 73, ^« 
 
 J 7 / e 
 
 34 'page, 196. 
 
 j^fj H°?9j>agcl05 
 
 W 22 page 740 
 
 iV°3>7pag&.773. 
 cne. 
 
 HT°7page. 703 
 
 jy°74,pag&47 r , 
 
 SAAA '.A $ a c A/ v 
 
 IP 75, page 6Z 7v r °27,pageffi 
 
 * ^i*+<£?„ X Zocqu.tr re % 
 
 ' ^9 1 2f°Z6,pa<,e27. 3fa ^ Sotron^ -f±7 ChcUVnS 6 O V O Orb 
 
 iewrye ■Schorr' \F SA ckrtAit, 
 
 77*3$ page 794-. 
 
 MONOGRAMS AND SIGNATURES ON PICTURES IN BLENHEIM PALACE . 
 
 JVy* J and- 2 croud' frojru toe Urujiruxl 
 
* '9 
 
GETTY CENTER LIBRARY 
 
 3 3125 00112 5836