The New Authorised Mistorical Catalogue of the Pictures and Tapestries in the King's Collection at Hampton Court Palace With Maps and Plans and a Guide to the Great Hall and State Rooms By Ernest Law, C.B. PRICE ONE SHILLING. BY THE SAME AUTHOR Sold in the Great Hall and at the East Front Garden Entrance HAMPTON COURT ILLUSTRATED A POPULAR GUIDE TO THE PALACE AND GARDENS With Twenty-two Photographic Views and several Maps and Plans Price One Shilling THE NEW AUTHORISED HISTORICAL CATALOGUE PICTURES & TAPESTRIES HAMPTON COURT ABRIDGED FROM THE AUTHOR'S LARGER WORKS WITH A GUIDE TO THE GREAT HALL AND STATE APARTMENTS By ERNEST LAW, C.B. AUTHOR OF "THE HISTORY OF HAMPTON COURT"; "SOME SUPPOSED SHAKESPEARE FORGERIES"; I " ENGLAND.'S FIRST GREAT WAR MINISTER," ETC. WITH MAPS, PLANS AND VIEWS OF THE IN THE KING'S COLLECTION AT NOTICE THIS GUIDE AND CATALOGUE ARE COI'YKIGHT AND IMMEDIATE PROCEEDINGS IN CHANCERY WILL BE TAKEN AGAINST ANY INFRINGERS THEREOF London: HUGH REES, Limited 5, REGENT STREET, S.W. i. 192 1 NOTICE TO VISITORS. The State Rooms are open every day in the week, except Fridays, 10 to 5 in March and April ; 10 to 6 in May, June, July and August ; 10 to 5 in September and October; and 10 to 4 in the winter months. On Mondays, Wednesdays, Thursdays and Saturdays there is a charge of 6d., on Tuesdays 1/-, for each Visitor. On Sundays the public are admitted '/ree but the State Rooms are not open until 2 o'clock. Visitors are required, for the general convenience, to pass through the State Rooms inx>ne direction only. T/ie Gardens are open every day in the year from early morning to dusk. Visitors are invited to communicate with the author (The Pavilion, Hampton Court Palace), if they have any suggestions to offer or corrections to make. CONTENTS. MAP ENVIRONS OF LONDON . 3-6 VIEWS OF THE PALACE . . 8-IO MAP OF PALACE GARDENS . 12 THE ASTRONOMICAL CLOCK . I4 king's GREAT STAIRCASE . 45 king's GUARD CHAMBER . . 47 WILLIAMIIl'SPRESENCECHAMBER 50 THE HAMPTON COURT BEAUTIES. 5I SECOND PRESENCE CHAMBER . 59 king's AUDIENCE CHAMBER . 64 king's drawing-room . . 73 WILLIAM Ill's BEDROOM . . 78 king's DRESSING-ROOM . . 83 king's writing CLOSET . . 93 QUEEN MARY'S CLOSET . . lOI queen's GALLERY . . . I05 THE TAPESTRIES IN DITTO . IO5 queen anne's BEDR06M . 107 QUEEN anne's DRAWING-ROOM III queen's AUDIENCE CHAMBER. II5 PUBLIC DINING-ROOM . . 121 queen's LOBBY . . .. I30 queen's presence chamber. 131 queen's private chapel . 137 queen's BATHING CLOSET . I39 king's private DINING-ROOM . I4I the little closet . . i43 queen's private chamber . 144 king's private DRESSING-ROOM I46 GEORGE Il'S PRIVATE CHAMBER . I48 THE LOBBY . . • I50 king's GALLERY . . 151 THE king's LOBBY , . . I57 COMMUNICATION GALLERY. . I59 LOBBIES TO WOLSEY'S CLOSET . 168 CARDINAL WOLSEY''S CLOSET . \ I7I THE HAUNTED GALLERY . . 173 TAPESTRIES IJf DITTO . -175 queen's great STAIRCASE . I77 the great hall . . . i78 tapestries in ditto . . 182 henry viii 's watching chamber l84_. Tapestries in ditto . . 185 the horn room . . . 189 P^EW EDITION. K^tna's ^reat jStaircase. This staircase, which is the principal approach to William Ill's State Rooms, was designe,d by Sir Christopher Wren and finished about the year 1700. Its decoration — so meretriciously magnificent — is a good specimen of that gaudy French taste which was first imported into England by Charles II and his courtiers, and finally triumphed in the reign of William and Mary over our less pretentious, but purer and more picturesque, native style. It is 43 feet long, by 35 feet wide, and about 40 feet high. The painting of the walls and ceiling was executed by Verrio, who at first refused to serve William of Orange at all, on account of his pohtics and religion, but at length condescended to work for him here. His performances were in his day held in very high estimation. Some grew so enthusiastic that they gave vent to their feelings in verse : . . . "Great Verrio 's hand hath drawn The Gods in dweUings brighter than their own." His fame, however, was short-lived, and Pope's couplet : " On painted ceihngs you devoutly stare, Where sprawl the saints of Verrio and Laguerre," has given the cue to all criticism since. This staircase displays in a startling degree the tasteless exuberance of his pencil : Gods and Goddesses, Nymphs and Satyrs, Muses and Bacchanalians, Virtues and Attri- butes, Zephyrs and Cupids, ^neas and the twelve Caesars, Julian the Apostate with Mercury as his secretary, Juno and her peacock, Romulus and the wolf, Ganymede and 45 D CATALOGUE OF HAMPfoM COl^RT PICTURES. the eaglcj Hercules with his club, all jostle one another in amazing confusion, in inconceivable attitudes and wonder- ful attire, floating on clouds, sailing between columns, and reclining beneath canopies of rainbows, flowers, and Zephyrs' heads. The north wall is on the left as 3'ou enter. Just above the wainscot is Flora, and opposite her a Nymph or Fortune, with a cornucopia ; behind them are Cupids and Iris, and on both sides are River Gods and Nymphs. Above them, poised on clouds, is Ceres, attended, by Cupids ; above her is the god Pan wdth his unequal reeds ; and stiU further up, on the cornice, are Apollo and the Nine Muses, playing on various musical instruments. The ceiling represents the Banquet of the G ods. J upiter and Juno are seated at table, attended by Ganymederiding on the eagle, and by Nymphs who hand nectar and ambrosia ; below them are Juno's peacock and one of the Parcas ; while above them are an arc with the signs of the Zodiac, Cupids scattering flowers, Fame blowing her trumpet, and Zephyrs' heads breathing soft airs. Below are the other Gods and Goddesses banquetmg : to the left Venus and Mars, to the right Neptune, and the rest in the centre. The east wall, which is opposite the entrance, is painted in continuation of the subject on the ceiling. Just below the cornice, to the left, is Bacchus with his left hand on the head of Silenus. Above, in the centre, is Diana rechning on her crescent. Below is a marble table Supported on two- headed eagles, with wings displayed, themselves resting on clouds. Below is Hercules with his club, and also a winged figure of Peace with an olive branch ; near her is ^Eneas, standing. He is pointing to the middle, where are seen the twelve Caesars, amidst whom is the soothsayer Spurina. Above them is Romulus with the wolf, while to the right the Genius of Rome hovers over them. The south wall shows Juhan the Apostate seated at a table, and turning round to Mercury. 46 King's (^uard C(Damber. This room, which is one of the finest of the suite, being 6oJ feet long, 37^ feet broad, and 30 feet high, is curiously decor^Lted with old arms. They were so arranged for William III by a gunsmith named Harris, who had treated the Guard Chambers at the Tower and Windsor Castle in this fashion. The arms are nearly 3,000 in number. Harris was pensioned by the Crown for his ingenuity. There are also sixteen old halberds, formerly used by the Yeomen of the Guard in the time of William HI, whose cypher, crowned, is enamelled on them. Notice also the beautiful old barometer in a case of walnut wood, made for William III by Thos. Tompion, the celebrated clock and instrument maker, whose name is engraved on it. The King's crowned cypher in ormolu decorates the top. THE PICTURES. 1 Bringing in Prisoners and Wounded. . Rugendas 2 Foraging Party going out .... Rugendas 3 Entry into a Town after a Battle . . Rugendas 4 Besieging a Town Rugendas This and Nos. 1. 2, 3, 7. 9. 13, and 16 represent scenes from Marl- borough's campaigns in the Netherlands. 5 A Landscape Claude ? 6 Psyche discourses with her Sisters . LucA Giordano 7 TIalt of an Army Rugendas 8 Psyche borne to the Abode of Pleasure L. Giordano 9 Cupid discovered by Psyche . . L. Giordano 47 CATALOGUE OF HAMPTON COURT PICTURES. 10 The Colosseum at Rome . . . Canaletto The Colosseum is on the left, and the arch of Constantine, the Church ■ of St. Giovanni et Paulo, and the aqueduct to the Palace of Nero on ^ the right. It -is a made-up picture, as these buildings are really all ! widely separated. On a stone to the left of the canvas is- the inscription "ant. canal. F. MDCCXLiii." Canaletto's visit to England," where his works were already well known and much admired, took place three years after the date on this picture. 11 Soldiers attacking a Foraging Party . Rugendas 12 Psyche Feasted in the Garden of Pleasure L. Giordano 13 Cupid Awakens ? 15 Psyche Exposed on the Rock . . L. Giordano 15 Psyche Forewarned , . . L. Giordano 16 A Wedding in Camp . . . . Rugendas 17 Cupid incited by Venus to wound Psyche L. Giordano - 18 Psyche discovers her Lover to be Cupid L. Giordano 19 Queen Elizabeth's Giant Porter— so-called C. Ketel This portrait is life-size, his height being 8^ feet, and his hand 17 inches long ' ' Anno 1580 ' ' is inscribed on the canvas, in the upper right-hand corner. It is probable that this is really John Middleton, the famous " Childe of Hales." a giant in the time of James I. - Though at one time ascr bed to F. Zucchero. it is most probably by Cornelius Ketel. for whom see an article by Mr. Lionel Cust in the " Burlington Magazine" ; and for a portrait of hira. see post No. 503. 20 Raising Earthworks against a City . Rugendas 21 The Parents of Psyche offer Sacrifice L. Giordano 22 Venus Triumphs on the Sea . . L- Giordano 23 Landscape, with Ruins, Goats, and Sheep Paul Bril Paul Bril. who was born at Antwerp in 1556. holds an important position in the history of landscape-painting.^^ " He was the first to introduce a certain unity of light in his pictures." 48 KING'S GUARD CHAMBER, 24 Cupid flies from Psyche . . L. Giordano 910 View ,of the old East Front of Hampton Court, as finished by Henry VHL, showing the avenues and canal made by Charles H. in 1662 H. Danckerts This curious old picture was discovered by the author stowed away in a bedroom at St. James's Palace. It was painted for Charles II. 916 The Old Castle of Pontefract . J. de Momper This has been shown by Mr. A. S. Ellis to be a picture of Pontefract Castle, as it was before being razed to the ground by order of the Parliament in 16^9 — a most valuable and interesting identification. {See "Notes and Queries," 18th Nov., 1911). The view is much more trustworthy than other extant ones, showing the castle, as it does, in true perspective from Bag Hill to the south. 49 OTnilam XXX/s presence Obambcr. Facing the entrance to this room hangs the Canopy of State, under which was formerly the Chair of State. Here the King gave audience to ambassadors and statesmen. The canopy is of crimson damask; at the back the arms of Wilham III and his motto, ^' Je main tien dray," are embroidered in silver, and round the valance are the crown and the cypher W. R., and the rose, harp, fleur-de- lis, and thistle, likewise crowned. The carving is by Grinling Gibbons, who was specially employed by William III to decorate his new Palace. Nothing can exceed the lightness and delicacy of the festoons of flowers and fruit in lime-wood over the fire- place and doors in this and other rooms. Between the windows are three old-fashioned looking- glasses in gilt frames, with bevelled edges. These and the stools are part of the original furniture of the room ; the gilt stands — torcheres, for candelabra— in the corner are later, having the monogram G.R. on their tops. A fine silver chandelier, of four lights above and eight beneath, hangs from the centre of the ceiling, chased with the harp, thistle, &c., and it probably hung here in Wilham Ill's time. The mantelpiece, with the two pieces of oriental ware on the high shelf — part of Queen Mary's collection — should be noticed. The fireback is of cast-iron, and shows the royal arms and I. R. 1687. Notice the fine pair of bronze " dogges," representing Mars and Hercules, made for William III. THE HAMPTON COURT BEAUTIES. In this room are now placed the well-known collection of the Beauties of the Court of William and Mar}^, painted by Sir Godfrey Kneller, and called the Hampton Court 50 WILLIAM IIi:S PRESENCE CHAMBER, Beauties." This name was given them from their being placed in this Palace by Queen Mary, and also in order to distinguish them from Lely's Beauties of Charles II's Court, formerly at Windsor, and called " The Windsor Beauties," but which have hung here since about 1830, and are now in the Communication Gallery." {See p. 159.) (A recent work, "The Fair Ladies of Hampton Court,** by Clare Jerrold, gives full biographies of both sets of Beauties.) Of the beauties of Hampton Court, Horace Walpole remarks, in his " Anecdotes of Painting," that " the thought was the Queen's during one of the King's absences : and contributed much to render her unpopular, as I have heard from the authority of the old Countess of Carlisle, who remembered the event. She added that the famous Lady Dorchester advised the Queen against it, saying : ' Madam, if the King was to ask for the portraits of all the wits in his Court, would not the rest think he called them fools ? ' " The Queen, however, would not be dissuaded ; she ap- parently wished to emulate the enterprise of the Duchess of York, for whom Lely painted his series of " Beauties " ; and Kneller, on his part entered thoroughly into the spirit of the idea, and did his best to rival his predecessor. But his productions, it must be confessed, cannot compare with their models, either as works of art or objects of interest. They are heavy in style, they have much sameness in their designs ; and the originals could boast of none of those romantic adventures or piquant and scandalous anec- dotes which have immortahsed the "Beauties" of the Merry Monarch. Kneller was knighted, however, for his performance, and received besides a chain worth 300. An anecdote connected with them is told by Horace Walpole in a letter to Sir Horace Mann, dated August 31, 1751 : ''As you talk of our beauties, I shall tell you a new story of the Gunnings. They went the other day to see Hampton Court ; as they were going into the Beauty-room, another company arrived ; the housekeeper said, * This ' 51 CATALOGUE OP HAMPTON COURT PtCfURESr way, ladies ; here are the Beauties.' The Gunnings flew into a passion^ and asked her what she meant ; that they came to see the palace, not to be showed as a sight them- selves." The pictures represent the ladies standing, nearly all looking to the front, and attired in conventional drapery, without the preposterous head-dresses of the time, but the hair so disposed and elevated as not to shock too much the prejudices of fashion. The backgrounds are landscapes and gardens, with pillars and balustrades. 25 Ruins and Landscape .... Rousseau This and Nos. 67, 68, 81, and 95 are pieces painted expressly for the decoration of panels in these apartments, by order of William III, 26 Lady Diana de Vere, Duchess of St. Albans Kneller Only child and heiress of Aubrey de Vere, 20th and last Earl of Oxford. Being immensely rich. Charles II betrothed her when quite a child to his natural son by Nell Gwynne, Charles Beauclerc, Duke of St. Albans, the ancestor of the present Duke. 27 Venus and Cupid escaping from Diana Swanevelt 28 Cupids, with Boat and Swans POLIUORO CaLDARA DA CaRAVAGGIO This and others here are six pieces which belonged to Charles I. Behind each is his cypher — C.R. crowned — and a slip of paper recording that they were bought in 1637 with Frosley's Italian collection. 29 Wilham IH. landing at Margate, 1697 . Kneller This large allegorical picture is 18 feet by 15. The King is represented in armour on a white horse, trampling on the emblems of war, by which lies a jflaming torch. Above are Mercury and Peace in a cloud support- ing the King's helmet, decorated with a laurel wreath, while a Cupid holds a scroll. Neptune, with attendants, welcomes him to British ground. In front. Plenty, with her cornucopia, offers a branch of olives, and Flora presents flowers. In the distance are some ships whose sails are swelled with the east wind. Signed on the left: ''Godfrey y Kneller, Eques., Faciehat. 1701." This is the picture of which Pope speaks with a touch of satire in the lines : • " And great Nassau, to Kneller's hand decreed To fix him graceful on the bounding steed." 52 WILLIAM Iirs PRESENCE CHAMBER, There is an engraving of it by Baron, from which we ascertain that the inscription on the scroll, now illegible, was: " pacat\mqve regit PATRiis viRTVTiBvs ORBEMi' ; and that the picture was painted, as we might suspect from the emblems, the scroll, and the date, not to celebrate the King's landing at Torbay in 1688, as is usually said, but at Margate in 1697, after the Peace of R5cswick. 30 Lady Mary Bentinck, Countess of Essex . Kneller Eldest daughter of William, Earl of Portland, William Ill's favourite, and married the Earl of Essex, in 1692. 31 Landscape — Venus and Diana. {See No. 27.) SwANEVELT 32 Cupids with a Boat. {See No. 28.) Polidoro Caldara da Caravaggio 33 Carey Fraser, Countess of Peterborough Kneller Daughter of Sir A. Fraser, and first wife of the great Lord Peter- borough, 34 Portrait of a man with a Red Girdle . Pordenone ? ^- Superb in force and grasp of character. There is something in the execution, however, and especially in the landscape background, suggest- ing less a true Venetian than a Northern hand schooled to paint in tl^e Venetian style. - (C. Phillips.) . c', (I^'O.CA.^^t- I^^^^K'n*"* 33 Worshipping the Host . . . Jac^o Bassano a sketch for the picture at Althorp. 36 An Old Man s Head . . After B. Denner ? 36a An Old Woman's Head . . Af erB. Denner ? Copies of originals at Munich. 37 Lady Margaret Cecil, Countess of Ranelagh Kneller She was a daughter of James, 3rd Earl of Salisbury, and married, first. Lord Stowel ; and at his death, secondly, at the age of nineteen, Richard Jones, Earl of Ranelagh, then about sixty, but "frisky and >uvenile, curly and gay." Fielding, in Tom Jones, compares Sophy Western to this picture of Lady Ranelagh. There is another one of her at Hatfield. * 38 William HI Embarking from Holland . Unnamed He started, first of all, in October, but was driven back by a storm. Macaulay is wrong in saying that " though suffering from sea-sickness he 53 CATALOGUE OF HAMPTON COURT PICTURES. refused to go on shore" ; for Mary's letters, published in 1880, prove that they met again at Helvoetsluys on November 10. . "He went," says Macaulay, "on board a frigate called The Brill. His flag was immediately hoisted. It displayed the arms of Nassau quartered with those of England. The motto, embroidered in letters three feet long, was happily chosen. The house of Orange had long used the elliptical device, ' I will maintain.' The ellipsis was now filled up with words of • high import, 'The liberties of England and the Protestant religion.' " In the foreground of this picture the Prince of Orange is taking leave of the deputies of the States, before entering the boat which is to convey him to his ship. In the boat is the famous red flag, and the words : PROT. RELIGION AND LIBERTY can be made out. The back- ground shows the fleet ready to sail, on board of which were 14,000 men. Above, on a scroll, is the inscription in Dutch : " Vertreck van S. K. H. Prins van Oranien na Englandt met ecu Floot van 500 Scheepen Ano, 1688. d. ii November." 39 Figures in Landscapes, Sketches . Schiavone 40 Miss Pitt, afterwards Mrs. Scroop Sir G. Kneller 41 Tobit and the Angel .... Schiavone 42 Portrait of a Gentleman . . . Venetian School 43 Portrait of Peter OHver, Miniature Painter Hanneman Hanneman was the most successful of all the imitators of Vandyck and particularly in the airs of his heads. Peter Oliver was the eldest son of Isaac Oliver, the great miniature painter in Queen EUzabeth's reign, whose fame he rivalled under James I. and Charles I. 44 James, 2nd Marquis of Hamilton . . Mytens Holding the white wand of his office — Lord-Stewardship of the Household to James I. On his breast are the insignia of the Garter. In the lower right-hand corner is a label with this inscription : "Jacobus Marchis Hamiltonice, ^tatis, suce 44, Aiio. Dm. 1622." He was a great favourite of the King's, and at an early age made a gentleman of the Privy Chamber, and about 1615 Lord Steward. 45 Cupids with a Boat. (S^gNo.28.) Polidoro Caldara da Caravaggio 46 Lady Isabella Bennet, Duchess of Grafton Kneller She was the only child and heiress of Henry Bennet, Earl of Arlington, and became Baroness Thetford and Countess Arlington in her own WILLIAM IWS PRM.SENCE CHAMBER. right. Charles II., who, as far as his bastard offspring were concerned, seems to have had a keen eye to the main chance, betrothed her, when only five years old, to his son by Lady Castlemaine, Henry Fitz-Roy, Duke of Grafton, aged eleven years. 47 Diana and Actaeon -y^,^^/ , . R^T>fa « ^ERQ ii C3C ? This is a small copy, with some' varieties, of the Madrid copy of the famous Actaeon in the EUesmere collection ; and a similar copy belongs to Lord Yarborough. Another is at Prague, attributed to Paul Veronese, and this one is probably by the same master. 48 Portrait of Mytens the Painter . . MyteNS - For the proofs that this is Mytens' portrait, by himself, see "Royal Gallery of Hampton Court, Illustrated." There are a great many specimens in this palace of Mytens' skill as a portrait-painter ; and some of them are so excellent that we are not surprised to hear his works have been often taken for Vandyck's. He appears to have been in England even as early as 1618, and was patronised both by James I. and Charles I. King James gave him a pension of £50 a year for life (worth what £500 a year would be nowadays). Charles I. added £20 more, and paid him large sums besides, giving him £125 for executing a copy of Titian's great Venus. When Vandyck arrived and was appointed the King's principal painter, Mytens "in disgust asked his Majesty's leave to retire to his own country ; but the King, learning the cause of his dissatisfaction, treated him with much kindness, and told him that he could find sufficient employment both for him and Vandyck." He seems to have been equally kindly treated by his great rival, who afterwards painted his portrait among the great artists of his country. ■;x.-x La'^''^?A-*iV*- * 49 Portrait of a Gentleman e^^'-^'^^tc?^ imdi^ieit 60 Youth . .B. Denner? 51 Lady Mary Cornpton, Countess of Dorset Kneller Daughter of James, 3rd Eail of Northampton, and became in 1685 the second wife of the celebrated poet and wit. Lord Dorset. When the Princess Anne deserted her faiher, she was entertained on the night of her flight by the Dorsets at their house in Epping Forest. 52 Landing of WilHam III at Brixham, Torbay Unnamed Compare the companion picture to this, No. 38. He. landed on November 5, 1688 ; the scroll on this picture says February 5, 1689, which is certainly an error. Every incident of the landing detailed by Macaulay is depicted here : we see the fragment of rock on to which he stepped, and which is still preserved by the reverential townsmen of Brixham ; the horses for which he called on 55 CATALOGUE OP HAMPTON COURT pICTUrE^. landing are being brought forward, and his flag is seen floating from the castle. On the scroll above is the following inscription : " Jhre Konjng Hohejt Prjntz von Oranjen Angel anget jn Engelandt, Ano, 1689. die 5 Februarij." 53 Landscapes, with figures. {See No. 39.) Schiavone 64 Lady Middleton Kneller 55 Portrait of a Man Unknown 56 Age , . . B. Denner ? ftirPortrait of Guidobaldo D'Este ?'! Justus of Ghent? 58 Prince of Orange embarking his army for England _ from Brielle and Helvoetsluis on board 400 transports with a force of 50 men-of-war on Oct. 26, 1688. 59 George ViUiers, Duke of Buckingham, K.G., with his wife Lady Katherine Manners, his brothers John Viscount Purbeck and Christopher Earl of Anglesea, his sister, the Countess of Denbigh, his daughter Mary, and hip son George . . . Gerard Honthorst. Painted just before Buckingham's assassination, the Duke falling a victim to Felton's dagger on August 23, 1628. It was during the summer of that year that Buckingham's unpopularity reached its highest pitch: he was continually exposed to insult from the populace, and London was placarded with a paper inquiring: "Who rules the King- dom?— The King. Who rules the King?— The Duke. Who rules the Duke ? — The Devil ! ' ' He himself was filled with forebodings of his approaching end. He begged Laud to "put his Majesty in mind to be good to my poor wife and children," and remarked that, "against popular fury, a shirt of mail will avail nothing." The Duke is in the middle, seated, and holding the hand of his wife, Lady Katherine Manners, heiress of Francis, Earl of Rutland. In front of them is their daughter Mary, afterwards Countess of Pembroke and Duchess of Richmond, who was then about seven years old. On the extreme left is the Duke's sister, the Countess of Denbigh, who at this time is said to have had supernatural warning of the Duke's impending fate. His mother, created Countess of Buckingham in 1618, in a gigantic ruff, is on his left, seated. This is the lady who, acquiring great 56 WILL/AM Iii:S PRESENCjE tHAMBRk. ^influence at Court by the rise of her son and her own intriguing spirit, was accused with h.m of poisoning James I. She was the perpetrator of the well-known trick played on him of dressing up a pig as a baby and introducing it with a mock bishop to the King, to be baptized ! On either side of her are Buckingham's elder brothers : John, Baron Villiers of Stoke and Viscount Purbeck, and Christopher, Baror Daventry ancj Earl of Anglesea, The child in front, held by a lady kneeling, is the second and infant Duke of Buckingham, who, when this picture was painted, was only about a year old, having been born on January 30, 1627. In the back- ground is a portrait, probably of Sir George Villiers, the Duke's father, whose ghost, according to the story, appeared to an old retainer of the family to give warning of his son's danger. V 60 ^aint Catherine with Palm and Wheel Gianpietrino ? Otviously bygone of the followers and imitators of Leonardo da Vinci ; and Sir Claude Phillips's ascription of it to Gianpietrino, one of the master's actual pupils, is probably correct. His workshop must have been one of the busiest and most frequented in Milan between 1520 and 1530. The sweet smile which characterises all Gianpietrino's female heads he derived from his master. He is easily recognised by the golden red colour of his draperies by his form of hand and ear, by his cold flesh tints, and by his life-like hands, contrasting with the stiff lifeless hands of Marco d'Oggionno {see note to No. 64), with whom he is often confounded, and to whom some have attributed this panel. A picture similar to this is at Berkeley Castle ; another, apparently by Luii;ii, was formerly in the possession of Mr. Humphry Ward. V 61 A Woman with Flowers . . Bernardino Luini Certainly not by Leonardo da Vinci. Dr. Gustavo Frizzoni accepts it as a genuine Luini. There is a portrait, evidently of the same girl, in the Bibliotheca Ambrosiana at Milan, undeniably by Luini. This picture is of the type on which Lucas modelled his famous wax bust. 62 Charles II. taking leave of the Dutch States Unnamed Above are two angels holding a small portrait of the King, and on either side qf it are scrolls with this 'inscription: " vertrek carl STUARTS II NACH ENGELANDT AnnO 1660, DEN Z Junij." Over the church, on the left, is another scroll with Schevelingen " on it. The figure near the barge, with his hat off, bowing, appears to be the King ; the lady is probably his aunt, Elizabeth of Bohemia. The details are worth noticing : the firing of salutes by the fleet and soldiers, the deputations from the States to bid him farewell, the coaches and retinues of the Committees of the Lords and Commons, of the City of London and of the clergy, and of private individuals. 57 CATALOGUE OF HAMPTON COJTrT PICTURES. 63 A Female Saint with a Cross School of Lorenzo Costa The work of a Ferrara-Bolognese artist : and we cannot be far wrong in following Morelli. who pronounced it a work of Lorenzo Costa. Others attribute it to his scholar Tamaroccio. ^■J Infant Christ caressing St. John {after Leonardo daVinci) Marco d'Oggionno Though certainly not by the master, this may safely be ascribed to his pupil Marco d'Oggionno, an indiiferent painter, except when he is working, as here, from a design supplied by a chef d'ecole. A similar picture, also by d'Oggionno, with a different background, which was formerly in Lord Exeter's collection, was sold in the Doetschp collection in 1895. At the Hague is a Flemish example of the same design, "with an elaborate architectural background of northern character," catalogued as a Mabuse. " Other repetitions are in the Naples Gallery and the Weimar Museum. Lorenzo Lotto has adopted the same design of the children kissing with some variation, in his exquisite Madonna and Child, of 1518, in the Dresden Gallery." 65 Marie Beatrix of Modena, Queen of James 11. Kneller? This picture was probably painted about the time of her step-daughter's^ marriage with the Prince of Orange in 1677, her costume and the orange- tree being apparently introduced in compliment to that alliance. She was then nineteen, having been married in 1673, at the age of fifteen, to the Duke of York, who was forty ! 66 Cleopatra dissolving a pearl in a glass of wine — Portraits of Jacob de Bray and his Family . . By himself The painter's wife, in a red dress with gold braid, is taking the pearl ear-ring from her left ear. In her left hand she holds a glass of vinegar. In front, five children, with bowls, a mortar and pestle, and a dish. This was in Ja^mes II. 's catalogue, ascribed to Jacob de Bray. It is probably a solitary example in England of this very rare painter, who flourished about the time of Charles II. In recent times it has been erroneously assigned to Solomon, his father, an inferior artist. 67 Architectural Subject .... Rousseau i,8 The carvings are, like those in the last room, by Gibbons. On a door which leads into the lobby to the King's or Cartoon Gallery is a lock with decorative brass-work, cnpids holding the crown over the letters W.M.R., arranged in a monogram. 68 Ruins in a Landscape .... Rousseau 69 Venus Recumbent .... After Titian An old Venetian copy of Titian's Venus in the Uffizi at Florence, painted in 1537 for the Duke of Urbino, of whose wife the head is a - portrait. The picture before us differs from it in not having the little ^ dog near the couch. ^ i - , =^70 Jacob's Journey^ .p^- . . . Jacopo Bassano f ^ 71 Lady in a Green Dress . \: ^lM£(tio A Ho f f t B-wmmrvso y72 Lady Playing on the Virginals ' Bernardino Licinio da Pordenone The authority of Messrs. Crowe and Cavalcaselle. confirming that of Dr. Waagen, has now decided that this and No. 94 are not works of Pordenone's, but of his kinsman and imitator, Bernardino Licinio, who is frequently confounded with him, though far behind him in every branch of bis art. Bernardino excelled chiefly in portraits, and he was fond of groups like Ahese : a father with his wife and family gathered round a table; people, at a musical instrument, playing and singing together; a painter with his pupils. /?^"EstHer¥^ainting before A hasuerus . Tintoretto ^ The King is descending the steps of his throne ; Esther, in front, being held up by a woman and a man. Others are crowding round. It was acquired by Charles I., and when the inventory of the "late . ^ King's goods " was taken by the Commonwealth, "The Story of Queen -livwyt^'- Hester, by Tintorett," was at St. James's, and sold, June 18, ie>SO, to Mr. Smith for £120. One of the most admirable specimens of this unequal master. 59 CATALOGUE OF HAMPTON COURT PICTURED. 74 Portrait of a Sculptor . Leandro Bassano In his left hand he holds a statuette. Leander Bassanus is inscribed in the upper right-hand corner. — 75 Holy Family After Tmk^ The Infant Jesus is stretching forward to receive a wreath of roses tendered him by St. Bridget. A man in armour, with a banner, on the left, behind, is supposed to be St. Hulfus, the husband of St. Bridget. This is a repetition, with some slight variation in the movements of the Infant Jesus, of a famous early Titian, painted between 1512 and 1514, I now in the Prado Gallery of Madrid, where it was catalogued until quite recently as a Giorgione. 76 A Dominican Monk (?) - • TintorettoI 77 Venus and Gupid After Michael Angelo, by Bronzino This grandly beautiful," though hardly attractive, composition, was designed by Michael Angelo. It shows, however, but little resemblance in style to the one at Florence, undoubtedly by Pontormo. Its hard, dry style, and coldness of colouring suggest that it is a copy by Bronzino. " 78 Boaz and R^ath, with men reaping '3eccor;|t - v%a-' t\nk^'S vt. >•,,:<.,. ^ ^ . ,^ .. 112 Portrait of a Gentleman . . Lorenzo Lotto (-; ^113 Portrait of a Man . . Francesco Bissolo ? An Italian towft in the distance. On a red marble ledge below id ^ painted a cartellino on which is inscribed " Joannef Bellinuf." - v^ijw; Whatever may be the history of the panel, and to whatever artist it was formerly ascribed, there can be no question that it is not an original work of Giovanni Bellini at all, but merely from his school, perhaps by his principal scholar and imitator, Francesco Bissolo, who, according to a custom which prevailed in several of the studios of the old masters, inscribed his own paintings with his master's signature. He did so, however, with this difference, namely, that whereas G. Bellini himself always signed his name in capitals, making the second "I" taller than the other, Bissolo signed his master's name in cursive characters as here. — (Morelli's "Italian Painters.") In the opinion of Cav. Venturi, by Marco Basaiti. The clear morning light is characteristic of him. 65 CATALOGUE OF HAMPTON COURT PICTURES. ^"15 Portrait of a Gentleman . . Tintoretto Evidently the picture in Charles I.'s catalogue described as: "A man's picture, as big as the life, to the knees, in a black cap and habit, a,nd a little ruff, his left hand at his side, the other leaning on a table, which the Lord Cottington has delivered to the King, which is yet unpaid for. One of Tintoretto's best works, taken for Titian." Sir Claude Phillips adheres to this attribution.. On the ba-^e of the column is written "an. xxv. 1545 " ; it could not, therefore, be a portrait of St. Ignatius, who was fifty-four years of age * in 1545. Besides, it bears no sort of resemblance to the authentic portraits of the Founder of the Jesuits. 115 The Wise Men's Offerings . . " P. Veronese ? -"^116 Madonna and Child, with St. John the Baptist, and St. Catherine. . \_Jacopo Negretti] Palma Vecchio This beautiful little picture was at one time attributed to Titian ; but all the best critics now assign it to Palma Vecchio. This opinion is • confirmed by an entry in the catalogue of Charles I.'s pictures, evidently vf^w'" ' relating to the panel before us. One of the ^very few, and perhaps one of the very best, specimens of this interesting and delightful master in England ; it belongs to his middle or transition period, and may with advantage be compared with the Shepherd's Offering (No. 140). by Palma's pupil, assistant and imitator, Cariani, and with the same subject, No. 151, by another of his pupils, Bonifazio Veronese I. Among their distinguishing characteristics are these : Palma's flesh tints are always clear and rosy-coloured, while those of Cariani are of a violet reddish tone. " Palma's ear is large and rounded in form, and terminates in a pointed and well-defined lobe ; Cariani 's is also rounded, but has no distinct lobe ; while Bonifazio 's ear, on the contrary, is always long. Palma's scale of colour is deeper than that of Lotto ,or Bonifazio ; his hands more bony than those of Cariani and Bonifazio, coarser and less spiritualised than those of Lotto. Palma's great talents, as all connoisseurs are aware, lay in representing idealised female heads. Those beautiful Venetian types are the very essence of his art, a source of delight and satisfaction to himself, and the immediate cause in all probability of his European reputation. ' ' Morelli's " Italian Painters." 117 Portrait of a Gentleman . . -J-a-copo Bassano He stands by a table, on which is a golden apple held in his left hand ; a book, between the leaves of which are the fingers of his right hand, is also on the table. In the background on the left is a statuette of Apollo on a pedestal or bracket. KINGS AUDIENCE CHAMBER, 118 Head of a Man in a Black Cap . . ? ll/ An^'Sid Man's Head >^'^U . L. Bassano ' ff e Virgin andj:he Infant Saviour Venetian School .'i;;^ 121 Marriage of Joseph and Mary Girolamo da Treviso ? 122 A Venetian Gentleman . . . Jacopo Bassano - — 12^ Louis Gonzaga Due de Nevers and Attendant ? This has recently been identified as a portrait of Luigi Gonzaga, Due de Nevers, and was probably painted by a Parmese or Florentine. 125 Christ healing the Sick .... S. Ricci 126 A Landscape with Figures . . . ScfiiAVONE 127 Venus, Mars, and Cupid . . Paris Bordone ■ " The back of the oak panel is branded with Charles I. 's cypher. v 128 Jacob s Journey . . . . Jacopo Bassano 'o 129 Portrait of an Old Man . . . Jacopo Bassano 130 Portrait of a Man with a Paper in his hand — Dosso Dossi ? 131 Madonna andChildjwiththe Donors Paris Bordone ? ^ According to the later school of critics, a genuine work of that brilliant colourist and most refined artist, where distinctive rosy glazes in the flesh tints, and the peculiar shaped hand with stiff fingers are recognised in this picture. 132 Elizabeth, Queen of Bohemia, daughter of James I. (Bequeathed to Charles II. by Sir Henry Wotton) Gerard Honthorst A highly interesting picture. In the left-hand corner is this inscription : " [m rRAFoRTVNiE SoRTEM, ExTRA Imperivm." It Originally belonged to Sir Henry Wotton, who left it by his will, dated October 1, 1637, to 67 CATALOGUE OF HAMPTON COURT PICTURED. the Prince of Wales, afterwards Charles II., in the following terms : "/ leave to the most hopeful Prince Jhe picture of the elected and crowned Queen of Bohemia, his aunt, of clear resplendent virtues throiigh the clouds of her fortune." Behind it, pasted on the canvas, is a small piece of paper on which the following: is written in a hand- writing of the time : Januarij 21 anno 1639. This Picture was given to Prince Charles by Sr Henry Wooton's laft wilt for a Legacy. It was at Hampton Court in Cromwell's time, and was sold to a Mr. Bass for £10. (Co^mpare No. 458.) The dignit}^ and fortitude of Elizabeth, amidst the most overwhelming misfortunes, roused the deepest enthusiasm in all generous minds. By the army that fought for her she was affectionately called "The Queen of Hearts " Her relative, Christian, Duke of Brunswick, became her sworn champion, and always wore her glove in his helmet. And the chivalrous spirit of Sir Henry Wotton also was n:oved to a noble sympathy wi.h her distress. Honthorst was the Queen's favourite artist ; and he not only painted her several times, but had the honour of instructing her, and her daughter the Princess Sophia, the mother of George I., in the use of the brush. 133 Departure of Briseis .... Schiavone 134 Portrait of a Man . . . . Tintoretto \ 135 David and Goliath . . School of Schiavone 136 Virgin and Child Tobit and the Angel School of Titian ? 137 The Woman taken in Adultery . . S. Ricci 138 Turkish Warrior on Horseback Mazzolino di Ferrara X 139 Jacob obtaining the Bkssing . . Schiavone 140 The Shepherd's Offering . . . Cariani Though long labelled " Unknown," there is no doubt that this is really by Giovanni Busi, called Cariani, who was much influenced by Giorgione, and who was a pupil of Giovanni Bellini and Palma Veccbio. Tnis picture is of his later period, about 15^0, when, having withdrawn from Venice and settled at Bergamo, his mode of expression and repre- sentation underwent their final change, the Venetian element gradually disappearing from his works, and his Bergamasque nature reasserting itself. Some of the characteristics which distinguish him from his master Palma and from his fellow pupil Bonifazio have been noticed under No. 116 ; further, "Cariani's forms are coarser and his landscapes tctally dissimilar to those of Bonifazio." ' 68 I^IA'G'S AUMMxVCE chamber. The back of the panel is branded with Charles I.'s cypher, C R. and the crown ; and a piece of paper is pasted on it with the words " From Mantua, 1628." 141 Madonna and Child .... Bassano ? 142 Portrait of Jacopo da Ponte (II Bassano) By himself' This is probably a genuine portrait of one of the Bassanos. It has generally been called Giacomo the father, though it appears rather to resemble his son Leandro {See Nos. 74 and 119j. As all his four sons were painters, and closely imitated his style and copied his works, it is now almost impossible for even the acutest critics always to discriminate between them. 143^ Unassigned. /144 Christ and the Woman of Samaria . Bonifazio In Charles I. 's collection. A picture called Christ by the -well and the Samaritan woman, by Bon^ffatinis, was sold by the Common- wealth to Colonel Webb, October 23, 1649. for £50. At the Restoration, "a very large piece of the woman of Samaria and Christ, by Bonifacio." was found in the possession of John Cade, at the sign ot the Globe in Cornhill, for which he had paid £50. In James II. 's catalogue it was attributed to Palma Vecchio, and has gone under that name until recently. The more modern critics were once pretty well agreed that this is not by Bonifazio, but by "another gentleman of the same name." Bonifazio Secondo. as he is generally called, to distmguish liim from his master and relative (perhaps his brother), who was an artist of greater talents, and was the painter of No. 151 in this same room ; while the painter of the canvas before us was a mere imitator. It is only quite recently that they have been htld to be "separate entities," and their works discriminated ; though even now it is a puzzle, admitted by all, except the youngest critics of the newest school^ exactly to apportion the share of each in a union in which Bonifazio I. is decidedly '* the predominant partner." The problem becomes still more difficult in those cases where they executed works conjointly, as they appear frequently to have done, and an instance of which we perhaps have in No. 151.* , Even then doubt was not at rest ; for there was a third Bonifazio, probably the son of number one or number two, who is called " Bonifazio Veneziano," having doubtless been born in Venice, and who carried on the family traditions. The best opinion now, however, is that, after all, they ^were one ana the same man. 145' Warrior in Armour CC\6^JS^JU^^^ \ Savoldo Half-recumbent in a gloomy chamber ;• behind are mirrors in which his form is retiected. CATALOGUE OP HAMPTON COURT PICTURES. It is a replica of a portrait in the Louvre, signed by Savoldo, but long catalogued, as was also formerly this one, under the name of Giorgione, and erroneously called Gaston de Foix. (For remarks on Savoldo see next picture.) A most characteristic example of Savoldo, an amateur, but an excellent artist in his way, though one who has been persistently ignored, and whose works are usually assigned to other painters. He was a native of Brescia, and was apparently a pupil, first of Romanino, and then of Giovanni Bellini, besides afterwards studying the works of Titian (Morelli) He also underwent the influence of Giorgione and Lotto, and to the latter painter, especially, he betrays close affinities, notably in the portrait of the male donor before us, which may be compared with Lotto's Andrea Odoni (No. 152), painted in the same year. There is, however, always a distinct, style in his works, which is peculiarly his own. He was held in high esteem by his contemporaries, and especially Aretino, Titian's friend. '* His colouring is, on the whole, colder than that of his contemporaries of the Veneto-Brescian schools, and his flesh tints are adust and sombre, especially in his male figures ; nor are his draperies generally brilliant in colour." His signature is found in the upper right-hand corner of this canvas : " Savoldus da Brescia faciebat 1527." There is a counterpart of it in the Turin Museum, with the difference, among others, that the woman is replaced by St. Francis. 147 The Woman of Faith . . . . S. Ricci 148 Lucretia and Tarquin . After Palma Vecchio ? A smeared old copy of a very fine picture by Palma Vecchio in the Belvedere at Vienna. Another copy of the same by Varottari is in the Ufazi. 149 A Concert .... Morto da Feltre ? In Charles I.'s catalogue this was ascribed to Giorgione ; subsequently it was attributed to Bellini, and recently by Messrs. Crowe and Caval- caselle and Morelli to Lorenzo Lotto. By Mr. Berenson, however, in his excellent work on Lotto, adopting a happy suggestion of "Mary Logan," it is considered, without question, to be by the hand of Morto da Feltre, a certain mysterious artist, of whom little is known, but who seems to have been the real painter of The Three Ages in the Pitti Palace (though ranked by Morelli as an original Giorgione), to which this " Concert " bears a striking resemblance. "The hands, the draperies, the strange side-long look of the eyes, the treatment of light and shadow, and the colours, particularly an unusual saffron, are identical." '146 Holy Family with two Donors Savoldo 70 '^'y^o t KINGS AUDIENCE CHAMBER, 150 Head of a Woman, " A Sibyl " Jacopo Negretti [Palma Vecchio] In Charles I.'s catalogue, page 138: "The picture of a woman in yellow hair, and white habit, wide white sleeves, holding her right hand to her left sleeves; half a figure, so big as the life. Said to be done by old Palma." vw^ I -' .' . . Morelli and the critics of his school recognise in this a work of Palma Vecchio, in his third or so-called " blonde " manner. 451 'The Shepherds' Offerings . Bonifazio dei Pitati St. Joseph, with a crutch, sits on a stone. On the left are St. Roche and St. Elizabeth sitting with the young Baptist in her arms. The former attribution of this fine work to Palma Vecchio was natural enough, seeing that Bonifazio was an undoubted scholar and imitator of his, and the one who especially developed the Santa Conversazione, rendering it less severe and stately, and infusing it with the gaiety, sprightliness, and brilliancy wh ch he derived from his Veronese ante- cedents. This picture may be contrasted with No. 116, by Palma himself, and with No. 140, by Cariani, another of Palma's followers: "Bonifazio, who was a son of the plains and belonged to a Venetian stock, is always graceful and attractive ; his figures are slender, refined, and easy in their movements, though they lack the look of vigour, energy, and decision — qualities which we always find exemplified in Cariani 's somewhat coarse and robust saints."— (Morelli.) Jl52 Portrait of Andrea Odoni of Venice • Lorenzo Lotto In his right hand he holds a statuette. Antique torsos and statues are behind him and about the room ; coins, a book, and other articles de vertu on the table. This m.agnificent portrait had for centuries been erroneously attributed to Correggio, and denominated Baccio Bandinelli the sculptor. Dr. Waagen was the first to desig^nate Lorenzo Lotto as the true painter, and his opinion, which was emphatically endorsed by Messrs. Crowe and Cavalcaselle, was confirmed by the discovery in the lower left-hand corner of the signature: ^' Laurentius Lotus, 1527," brought to light by judicious cleaning. It was in this year, 1527, that Lotto, who had hitherto resided chiefly at Bergamo, took refuge, when the wars of Clement VII. with the generals of Charles V. broke out. at Venice. There he became acquainted with Titian, Aretino, and other artists and connoisseurs ; and among them with Andrea Odoni, "a rich and enthusiastic admirer of contem- porary art in the North," who had just inherited a valuable collection of antiquities from Francesco Zio, which he is here depicted as contem- plating. That this is so is proved by Aretino's letters, and the Notizie of the Anonimo, who, in describing the works of art preserved in the 71 CATALOGUE OF HAMPTON COURT PICTIJRES. house of " Messer Andrea degli Odoni, a Venezia," expressly mentions " the portrait of himself, in oil, half-length, who is looking at fragments of ancient marble, which was by the hand of Lorenzo Lotto." Vasari also mentions that there were many pictures of Lotto's in the great palaces at Venice, and among them he specially noticed " one by Lorenzo in the house of Andrea Odoni, which is very beautiful." " It was a pardonable error to call the portrait by the name of Correggio, the master to whom Lotto in his middle period was most related, and yet attentive examination ought to have shown that it could not have been by Correggio. There is hardly a masterpiece of this time more deserving of praise than this half-length, for warm and fluid touch, for transparency of colour, and freedom of handling. It has the qualities of softness and brilliance, combined with excessive subtlety in modelling and tenderness of transitions " - (Crowe and Cavalcaselle.) " Lotto was Correggiesque some time before Correggio himself had attained fame. The two were kindred spirits, who worked at the same period. Both sought, as Leonardo before them had done, to give expressioh to the inward beauty of the soul, a tendency which marks the final step taken by art, when it had reached the zenith of its greatness." - (Morelli.) " As a portrait this is by no means one of Lotto's most sympathetic, but as a work of art it is one of his finest achievements, not only for its beautiful tone, but for the treatment of light and shadows."— (Berenson's "Lotto.") 153 Portrait of an Italian Gentleman . . Titian The name of Alessandro de' Medici seems to have been given to this very fine portrait without warrant, and in comparatively recent times. 154 U^tassigned. 155 Madonna and Child . . . After Parmigiano Copy or replica of the well-known Madonna della Rosa in the Dresden Gallery, King's X)^*^«>J"9=]Eloom* Notice William III.'s beautiful old barometer to the left of the fireplace. Above is an index circle for the hour at which the instrument is set — the upper part being the " Forenoon " and the lower the Afternoon " ; below is another circle giving the days of the month with a pointer or index to be adjusted by the hand. The mercury column is carried slantwise on an elbow. Notice also two fine old card tables of walnut wood. 161 St. Cecilia. (Over the Door). The heads of her martyred husband Valerian and his brother Tiburtius brought to her. 162 The Apostles Peter, James and John ' M. A. Caravaggio 163 The Expulsion 6f Heresy [Jacopo] Palma Giovine On the right are three churchmen ; one in a handsome cope. Above them is an angel, with a sword extended over the heretics ; one of whom grasps a scroll of paper. The three churchmen are evidently portraits ; the one in the rich cope being, in Mr. Scharf's opinion, intended for Cardinal Granvelle, minister of Philip II. It probably relates to the religious wars in the Low Countries. In Charles I.'s time it was attributed to Palma Giovine, and its re- attribution to him. suggested in the " Royal Gallery of Hampton Court, Illustrated." is now generally adopted. (See NoS. 917 and 922.) •Jl6'i rioly Family with St. James lA7tt. Allegri da] CORREGGIO This charming little picture, which all the critics. Morelli, Frizzone, Layard, Claude Phillips, Corrado Ricci, &c., now agree in pronouncing a genuine work of Correggio's earlier, though not earliest style, was evidently painted about 1515-17, shortly after the great altar-piece with St. Francis, now at Dresden. It belonged to Ch.arles I. "The traits peculiar to this stage of tne painter's development appear in each one of the works painted at this time. Not only do we 6n4 thf? 73 CATALOGUE OF HAMPTON COURT PICTURES. same hot tone of colour, the same haziness in the landscape, the same treatment of foliage, the same somewhat puffy extremities, but in every case we recognise the same facial type and the same idea of drapery. The oval-faced Virgin, with a large mouth and rather long nose, and the Infant with the tripartite arrangement of the hair, a long central lock, overhanging the middle of the forehead, are to be found in The Repose in Egypt, of the Uffizi, in The Madonna with Two Children at Madrid (in the Prado), and in this. " The inclination of the Virgin's head is another characteristic shared by the three. Indeed, the Virgin and Child of the Prado may be described as identical with the same group in^the Hampton Court picture, where the St. Joseph of The Repose in Egypt reappears as St. James. The hang of the draperies is still very sculpturesque . . . the robes are litde more than ample skirts, which the painter allows to fall in vertical folds on the breasts and arms of his figures, a mannerism he afterwards entirely repudiated, recognising the value of greater freedom and animation. These singularities of colour, type, attitude, and drapery, mark a stage in the painter's development hitherto neglected by the critic." — (Corrado Ricci.) 165 Saint Catherine reading [Antonio Allegri da] CORREGGIO This charming little picture, which modern criticism unanimously admits the genuineness of, is assigned by Signer Corrado Ricci, in his great work on Correggio, to the master's later period, probably about 1526-28, some ten years or more after Thd Holy Family, No. 431, which now hangs by its side. It is interesting to compare the earlier work with this example of the latest development of his' style, which exhibits the most refined sensibility, and is remarkably modern in feeling. No trace of archaism, indeed, appears in the delicate face, and in the technical treatment. There is a similar picture in the Corsini Palace at Rome, belonging to the Comtessa Sta. Flora ; and another at Goodwood. 166 Eleanora de Medici, Wife of Vincenzo Gonzaza, Duke of Mantua .... C. Bezzotti At Brussels there is a replica of this, with the difference that her right hand is on a chair. Formerly supposed to be Isabella Clara Eugenia, daughter of Philip II. of Spain, Archduchess of Austria and Regent of the Netherlands, of whom a real portrait is in the " King's Writing Closet " {see post No. 316). 167 Goat and Cupid Polidoro Caldara da Caravaggio 168 Glorification of a Saint . . Jacopo Bassano 74 , KING'S DRA WING ROOM, i 169 Venetian represented as a Saint Sc^oo/ 0/ P. Bordone? - - He holds a palm-brarrch and a wreath. On the ground near his right foot is a quiver. On the column was formerly inscribed: "GIORGIO ^ARBARELLI A. D. MDii. ET sv^ XX. "— certainly a forgery. 170 Christ at the Pool of Bethesda . Jacopo Bassano 171 The Marriage of St. Catherine . Paul Veronese ? 172 Portrait , of a .Gentleman' n',-- • Unknown — 173 The Marriage of St. Catherine . . ^^-^ Titian / ' r.^i^ 174 Unassigned. 175 Portrait of an Old Man . . . . ^. Bagl^ano — ^116 Adoration of the Shepherds Jacopo da Ponte .■'.^^^M' [Bassano] A very fine specimen of II Bassano's early style, The Adoration of the Magi formerly at Burleigh House, The Epiphany in the National Gallery of Scotland, and a similar subject in-the Ambrosiana at Milan, show how- he adopted Pordenone's manner. "By looking at these pieces in succession, we see the gradual expansion of Jacopo da Ponte's style before he entered into the later and better-known pliase of his art." It plainly shows the influence of Bonifazio under whom he worked. {See No. 151.) /l77 The Nine Muses in Olympus . Tintoretto They are represented in the clouds, most of them with musical instruments ; the sun in the distance. On the left is one, seated, with a flute ; near her another (Clio ?) recumbent ; above them another floating in the air. In the middle Urania (?) recumbent, with a chart. Behind her another, playing a spinet. In the lower left-hand corner is inscribed : " lACOMO TENTORETO EN VENETIA." ^-yy . , ■ '.V .V This picture, the most magriificent and important example of Tintoretto ' in England, was acquired by Charles I. with the Mantuan collection. If was sold by the Commcfnwealth for £100. • • ■ oC' V '1 178 Christ ih' the H ouse of the Pharisee . J. Bassano ^ Jil9 The judgment of Midas ; ; Andrea Meldolla ' [Schiavone] On the left Apollo is playing on a violin, near him is Marsyas with his flute on the ground. Midas, who has been punished with ass's ears for 75 CATALOGUE OF tiAMPTON COURT PICTURES. having preferred the music of his pipes to Apollo's divine strain, is seated in front, his back turned. On the right, Minerva, whose flute Marsyas had picked up, is sitting under a tree, with a man by her. A good example of this master, who was distinguished for his succulent richness of colouring, and the life and action of his compositions. 180 Portrait of a Man . . . . Unnamed 181 St. Catherine, at the Altar . After P. Veronese 182 Head of a Venetian Boy ^ '^ 'V ■ . Tiepolo 183 Madonna and Child 'y^^ . . Unnamed 18^ Susanna and the Elders . After P. Veronese 185 Marriage of St. Catherine . . ^/^^r Correggio The original, which was painted about 1522, is in the Louvre. There are replicas at Naples and St. Petersburg. i 186 Madonna and Child . . . Tintoretto ? 187 The Annunciation . . . • J- Bassano 188 An Italian Knight . Jan Stephanus Van Calcar On his breast is a Maltese Cross, with the Crucifixion in enamel. 189 Italian Lady with an Orrery and Dog Parmigiano ? 190 The Deluge L. Bassano Saunderson, in his "Graphice," writing about 1656, makes this apt remark on it : " The naturall Bassano, an old and excellent master ; yet so affected to Pots and Dripping-panes, to blew cotes and Doggs, that his History of the Deluge sometimes in the gallery at St. Jame's by Whitehall, seemes to be rather a disordered and confused kitchin, than Noah's floud." ^ , 191 A Man in Armour . . t^/^ft^ . ? On the back of the panel is Charles I.'s cypher " C.R." and the crown above, and also a small piece of paper on which is written, " From Mantua, 1628." 192 Portrait of an ItaHan Lawyer . P. Bordone ? In the corner of the parchment which he holds in both hands is a seal, and beside him a table and a letter. The seal represents the Madonna and Child, with the legend : " Sanctus Andreas/' 76 KING'S DRA WING ROOM, 193 Madonna and Child Copy after Pontormo by BROJ master of the Ferrarese School. {See Nos. 198 and 202.) ' * The shape and pose and colour indicate that Dosso was still under the influence of Giorgione and Titian. The splendid harmony of the rich green background, the dark robe with purple lights, the golden brown hands with gems set in gold on the fingers make this portrait one of the most enjoyable in the gallery." ("*M. Logan.'' ) 240 Flower-piece, in panel .... Baptiste 82 Probably this room was not quite finished till Queen Anne's time, as the ornamental brass-work on the door bears the initials A. R. The ceiling, which is another of Verrio^s, represents Mars reposing in the lap of Venus. The corner fire-place — with its marble chimney-piece, its antique cast-iron fire- back, showing Neptune and attendant Nymphs (date about 1702), and the curious oak mantel piece, with diminishing shelves rising one above another, and decorated with lime- wood carving — is characteristic of old times. Here are placed some more pieces of Queen Mary's china. The baro- meter in the corner was considered a curiosity even in 1741. The Pictures, mainly historical, of the earlier German and Flemish Schools {16th and early lyth century). 241 Portrait of an Italian Lady with a Spaniel Unnamed 242 Marconese Queen of France . . French School ? Wife of Clothaire IV., who reigned from 718-720. 243 Stephanus Bathory of Transylvania . ? King of Poland from 1575-1586. 244 Head of Rudolph II. Emperor of Germany Unnamed Rudolph was a great virtuoso ; and when he ascended the imperial throne he took up his residence at Prague, and there devoted himself exclusively to the pastimes of collecting works of art, studying astrology and alchemy, and persecuting the Protestants. When his subjects at last grew tired of him, and dethroned him, and many of his beautiful pictures were dispersed, he put his head out of the window, and cried out : " Prague, ungrateful city ! by me you have been exalted, and now you reject your benefactor. May the vengeance of heaven blast you and all Bohemia ! " He died in 1612. 245 Small half-length Portrait of a Gentleman holding a Bridle in his Hands ? 83 CATALOGUE OF HAMPTON COURT PICTURES. 246 Head of a Man in an Oval . School of Memling Undoubtedly from the hand of a very early Flemish painter of the school of Memling, the great master of Bruges. There is a very similar portrait, and evidently of the same man, at Stafford House. There are good grounds for believing it to be a portrait of Anthony, the Bastard of Burgundy, brother of Philip the Good, who was invested with the Order of the Golden Fleece in 1456 : the ornament on his breast may be that order. ♦ 247 Portrait of a Young German . Albrecht Durer This is the "red-faced man's picture, without a beard; in a long reddish hanging ; in a black cap, and with a black habit lined with white fur ; a little of his white shirt and red waistcoat seen ; painted upon board; done by Albert Durer, a little less than life." In Charles I.'s catalogue. At the top, but hidden by the frame, is his monogram, A. D. and the date 1506. In 1506 Albrecht Diirer journeyed into Upper Italy, and resided some time at Venice. It was probably there that he painted the panel before us. " It is the more easy to accept this date as the genuine one, seeing that the style of the picture shows the influence of Venetian portraiture as it was developed under the influence of Antonello da Messina. ' ' In the Belvedere is a similar portrait of a young man with high colour, dated 1507. 248 Three Children of Christian II. of Denmark M abuse This curious picture was formerly supposed to represent the three children of Henry VII., but since Mr. Scharf's interesting paper read before the Society of Antiquaries in 1860, there can be no doubt that they are really the three children of Christian II., King of Denmark. 249 Lorenz Sterck, of Antwerp, ^/^^r Albrecht Durer 250 Allegorical Picture of Queen Elizabeth, Hans Eworts In front of her are the three goddesses, represented as thunderstruck at the sight of her : Juno, who lets fall her sceptre, and one of her shoes ; Minerva armed, who holds a flag in her hand, and is gazing with astonishment at the Queen ; and Venus, unrobed, who drops her roses, and to whom Cupid, having thrown away his bow and arrows, clings for protection. In the background is a view of Windsor Castle. On the stone to the right, about two-and-a-half inches from the bottom, are the date 1569 and the painter's monogram, " H.E." On the frame, which is evidently the original one, is the inscription : " Juno potens sceptris et mentis acumine Pallas ; Et roseo Veneris fulget in ore decus ; A.dfuit Elizabeth, Juno perculsa refugit ; Obstupuit Pallas erubuitque Venus : " 84 KING'S DRESSING ROOM. This interesting picture is found in Charles I.'s collection. It was doubtless painted about October or November, 1569, by order of the Queen herself, to whom it is as flattering in the allegory as it is in the likeness. Elizabeth was then thirty-six, and had been on the throne twelve years. The discovery of the long-lost identity of the painter, Hans Eworts, by whom this and many other interesting pictures of the period were painted, marks an epoch in the critical study of Old English Portraiture. 251 The Battle of Pavia, February 24, 1525 Melchior Feselen ? This picture, though of very slight value as a work of art, is historically curious, as giving a contemporary representation of the famous battle. It originally belonged to Henry VIII. It was afterwards in the collection of Henry, Prince of Wales {see infra), for his cypher, H.P. crowned, is branded behind ; and at his death it passed into the possession of Charles I., whose cyphers as Prince of Wales and as King are also found behind. In the foreground of the picture is shown the battle between the' French, on the left, under the command of Francis I., and the Impe- rialists, on the right, under Lannoy, Charles V.'s Viceroy of Naples, and Bourbon, Constable of France. The colours of each side are seen borne aloft, and on the right can be distinguished the Imperial eagle and the Papal tiara and cross keys. The combatants on both sides are wielding gigantic lances, and the ground is strewn with dead and wounded. In the thick of the fight to the left is a figure, hardly pressed, and defending himself valiantly. This is probably intended for Francis I. In the middle distance, just behind a dense mass of spears, is a skirmish of horsemen ; and the French artillery, which did terrible executiojj that day under the command of the famous Gaillon de Genouillac, cannonading the Imperialists. In the background to the left, on an eminence, is a fine house, doubt- less meant for the castle and park of Mirabel, where the French rear- guard, under the Due d'Alen9on, was posted. This was the first position attacked by the Imperialists ; and it was Francis' impetuosity in going to the assistance of his brother-in-law there that led to the defeat. In the centre of the background is the town of Pavia, before which the French are encamped. 252 " La Belle Esclavonne " ? . . . ? Inscribed at the top of the picture " RossA Femme De Soliman Empereur des Turcs." 85 CATALOGUE OF HAMPTON COURT PICTURES. 253 Mary, Sister of Anne 'Boleyn, wife of William Cary ....... ? Mr. Scharf believed this to be Mary, sister of Anne Boleyn. His authority was an " inscription on an old copy preserved at Warwick Castle, where it serves as a companion picture to the well-known Anne Boleyn portrait engraved in Lodge." "See also a picture at Longford Castle." 254 St. Jerome . . . After Albrecht Durer 255 Small Landscape — in a Circle . . Hans Bol 256 Portrait of Henry VHI. . . French School ?" " 257 An Old Man and his Wife . . Swahian School} Sitting by a window, through which is seen a landscape with a chateau, a Swiss cottage, a church and some people passing over a bridge. On the window-ledge near the man is his age, 52, and near the woman hers, 35. In the shadow underneath is the date, 1512. There is no genuine tradition of this being a picture of the father and mother of Holbein, by himself. '* Besides, the man does not bear the slightest similarity with the authentic portraits of Hans Holbein the father, and the treatment does not accord with the v/orks of Holbein the son." But '* the painting is certainly a work of the Swabian school, and possesses a decided similarity with the works of the elder Holbein, in the simple life-like conception, the thin bright colouring, the whitish lights, and the somewhat feeble hands, which do not correspond with the excellent heads. The distance, with its village and mountains, with a castle near the water, with swans, and a bridge, entirely accords with^ the landscape of the Basilica of St. Paul," now in the Augsburg Gallery. — (Woltmann.) 258 Head of Maximilian, Archduke of Austria Unnamed ' Probably Maximilian, third son of the Emperor Maximilian II., who was born in 1558, and who was elected to, but afterwards deprived of, the throne of Poland, He died in 1611. 259 Eleanora, Sister of Charles V., Queen of Portugal and Queen of France {see Nos. 276, 286 and 6o2> 260 Margaret, Archduchess of Austria, Duchess of Savoy, Regent of the Netherlands . Bernard Van Orlay? Her age appears about thirty, which would give us about the date 1507, as the period when this picture was painted. She had then just been appointed by her father, the Emperor Maximilian, Governess of 86 KING'S DRESSING ROOM. the Netherlands. She died at Malines in 1530. Her white habit is perhaps a mourning costume for her third husband, Phihbert le Beau, Duke of Savoy, who died in 1504, or for her only brother, Philippe le Bel, the father of Charles V., who died in 1506. The artist is evidently some Flemish painter. (See No. 348.^ A similar picture is in the collection of Dr. I. Carvallo in Paris, which is reproduced in Eleanor Tremayne's "First Governess of the Nether- lands, Margaret of Austria," and in Christopher Hare's " Life of the Emperor Maximilian." For her great-niece, also Governess of the Netherlands, see No. 348 . 261 Erasmus writing By Cornelis Visscher, after Q. Matsys The background represents a sort of shelved recess or bookcase, with six books in it. On the edges of the leaves of the topmost book are the letters mor. (Erasmus' Encomium Morice, published in 1511) ; on others beneath novvm testament, and hieronvmvs (both published in 1516) ; and between these aOYKIANO^ (his translation of Luciar published in 1514). These just give the series of works which belong to the period when Matsys painted the portrait of the scholar. The words written in the book are mere gibberish, which fact confirms the view of M. Henri Hymans, keeper of the Bibliotheque Royale at Brussels, that this panel is a copy only, and probably not an old one, of the portrait painted for Sir Th. More. 262 Philip III. of Spain ? . . . . Unnamed 263 Isabella, Sister of Charles V., Queen of Sweden and Denmark 264 Francis I., King of France . Joost van Cleef This is doubtless: "The table with the picture of the French Kyng, having a doublet of crimson colour and a gown garnished with knots made like pearls"; in Henry VHI.'s collection in 1542, and entered in the catalogue made for Edward VI. in 1649, as: "A table with the picture of Francis the French King." An exactly similar portrait, though larger in size and finer, is now in Lord Dudley's collection, and another inferior repetition at the Louvre. 265 John Reskemeer of Cornwall . . Holbein The original drawing for this is still at Windsor among the famous "Holbein Heads," and is inscribed: ''Reskemeer, a Cornish Gent.'* It is reckoned one of the earliest of the master's portraits in this country, 1527 being suggested as its date. 266 Engelbert Taie, Baron von Wemmel After Vandyck The original is at Dresden. 87 CATALOGUE OF HAMPTON COURT PICTURES. 267 Elizabeth, daughter of the Archduke Charles of Austria, b. 1577 ; d. 1586 . . . ? "elizabetha, ^tatis sv^ I, MENcis 5, 1578 " (See No. 274.) The inscriptions leave no doubt that they are the daughters of the Archduke Charles. This one died in her infancy, in January, 1586. 268 Portrait of a Gentleman . . Sir A. More ? 269 Portraitof Henry VIII.jA.D. 1536 JoosT van Cleef? This exceedingly fine picture is certainly one of the best portraits of Henry. He wears a black cap with a medallion, on which are Our Lady and the Infant Jesus, in colours, and a white jewelled feather falling to the left. In front of him is a table or ledge, with a crimson cushion, on which he leans his right hand ; in his left he holds the end of a white scroll, inscribed : "Marchi-16. Ite in Mudvm Vniversv et predicate evangelivm omni creatvr^." On the back of the panel is branded Charles I.'s cypher — C R. and the crown — and there is also a slip of paper on which is inscribed in a handwriting of the time, ''^Changed with my Lord Arundel, 1624." In Charles' catalogue it was attributed to "Jennet or Sotto Cleeve." In 1535, on "the 8th of May, the King commanded all about his court to poll their heads ; and to give them example he caused his own head to be polled, and from thenceforth his beai;d to be knotted and no more shaven." His hair and beard are treated in this fashion here; pre- viously it had been cut straight across the forehead, and hung down lower than the ears all round the head, and the face was shaven. In the year following, Henry ordered Miles Coverdale's English version of the whole Bible, of which the printing was finished on October 4, 1535, and which was dedicated to the King, to be laid in the choir of every church, "for every man that will to look and read therein; and shall discourage no man from reading any part of the Bible, but rather com- fort, exhort, and admonish every man to read the same." To this the text which Henry holds in this portrait evidently refers ; and the frontis- piece of the work, in which the King is shown holding in each hand a book inscribed " The Word of God," and saying, " Take this and teach," with similar texts, confirms this view. 270 Alice Spencer, Countess of Derby ? . Unknown 21i Henry VIII. and Jane Seymour; Henry VII. and Elizabeth of York After Holbein, by R. van Leemput A very precious little copy, executed by R^mee van Leemput in 1667, by order of Charles II., after Holbein's famous fresco at Whitehall. It 88 KINGS DRESSING ROOM, was lucky he had the foresight to do so, for the. original, which was Holbein's finest work, was destroyed by the fire at Whitehall in 1698. Walpole says R^mee was paid £150 for this copy. .In the centre of the picture is a pedestal, with a Latin inscription (printed in the "Royal Gallery of Hampton Court, Illustrated"). Holbein's cartoon for the left side is still preserved at Hardwick. The original, in which Henry VIII. was so life-like, and stood "so majestic in his splendour that the spectator felt abashed, annihilated, in his presence," formed the prototype of many portraits of the King, such as those at Petworth, Mr. Danby Seymour's, Lord Yar borough's. 272 Jesus Christ appearing to Mary Magdalene (" Noli me Tangere ") Holbein This is probably the "Table with the picture of our Lord appearing to Mary Magdalen," in Henry VIII. 's catalogue. It is of considerable interest, as being one of the very few "historical" works of Holbein's extant. (For a full critical description of this picture see the Author's Holbein's Pictures at Windsor Castle.) 273 Anne of Austria, Wife of Louis XIII. . ? 274 Mary Christina, Daughter of Charles, Archduke of Austria ....... ? Formed into an oval, round which is painted :— " maria cristierna ^TATis sv^ 3, MENSis 6, 1578." {See No. 267). This was formerly absurdly called a portrait of Queen Mary, but it is evident from the inscription that it is Mary Christierna, or Christina, daughter of the Archduke Charles of Austria. As she was born on November 10, 1574, this must have been painted in the month of May, 1578. She afterwards married, in August, 1595, Sigismund Batthori, ^ Prince of Transylvania, and died without issue in 1621. 275 Portrait of a Young Man Hans Baldung [Grien] In the right-hand corner is a signature, H. and B., with a small g on the cross-bar of the H. This is the monogram of Hans Baldung, commonly called Grien or Griin. It is dated a.d. 1539, and is probably a work of his, painted while he held the office of painter to the bishop of Strasburg, between the years 1533 and 1552, when he died. He had at that time a great reputation as a portrait-painter, and is well known as the artist of the altar-piece at Freiburg in Bresgau. 276 Eleanora of Austria, Sister of Charles V, wife of Francis I, Queen of Portugal, afterwards Queen of France (I. Gossart) Mabuse She holds a letter, with this address: " Piantisima y muy podrosa sinora la Reyna my sinora." 89 CATALOGUE OF HAMPTON COURT PICTURES. A portrait exactly similar, though on a smaller scale, was formerly in Mr. Bernal's collection, and was sold in 1855 to the Due d'Aumale for £225, and is now in the Mus^e Cond^, Chantilly; a reproduction is in Hare's " Charles de Bourbon," page 250. (A. Giraudon, Photo.) There are also others extant, one of the best being in Lady Yarborough ' s collection . This admirable portrait must certainly have been painted before 1547, in which year Francis I. died; and it is probable that it was painted before 1542, the year when Henry VIII. 's catalogue was compiled. That a much earlier date, however, than this cannot be assigned to it is evident from the apparent age of the queen. (See No. 286.) 277 La Belle Gabrielle, Mistress of Henri IV. ? The inscription above, "La Belle Gabrielle," is not more than 150 years old. A miniature, of which I think this is a copy, was in the Hamilton Palace Collection. 278 Mary, Sister of Charles V, Queen of Hungary. 279 Elizabeth Cheyne, Baroness Vaux of Harrowden, Wife of Lord Vaux, the Poet . . . Holbein ? In her right hand she holds a gillyflower or pink. A fine black chain is thrown over her neck. On her breast is a gold and enamel brooch with a cameo of the Madonna enthroned. A good old copy of the picture at Prague. A picture of his later time, probably about 1537, when Lady Vaux was about thirty-two. The original drawing by Holbein is at Windsor. 280 Portrait of Froben, Erasmus' printer. The back- ground by H. von Steenwyck . . . Holbein Companion piece to No. 284. The background represents a room with a window ; the part imme- diately behind his head being of a marine green colour. It has been worked up, however, by Steenwyck, and spoilt. On a ledge below is inscribed: " Iannes Frobenivs Typ. F.Holbein. P." This must have been painted by Holbein while at Basle, between 1521, the year of his arrival, and 1525. Erasmus had come to Basle about 1513 for the express purpose of having his works printed by Frobenius, who was renowned for the excellence of his work and his trustworthy character. Here he lived in the great printer's house for some years on terms of close friendship. When Holbein arrived, he was immediately employed by Frobenius in designing ornamental blocks for his books, and it was thus that he made acquaintance with Erasmus. Frobenius died suddenly in 1527 from serious injuries to his head by a fall on the pave- ment. Erasmus, who was in great distress at his death, seems to have secured these portraits, and treasured them as a remembrance of their 90 KING'S DRESSING ROOM. friendship. He had them hinged together in the manner of a diptych, so as to close Hke a book, and so arranged them that when open the two friends were facing each other. Erasmus himself died in 1536 at the age of sixty-nine ; and after that these portraits remained at Basle, whence they were bought by the Duke of Buckingham in 1625, who gav'e them to Charles I. A contemporary inscription to this effect, in a handwriting of the time on a bit of paper, is at the back of this panel. After the King's execution, they were sold separately by order of the Commonwealth, and fetched larger prices than almost any other pictures At the Restoration they were returned to the Royal Collection, and Patin saw them in 1672 hinged together as formerly. " Froben's countenance," says Dr. Woltmann, "is thoroughly ugly That which, nevertheless, makes the beardless man with his scanty hair his large round forehead and broad mouth, attractive and pleasing, is the trait of kindliness which is so pre-eminent in his countenance. The character which Eramus sketches of him is tenderly beautiful. So simple and sincere was his nature, that he could not have dissembled had he wished. To show kindness to everyone was his greatest delight and even if the unworthy received his benefits he was glad." 281 Portrait of Maurice, Count of Nassau Unnamed 282 Catherine, Sister of Charles V, Queen of Portugal. 283 Christina, Duchess of Tuscany (?) Sir A. More ? Charles I.'s cypher — C.R. crowned — is at the back of the panel. 284 Desiderius Erasmus, with his hands on a book Holbein ? Companion piece to No. 280. The background was originally plain, but was altered by Steenwyck, and now represents the interior of a Gothic church, unidentified and probably imaginary. 285 Head of Lazzaro Spinola . . William Key ^ Across the top is written: "an. dni. 1566. ^tatis 22." This is "The picture of Lazarus Spindalo, uncle to the late deceased Spindalo, Governor in the Low Countries, being only a head so big as the life ; bought by the King when Prince. Done by Will. Key " ; in Charles I.'s catalogue. Key was a Flemish Artist, who enjoyed a great reputation in his time, being selected to paini^ among many others, a portrait of Alva. 91 r CATALOGUE OF HAMPTON COURT PICTURES. 286 Francis I. and his wife, Eleanora of Austria Maitre Ambroise ? In her left hand she holds an artichoke, from which rises a caduceus, with little bells at the top ; her right hand is grasped by the King. On his head is a black cap with a white feather, and a medallion with the initial " L." (the first letter of her name, Leonora) ; while she has a black cap with a feather, and a medallion with his initial, an " F." Behind her is a small figure of a fool dressed in green, with his forefinger held up. This curious picture had for at least 230 years been wrongly named : the lady being called "The Duchess of Valentinois, Francis I.'s mistress," while in fact, she is Eleanora of Austria, his wife. (See No. 276), It is identical with the picture described in Henry VIII.'s catalogue, compiled in 1542 : " The Frenche Kynge, the Queene his wiffe, and the Foole standinge behynde him." It was evidently painted at the time of their marriage, which was finally solemnised at Paris in March, 1531. To this the caduceus — the winged staff of Mercury and the emblem of Peace — which the Queen holds in her hand evidently refers. Lord Bath has a picture at Longleat similar to this. (Compare No. 264.) 287 George van de Paele (Canon of St. Donatian, Bruges) Jan van Eyck One of the very few genuine pictures by Jan van Eyck in England. It is the portr^t of the donor, in the famous Van Eyck, before the war, at Bruges. Mr. W. H. J. Weale, the well-known critic, author of the great work on " The Van Eycks," and the highest authority in Europe on the subject, is convinced that this picture is authentic. " The canon," he says, "was so infirm and suffering that he was excused by the Chapter from atten- dance in the choir, and allowed to share in the revenues all the same. He, therefore, would not have been able to give the painter a long sitting. Van Eyck must have known him well, as he had been in constant resi- dence ever since Van Eyck settled in Bruges." 288 Piece with a Doe, a Stork, and a Brass Pan " Kalf So described in James II. 's catalogue. William Kalf was a Dutch painter of still-life, who excelled especially in compositions like the above, where the kitchen utensils of a boor's establishment are rendered with surprising truth. 92 Knfl's tSCrltlnfl C(los«t. Opposite the windows in this Httle room is a door in the wainscot, leading to a private staircase, at the bottom of which is a private way into the garden, so that the King could go out unobserved. The looking-glass over the chimney-piece is so arranged as to afford a view in vista of all the rooms on the south side of the State apartments. The Pictures mainly of the later German and Flemish Schools. 300 Flowers in a Brass Vase . . James Bogdani This and similar still-life pieces by this artist were painted expressly for the panels in these rooms, by order of Queen Anne. He came over to this country in her reign, and lived here between forty and fifty years, known at first only by the name of "The Hungarian." 301 A Man's Portrait Unnamed 302 Antoine de Lalaing, Count of Hoogstraaten Unnamed Anthony de Lalaing, Count of Hoogstraaten, was one of the chief leaders in the revolt of the Netherlands against the Spanish. In 1568 he was cited before the Blood-Council, and in the same year was killed in battle. He was a firm friend of the Prince of Orange, and a brave, high- r spirited man. The portrait and companion ones, Nos. 340 and 379, of the leaders in I the war of Dutch Independence, were probably brought over to England i by William III. There are a series of portraits of these heroes at Amsterdam, from which, perhaps, the panels before us are replicas or old copies. 303 Margaret Lemon, Van Dyck's Mistress Van Dyck This picture belonged to Charles I., and was sold by the Commonwealth in 1649 to a Mr. Jasper for £23. It afterwards appears in James II. 's catalogue. Mrs. Lemon was certainly the most beautiful and celebrated, though far from being the only, mistress of Vandyck. She lived with him at his house at Blackfriars, which became the fashionable resort of all the wits and dandies of the town. His profuseness and the magnificence of his establishment indeed nearly accomplished his ruin. 93 CATALOGUE OF HAMPTON COURT PICTURES. When Vandyck married, Margaret Lemon is said to have been so enraged that she took a knife and endeavoured to cut the wrist of his right hand, but not succeeding in her attempt, retired in disgust to the Continent. 304 Sketch for a Portrait .... Van Dyck 305 A Dying Saint — A Sketch {en grisaille) . Van Dyck Behind is the signature: "A. van Dj^." 306 Queen Elizabeth, with a feather fan Unnamed This portrait has been ascribed to Zucchero, but the best critics question this attribution. It recalls what Melville, the ambassador of Mary Queen of Scots, tells us, how Elizabeth " delighted to show her golden-coloured hair, which was more reddish than yellow, and curled in appearance naturally. She desired to know of me what colour of hair was reputed best, and whether my Queen's hair or her's was best ; and which of them two was fairest ? I answered the fairness of them both was not their worst fault. But she was earnest with me to declare which of them I judged fairest. I said she was the fairest Queen in England, and mine the fairest in Scotland. Yet she appeared earnest. I answered they were both the fairest ladies in their countries — that her Majesty was whiter, but my Queen was very lovely. She inquired which of them was of highest stature. I said my Queen. Then saith she, she is too high, for I myself am neither too high nor too low." She was scarcely less vain of her hands, which we are told were small, and the fingers very long ; this is no doubt the reason her hand is so prominent in this portrait, though it is most wretchedly painted. "In audiences she would pull off her glove above a hundred times, to show her hands, which were very fine and white." Of fans she had a great collection ; and we find that in 1574 Leicester gave her, as a New Year's gift, " a fan of white feathers, set in a handle of gold, garnished on one side, with two very fair emeralds, and fully garnished with diamonds and rubies," which may be the one she holds here. 307 Portrait of a Gentleman . Leandro Bassano 308 Henri III., King of France . . . ? 309 Catherine Michelle, Infanta of Spain, Duchess of Savoy . . . . . . . ? 310 Charles I. and his Queen dining in Public Van Bassen This curious picture represents the King seated at a table, to the left close by a fine chimney-piece ; on his left is the Queen, and at the end 94 KING'S WRITING CLOSET, 3f the table Prince Charles. At the end of the hall is a raised and recessed dais, where spectators are looking on through some columns. Compare 317. 511 Portrait of Sir George Carew ? . . Unnamed Above is inscribed : "ano. dni. 1565, ^tat. sv^ 54." Sir George Carew, who was the eldest brother of Sir Peter, was a soldier and sailor in the reign of Henry VIII., and died in 1545, in command of the Mary-Rose, one of the largest ships in the King's great armament against the French. Henry had dined on board on the day 3f the action, but the ship was afterwards sunk on the first onslaught of the French, and all on board were lost. There must, consequently, be sither some error in the date of the inscription, or else it cannot be a portrait of Sir George Carew. 312 Portrait of a Gentleman . . . G. Pekcz 313 Philip II. of Spain . . . . Clouet ? It represents Philip about the age of twenty-seven, the time of his marriage with Mary. A similar picture on canvas belongs to Earl Stanhope. 314 Sir Francis Walsingham . . . Unnamed 314a Anne de Montmorency, Constable of France. French School ? 315 Marie de Medici, Queen of France . " Unnamed Inscribed " Maria Medici Regina France Navax " in the top left corner. 316 Isabella Clara Eugenia, Infanta of Spain, Archduchess I of Austria, Regent of the Netherlands. Daughter of Philip II. of Spain, and married to her cousin the Cardinal Archduke Albert Charles of Austria, Governor of the Low Countries, which were Isabella's dower. Being filled with the family hatred of liberty, she at once entered with zest into the persecution and oppression of her new subjects. She was present in person at the famous siege of Ostend from 1601 to 1604, and was so vexed at its gallant resistance, that she swore never to change her linen till the town was reduced. It is not stated at what precise period this vow was made, but as the siege lasted three years, three months, and three days, it is not surprising that her underclothing eventually attained that sort of tawny hue that has ever since been known as "couleur Isabelle." 95 CATALOGUE OF HAMPTON COURT PICTURES. 317 King of Bohemia dining in Public . Van Bassen This is substantially the same picture as No. 310, excepting some slighl variations. On the wall, over the entrance to the raised alcove at the end of the hall, are the letters E. and F. crowned, the initials of the king and queen. A curious incident, for which there was historic warrant, is introduced into this picture. As the gentleman carver is carving a dish opposite their majesties, he is attacked by the Queen's favourite monkey, which springs upon his breast, and makes him present a most ludicrous ap- pearance. This mishap actually occurred at Prague on the first occasion that the queen, to allay the jealousies of her new subjects, employed only Bohemians to wait upon her. The man was so frightened that he gave a yell and fled from the room. 318 Sir George Croke Unnamed, The well-known " Cro. Jac." and " Cro. Car." of the Law Reports. 319 Hendrik, Count of Brederode . . Unnamed Behind, on a scrap of paper, is an old obliterated inscription ; " Br . d .ro . . ." This is Henri, Comte de Brederode — " the bold, debauched Brederode, with handsome, reckless face and turbulent demeanour " — as Motley says: and "a madman if there ever were one," as a contemporary expresses himself. He was one of the first to sign the famous ' ' Com- promise," and was the individual chosen to present the "Request" tc the Duchess of Parma, Governess of the Low Countries, which was the beginning of the revolt against the Spanish Dominion. 320 Artemisia Gentileschi at her Easel, painting By herselj This is a fine and spirited portrait of a very remarkable woman. She; was the daughter of Orazio Gentileschi, a celebrated Italian painter whc was invited to England by Charles I., and whose whole family was patronised by him. {See No. 345.) This portrait was probably paintec by her expressly for the King ; for we find it in the inventory of his good made by order of the Commonwealth. "A Picture of Painting, by Arthemesia. Sold to Mr. Jackson, 28th Nov., 1651, for £10." ^ She came over to England with her father, but did not remain long though while here she drew some of the Royal Family and many of th nobility. Indeed, she excelled her father in portraiture. Nor was hei popularity confined to England. Lanzi speaks of her as " famed through out Europe," and her master, Guido, held her in high esteem. Sh( passed most of her life at Naples, where, if we are to believe the gossips she was " as celebrated for her amours as her painting." She died ii 1642. There is another portrait of her by herself at Althorp. 96 KING^S WRITING CLOSET, 321 Charles Howard, Earl of Nottingham . Unnamed Commanded the English Fleet against the Spanish Armada. This is the famous hero who, as Lord Howard of Effingham, com- manded the English fleet in 1588 against the Spanish Armada, and who, as Lord High Admiral, afterwards performed many other brilliant actions. He died in 1624, at the age of eighty-eight. 822 Claude D'Urf^, Seigneur de Chateauneuf Jean Clouet [Janet] Mentioned in Chr. Hare's "Life of Ch. de Bourbon, Constable of France." He holds a small book bound in brown leather, with black strings and inscribed " petrarca." On the back is a slip of paper, with the inscription, but not very ancient : "Portrait of a French Nobleman, by Jennet." Recently identified in Paris as Claude D'Urf6. 323 An old Woman, with a Book, asleep . G. Dou 324 A Peacock, Cocks, and Hens . . J. Bogdani 325 Portrait of a Lady, formerly absurdly called Jane Shore 326 Venus and Cupid After Tm Mi 327 Discovery of Callisto by Diana {See No. 342) POELEMBERG In Charles I. 's catalogue was : "A little landscape piece of Poelemberg, being where Diana is haling Calista by the hair, where four other nymphs are looking on, being very little entire figures, 8 in. by 8 in." 328 A Small Landscape . . . . P. F. Ferg Ferg, who was an imitator of the style of Breughel, came over to England about 1720. His works, especially his diminutive ones on copper, such as this, were much admired, and still fetch high prices. He died in the streets of London from want and exposure in 1740. 329 Architecture —Angel Delivering St. Peter Steenwyck 330 Landscape with the Gate of a Town Jan Breughel Jan Breughel was the second son of Peter Breughel the elder. He is commonly called "Velvet" Breughel, on account of the exquisite softness and finish of his work, to distinguish him from his father, "Peasant ".Breughel, and his elder brother, "Hell" Breughel. (See note infra.) Jan principally painted landscapes with animals and flowers ; there are several specimens of his work here. 97 CATALOGUE OF HAMPTON COURT PICTURES, ^ 331 Henry Howard, Earl of Surrey. Beheaded 1547. pYench School [Jean Clouet ?] A fine portrait, perhaps the work of Guillim Stretes, from whom we find that Edward VI., in 1551, bought "a picture of the late Earl of Surrey attainted, which by the Council's commandment had been fetched from the said Guillim 's house." Surrey, who was the elder son of Thomas, third Duke of Norfolk, by his second wife, Elizabeth, daughter of Edward Stafford, Duke of Buckingham, is supposed, according to the best modern authorities, to have been born about 1516. In 1547 he was executed, by order of Henry VIII., on the charge of quartering the Royal arms of England with his own. 332 The Adoration of the Magi . . . ? 333 Landscape, with Goatherds . . . Paul Bril 334 A Witch with Cupids . A. Elzheimer . Steenwyck Hieens — in a Brass Vase Bogdani 335 A Perspective piece — A Garden 336 Christ Blessing Httle Children 337 Flower-piece — Lilies, &c. 338 Unassigned 339 Unassigned ^; 340 Portrait of the Due d'Aumale . . Unnamed I presume this to be Claude II. de Lorraine, Due d'Aumale, who took such a glorious part in the defence of Metz when besieged by Charles V. in 1552. but who sullied his fame by advocating the massacre of St. Bartholomew, and the murder of Coligny. He was killed at the; siege of La Rochelle. 341 Isabella, Daughter of Francis L, King of France- Queen of Spain . . . • • ^fi^r CoELLq 342 Landscape— A Shepherd and Ruins Poelemberc This is a companion piece to No. 327, as it is indeed stated to be ii Charles I.'s catalogue : "The other fellow piece of the said Poeleniber;; in a landscape wherein are painted some old ruins, whereby some herd keepers of goats, sheep, and kine, bought by the King." 343 Nymphs and Satyrs dancing . . Poelemberc 98 KING'S WRITING CLOSET. 344 Saint Francis praying .... Teniers On the rock beneath, and about an inch to the left of the skull, is his ;ignature : " D. Teniers." This is probably a copy from some >Jeapolitan or Spanish picture. 345 Unassigned 546 Lady Arbella Stuart . . . M. Gheeraerts — Though this picture has, for the last hundred and fifty years or so, )een called "Queen Elizabeth," there is no solid ground for believing t to be a portrait of her at all. The features of the woman here epresented do not in the least correspond with those of the Virgin ^ueen ; there is an entire absence of all the customary regal emblems ; he verses are quite inappropriate ; and there is no documentary evidence imong the old records and catalogues connecting her name with it. It s much more likely to be Arbella Stuart. She is standing in a forest ; on her right is a stag with a garland of lowers round its neck, on which her right hand is placed. On - tree by her are inscribed the following mottoes or verses: " Iniusti usta querela"; beneath that: " Mea sic mihi," and still lower: Dolor est medecina ed tori (? dolori)." At the bottom of the picture m the other side is a tablet, on which are the following verses : The restles swallow fits my resiles tninde. In still revivinge, still renew inge wronges ; Her Just complaintes of cruelty unkinde Are all the musique that my life prolonges. With pensive thoughtes my weepinge stagg I crowne Whose melancholy tears my cares expresse ; Hes teares in sylence, and my sighes unknowne, Are all the i>hysicke that my harmes redresse. My onely hope was in this goodly tree, I Which I did plant in love, brings up in care But all in vaine, for now to late I see, The shales be mine, the kernels others are. My musique may be plaintes, my physique teares ; If this be all the fruite my love-tree beares. This curious picture, with its fantastical design, enigmatical mottoes, id quamt verses, doubtless had some allegorical meaning, which we re now unable to interpret. 99 CATALOGUE OF HAMPTON COURT PICTURES. 357 Portrait of Sir Nicholas Bacon . . Vnname< Sir Nicholas Bacon was born in 1509. and went to the Bar in 1533 At once on Ehzabeth's accession he was appointed Lord Keeper a advancement which he probably owed to the friendship of Cecil and the Queen always reposed the greatest trust in him, regarding him according to Camden, "as the very oracle of the law." Towards th close of his life— the period when this portrait was painted— he gre^ very fat. To this he alludes in a letter to Elizabeth, excusing himsel for writing instead of coming to her. saying, "not of an unwilling harte and mynde, but of an unhable and unwieldie bodie, is the onel cause ' He knew also how to combine flattery with a jest on his ow corpulence. No, madam," said he, when the Queen was visiting hir and observed that his house was too small for him, " my house is nc too small for me, but your Majesty has made me too large for m house." It should be observed that this picture bears little resemblance t other portraits of Sir Nicholas (compare especially the one in th National Portrait Gallery) ; but resembles rather those of Lord Char, cellor Ellesmere. i 348 Margaret, Daughter of Charles V., Duchess of Parma Regent of the Netherlands. (For her great-aunt, als- Regent of the Netherlands, See No. 260) Aftev Coell(^ 349 Woman Milking a Goat " . . . Berchei 349a Nymphs and Satyrs 360 The Judgment of Paris, POELEMBER< ROTTENHAMME. ^ \ ' t ol HI 100 Queen 0)arp'$ Cfloset. Queen Mary's closet is not a very appropriate designation of this room ; for, as it was not floored till four or five years after her death, she could never have been in it at all. It seems to have got this name from having been formerly hung with needlework executed by her; the chairs and screens also being described as the work of the same pious hand," and " extremely neat, and the flowers very well shadowed." They were all removed many years ago. The Pictures i mainly Flemish, of the lyth century, 351 Portrait of Count D'Oversteyn ? . Unnamed He accompanied Anne of Cleves to England by order of her brother, and conducted her to the altar at the ceremony of her marriage by order of Henry VHI. 352 Sir Jeffrey Hudson .... Mytens 353 George Villiers, first Duke of Buckingham, K.G. Cornelius Jansen van Ceulen Dressed in the full robes of the Garter, with the collar and " George." James I., who, as Clarendon said, "of all wise men living, was the most delighted and taken with handsome persons and fine clothes," gave his favourite the Garter in July, 1616, not long after he had first been introduced to him. It was doubted at the time " that he had not sufficient livelihood to maintain the dignity of the place," but the |King soon supplied the deficiency by grants of land and pensions and offices ; and Villiers, who loved magnificence in dress as much as his master, took care to please his eye by his splendid costumes. 364 A Lady with a Fan (Perhaps Arbella Stuart) ? Inscribed " A^ Di. 1594. SYM 13." 355 Face at a Window .... ? The history of this picture illustrates the way in which false names are given to portraits. The first record of it is in the Commonwealth lOI CATALOGUE OF HAMPTON COURT PICTURES. inventory, where it is entered as being at Oatlands, and sold to Mr. ; Houghton, January 16, 1651, for £3, under the title : " One looking through a casement," without any artist's name. We next find it in James II. 's catalogue: "The picture of a fool in a black cap, looking through a window," attributed to Holbein; and from that the step was natural to call it, "Will Somers." It bears in fact no resemblance to the authentic portrait of him. {See No. 576.) Nor is it by Holbein; on the contrary, it appears to be a work of the seventeenth century. Behind is Charles I.'s brand, and also Prince Henry's. 356 A Sea Port and Ruins . O. Viviani and Jan Miel Ottavio Viviani was a painter of architecture who flourished about the middle of the seventeenth century. {See No. 937.) 357 Alderman Leman ? In the upper left-hand corner his coat of arms is painted : Azure, a fess between, three dolphins embowed, Argent. The helmet of a squire, and above, his crest — a lemon tree. Over that is written | "Anno Domini, 1616 ; " and beneath his arms, " ^Etatis sv^ 71." | This portrait, of which there is a replica at Christ Church Hospital, Newgate Street, must have been painted in the latter months of 1616; for on October 29, in that year, John Leman of Gillingham, in Norfolk, \ was sworn in Lord Mayor of the City of London. The pageant on that j occasion is perpetuated in a very rare tract entitled : " Chrysana- naleia, The Golden Fishing ; an Honour of Fishmongers ; applauding the advancement of Mr. John Leman, Alderman, to the dignitie of Lord Mayor of London, taking his oath in the same authority at West- minster on Tuesday, being the 29th day of October, 1616. Performed ■ in hearty love to him, at the charges of his worthy brethren the Ancient i and Right Worshipful company of Fishmongers. Devised and written by A [nthony] M [undy] , Citizen and Draper of London." ,j 358 Christ with Martha and Mary Hans Vredeman de Vries On the sill of the archway is the signature : " Hans (in a monogram) Vries, 1566." Behind are the cyphers of Henry Prince of Wales,: and Charles I. Notice the interesting old furniture. \ Hans Vredeman de Vries was one of the earliest perspective and archi- \ tectural painters of the Netherlands. He chiefly studied classical design, which accounts for the splendid but inappropriate decoration of this interior, where the figures are, as they are indeed meant to be, sub- ordinate. There is a very similar picture by his scholar, Steenwyck, in the Louvre. According to Charles I's catalogue the figures are by Blocklandt. 359 Portrait of a Gentleman .... ? I02 QUEEN MARTS CLOSET. 360 Cattle in a Landscape . . . M. Carre Carr^ was a pupil of Berghem's, and resided in England. 361 A Child Firing a Cannon .... Unnamed 362 Windsor Castle . . Leendert de Koningh ? The castle is on the right, the terrace finishing at Winchester Tower. 363 Portrait of James I. when young (?) Unnamed 364 Unassigned 365 A Laughing Boy .... Hals ? 366 Dead Game . . . . . Jan Weenix 367 Still-hfe — Oranges, Oysters, Grapes, a Flagon J. G. CuYP? Ascribed to Jacob Gerritsz Cuyp, the father of the great landscape painter ; but it seems rather in the style of De Heem. 368 Unassigned 369 Portrait of a Man unknown . . Unnamed 370 Portrait unnamed, but of George Fermor ? Unnamed On the right is inscribed: " ^tatis fuce 40," and on the left is his crest, that of the Fermor family — a cock's head in a marquis' coronet. 371 Portrait of Sir -Peter Carew . . Gerlach Flick Across the top is inscribed : "S"* Peter Carew Knight 3'^ Sonne to William Carew bvried at Waterforp in Ierland. an. 1575." 372 Unassigned 373 Sir Theobald Gorges .... Unnamed On the right is a scroll with the motto : " Virtutis prcemiu non fortunes Elimosina.'' Theobald Gorges was knighted on June 27, 1616. 374 Robert Dudley, Earl of Leicester . Unnamed 103 CATALOGUE OF HAMPTON COURT PICTURES. 376 A Startling Introduction . . Hendrik G. Pot On the chimney-piece is a coat of arms carved in stone, and the monogram HP. This belonged to Charles I., for we find his cypher branded at the back of the panel ; but it is not found in his catalogue. It is probably, however, the picture called "A souldier making a strange posture to a Dutch lady, by Bott," which was sold by the Commonwealth to Mr. Treasurer Jones, November 2, 1649, for £7. Both the subject of this picture and its painter have given rise to much perplexing diversity of opinion. The real artist is Henry Pot, whose initials are inscribed in a monogram on the chimney piece, and whose name is further suggested by the misnomer, ^*Bott" in the Commonwealth inventory. This sup- position is confirmed by the fact that Pot, who was born at Haarlem in 1600, was known to Charles I., and painted his and his queen's portraits. He was probably in England some few years. 376 Portrait of a Gentleman Unknown . Unnamed Signed in the lower right-hand corner : Weenix, f. 16?8." A work of Jan, the son and scholar of Jan Baptist Weenix, the painter of landscapes and animals. 377 Dead Game and Flowers Jan Weenix 378 Head of Boy unknown Unnamed 104 Queen's (^allerp* The Tapestries — History of Alexander. rHESE are a series of seven pieces of tapestry from the cele- )rated designs of Charles Le Brun, illustrative of the life )f Alexander. Very little is known of their history beyond ;he fact that they were bought by General Cadogan in Flanders for a very small sum in George I.'s reign, and ;et up here by order of the King. They were worked at Brussels. The seven pieces here are only a part of the whole >eries, and are not arranged in chronological order. J80 Portrait called " Schachner of Austria " Hans Bai.dung ? J81 Alexander's Triumphal Entry into Babylon, in 331 B.C. After the battle of Arbela, and the flight of Darius. 582 The Last Fight of Porus, King of India, in 326 B.C. Porus is on his elephant in the centre of the picture, hurling a javelin, rhe contest was fought after Alexander had forced a passage across the Flydaspes. J83 Alexander and his Horse Bucephalus. Alexander, after taming the horse, has just dismounted, and is being jmbraced by his father Philip, who on this occasion exclaimed that ' Europe would be too small for such a spirit." J84 Alexander and Diogenes. 385 Alexander Meeting the Chaldean Prophets as he enters Babylon. 105 CATALOGUE OF HAMPTON COURT PICTURES 386 The Battle of the Granicus. Alexander is about to strike Spithridates, the Ionian Satrap ; behinc the King, coming to his assistance with a battle-axe, is Clytus, who save! . his life. 387 Alexander Entering the Tent of Darius' Wife. Alexander, after the battle of Issus, is entering, accompanied b}^ Hephaestion, the tent of Sisigambis, the wife of Darius. She at first took Hephaestion for the King, and prostrated herself before him to kiss r( his feet. ! 388 A Warrior . . . GuERCiNq I io6 Queen 3^iine'$ jState [BedcDamber 3uEEN Anne's bed, of very fine crimson Genoa velvet, vith its stools, &G., to match, appropriately furnishes this oom. It was removed from Windsor Castle in 1830. The ceiHng was painted by Sir James Thornhill, who lad succeeded Verrio and Laguerre as a decorator of )alaces and public buildings. The design shows Aurora ising out of the ocean in her golden chariot, drawn by bur white horses, and attended by Cupids ; below are Slight and Sleep. In the cornice are the following )ortraits : George I. with the crown, over the bed ; Princess Caroline, over the fireplace; George II. as r*rince of Wales, opposite his wife ; and Frederick, Prince )f Wales, as a bOy, over the windows. ,The chandelier is silver, elaborately decorated with jlass balls. Near the bed are two large blue bowls, which probably belonged to Queen Mary. The cast-iron fireback las a rude representation of the Worship of the Brazen serpent. The size of this room is 30 by 25J ft. ; its leight 30 ft. The Pictures mainly of the later Italian Schools. J91 A Magdalen Palma Giovine ■ 192 A Doge of Venice . . . . Fialetti For the probable identities and names of this Doge, and the others, see he Author's " Royal Gallery of Hampton Court, Illustrated." J93 The Last Supper ..... Bassano 107 CATALOGUE OF HAMPTON COURT PICTURES, 394 St. John Baptising Christ . . . F. Francia Christ, with his hands joined, is standing in the water. St. John, who is kneeling on the bank, to the left, has a saucer in his right hand and a staff with a cross at the end of it in his left. Behind him are two angels. In the background are four figures, Jews, who have come to be baptized, two attired as monks. Abo.ve, in irradiated clouds, is the Holy Ghost in the form of a dove. A golden light, the reflection of the dove, illumines the water where St. John's staff touches it. On a cartellino in the lower left-hand corner is inscribed : " Francia, Avrifex Bononien." This beautiful picture, the finest specimen in England of this great master, must have been acquired by Charles I. , with the Mantuan collection. There is a replica, though larger in scale, at Dresden, also signed, with some variety in the placing of the angels and the landscape, and dated 1509. It has been rather the custom lately to put down the Hampton Court Baptism as a repetition or imitation of the Dresden one from the hand of a pupil. Francia, like most artists of the Renaissance, did not confine himself to painting. He worked also as a jeweller, and indeed assumed the name of Francia from his master in that trade, instead of his own surname Raibolini. He further testified his respect for technical art by often signing his pictures Aurifex, goldsmith, as he has done onr-this, while on his jewellery he inscribed himself Pictor, painter. 396 Judith with the Head of Holofernes . Guido ? 396 Bacchanals . [Polidoro Caldara da] Caravaggio 397 A Doge of Venice .... Fialetti 398 A Roman Emperor on Horseback Giulio Romano 399 A Roman Emperor on Horseback Giulio Romano 400 " Madonna della Querela" After Raphael by G. Romano This is an early copy, attributed to Giulio Romano, of Raphael's famous picture, now at Madrid. There is also a repetition of it at the, Pitti Palace at Florence, marked as a copy by Giulio Romano. It was designed by Raphael about 1517, but the execution, even of the original, is generally attributed to G. Romano. Variations by Raphael's scholars, in which the infants hold the scroll aloft, are frequently met with. \ 401 Old Man reading with spectacles . Catalani \ 402 A Sacrifice Giulio Romano | In Charles I.'s catalogue it is described : "A high and narrow piece, in a white carved and gilded frame, being a sacrifice ; some four entire little ' io8 QUEEN ANNE'S STATE BEDCHAMBER. igures, and a goat lying to be sacrificed. A Mantua piece, done by fulio Romano." The back of the panel is branded with Charles I. 's cypher. t03 St. John the Baptist . . . . L. Spada 104 Christ brought before Pilate . . Schiavone, 105 Burning of Rome by Nero After Giulio Romano The execution is perhaps the work of one of his scholars. The fine original cartoon in colours is now at the Louvre. J06 Jupiter and Juno taking possession of Heaven Giulio Romano ? 107 Temperance Romanino 108 A Labyrinth and Pleasure Garden ^ Tintoretto ? , t09 Jupiter and Europa. (S^^ No. 418.) GriULio Romano WO Mermaid and her Young . . Giulio Romano til A Doge of Venice — Marino Grimani . Fialetti 612 The Nursing of Jupiter. {See No. 418.) Giulio Romano The scene represents the Island of Crete, where Rhea was brought o bed of Zeus secretly, to save him from his father, Cronos, who levoured all his children as soon as they were born. While his mother vent away to give Cronos a stone wrapped up in a cloth instead of his hild, the infant was nursed by the Curetes and the nymphs Adrastia nd Ida. They fed him with the milk of the goat Amalthea, and the ' »ees of the mountains provided him with honey. This is the subject epresented here. !l3 Fortune on a Shell Oared by Tritons Giulio Romano 14 Julius Caesar returning from the Senate House Giulio Romano This came to England in the Mantuan Collection, and it has Charles .'s cypher branded at the back. It is in the Commonwealth Inventory, lo. 1013, " Julius Caesar with an eagle above his shoulders appraised at ;34," and hung "in the Committee Room." 15 Venus and Cupid . . . After Pontormo 16 Senators of Venice in the Senate-house . Fialetti log F CATALOGUE OP HAMPTON COURT PICTURES. 417 A Doge of Venice Fialetti 418 The Birth of Apollo and Diana . Giulio Romano The accounts of Apollo's birth vary ; the one selected here seems to be the following : " Apollo, the son of Zeus and Leto, was born in the Island of Delos, together with his sister Artemis. Hera in her jealousy pursued Leto from land to land, and isle to isle, and endeavoured to prevent her finding a resting-place where to give birth. At last, however, she arrived in Delos, where she was kindly received, and after nine days' labour, she gave birth to Apollo under a palm or an olive-tree at the foot of Mount Cynthus." This is one of a set of twelve similar mythological pieces originally painted for Frederigo Gonzago, Duke of Mantua, Giulio Romano's great patron, for whom he executed so many mythological works in the ducal city. They are apparently works of his later time, when the influence on his style of his master, Raphael, had begun to wane. 419 Chiron teaching the Use of the Bow Giulio Romano Achilles is pressing towards the Centaur, and receives a boar's hide and a bow and arrows. Thetis is behind him, prostrate with grief. 420 Head of a Matt OV^^t . . . " Schiavone 421 St. Sebastian Pierced with Arrows S^fco/^^/ Francia 422 Diana. . . . After Titian, by Padovanino no Queen 3^titie'$ X)^*3U^ln9=!jElooni. This room being the central one of William III/s East Front, towards which all the lines of the garden walks and of the avenues in the park converge, is one of the finest of the suite. Although built by Wren in 1694, its decora- tion dates from ten years after, in the reign of Queen Anne ; and the doorways, the fine oak dado, and the fire- place were designed by Sir Christopher then. Discovery of Painted Walls. The chief decoration of this saloon, however, consists of the paintings on the walls and ceiling. They were executed by Verrio, in 1704-5, at the price of about 1000, and are a good specimen of his exuberant design and gaudy colouring — comparable with his " King's Great Staircase " and King's State Bedroom," already described. The painted ceiling has been visible ever since it was finished by the artist. The existence of the painted walls, however, was unknown and unsuspected, until discovered by the author in 1881 in the course of his researches into the history of the Palace, by means of a copy— probably unique — in the King's Library at the British Museum, ot a rare tract entitled " Apelles Britannicus," published in 1741. In this work it was stated that on the sides of this room are more paintings of Verrio, representing the British Fleet and Prince George of Denmark pointing to it ; and the four parts of the world, shown by four figures " ; but that they had been " concealed and covered over with green damask," probably about 1735. This hint led the author to obtain permission from the authorities to institute an examination of the walls, which III CATALOGUE OF HAMPTON COURT PICTURES. at once verified the existence of the paintings behind the red flock-papered canvas. Since 1881 an opportunity of uncovering and reveahng them had been awaited ; and it at length occurred in the spring of the year 1899, by the removal of West's portraits of George III. 's family, which for seventy years had hung on these walls, to Kensington Palace. Lord Esher, then Secretary of H.M.'s Board of Works, cordially supporting the suggestion, the battening, canvas, and paper were stripped down, and thq painted walls, hidden for a hundred and sixty-four years, were once more revealed to sight. The paintings were, in the main, found to be in very fair condition, being as bright and fresh in colouring as when last touched by the painter's brush ; though the borders had been here and there injured by the cutting away of the plaster to insert the wooden frames on which the canvases were stretched, and by literally hundreds of holes, made by the nails to hang pictures on, driven in through the canvas all over the surface. The restoration of the damaged portions, which occupied Messrs. Haines three months, fortunately involved but little renewal in the chief portions of the pictures. This room, therefore, now presents exactly the same appearance as it did when Queen Anne occupied it ; and the visitor is thus afforded a true idea of the decoration of that period, and can judge of the real taste of that reign, which was nothing! more than an imitation of the bastard classicism of Louis; XIV., as distinguished from the so-called Queen Anne style," which had Httle existence at all, except an imaginary one in the brains of modern china-maniacs. Soon after painting this room, Verrio's eyesight failed him ; and it is stated by Walpole that the Queen gave him a pension of £200 for life. He did not, however, enjoy it long, for he died at Hampton Court in 1707, in the apart- ments which had been allotted liim in the Palace. ri2 QUEEN ANNE'S DRA WING-ROOM. Description of the Paintings on the Walls. Each wall, affording a space of about 35 ft. wide and ibout 20 ft. high, from the top of the oak dado to the coved :ornice, is painted to represent a large panel of tapestr}', A^ith a gold fringe and a wide border of flowers, flanked by miliars and pilasters of pink-coloured marble. Brilliant and ^audy as is the colouring, this is not owing so much to Dver-restoration, as to the fact that the walls were covered ap only thirty years after the work was executed by Verrio. West Wall {facing the windows) . Here we have a figure Df Queen Anne, seated on a throne beneath a canopy, dis- pensing Justice and Mercy. On the left is shown Hercules ivith his club, crushing Evil and Sedition, and on the right ire other classic figures trampling on Envy and other vile nfluences. In the foreground are figures representing niatives of the four quarters of the Globe — Europe, Asia, A.frica, and America — who have come to offer homage to ber Majesty. The Sibyl is on the left of the Queen, holding 1 scroll with the words, " Pereunt discrimine nullo amissse leges " ; and Christian Truth on the right. North Wall (over the fireplace). The painting here shows us Prince George of Denmark, husband of Queeri ^nne, standing on an eminence under an elaborate canopy. He is clad in an armour suit of burnished steel, with an ermine cloak ; and on a table by his side are a plumed jielmet and a royal crown. He holds a baton in his hand ind seems to be pointing to the British Fleet, which is 5een in the background on the right. South Wall (opposite the fireplace). Here we have Cupid irawn in a car by sea-horses, and surrounded by mermaids, sea nymphs, and dolphins blowing shells. In the distance s again seen the British Fleet. Above are the Queen's nitials, A.R in a monogram composed of flowers. The ClEiLiNG. This represents Queen Anne in the character of Justice, with scales in one hand and a sword 113 CATALOGUE OF HAMPTON COURT PICTURES. \ in the other. Over her head a crown is held by Neptune and Britannia ; while surrounding her, and floating m th( clouds, are various allegorical figures of Peace, Plenty, Fame, &c. Queen Anne, when residing at Hampton Court, used t( give levees in this room, and Swift talks of attending on^ I here. Notice the fine view from the windows here. It showj the whole of the Public or Great Fountain Garden, an. a large portion of the House Park (now commonly calle.! the Home " Park, but officially designated as " Hampto:, Court Park ") ; and the middle window is the centre-poin' towards which all the lines of the walks and avenues con verge. The gardens were laid out in their present form b William HI.; but Charles H. had begun the alterations, an| in his time the Long Canal (not Long Water, as it is ofte erroneously called) was dug, and the great avenues plantec The Long Canal is about three-quarters of a mile long, an| the side diverging avenues about a mile ; the vista of OEj is closed by the picturesque old tower of Kingston ChUrcl the vista of the other by the waterworks of Surbiton. 114 Queen's ^^udience Obamber. )n the wall hangs an old Canopy of State of red damask, f the time of George I. Observe the chandelier. The reback represents the Rape of Europa. ^he Pictures mainly Flemish and Dutch of the 17th Centiiry. 32 Henry Juhus, Duke of Brunswick . ^ ? On a label in the lower left-hand corner is inscribed : "Henry Julius ). G. Dux Brunswickensis. Ano. 1608." This portrait, and the companion one of his Duchess, No. 467, were oth in James I.'s collection. 33 Phihp III., King of Spain (1605) J. Pantoja de la Cruz Signed below : " Ju. Pantoja De la Valladolit Regice Majestatis ^hilip. Pictore faciebat. 1605." The companion picture is that of largaret of Austria, at Buckingham Palace. The King's age is here wenty-five. There is a similar portrait at Cobham Hall. •34 Head of an Old Jewish Rabbi Rembrandt His signature, ''Rembrandt , 1636," can be seen near the Rabbi's right houlder, three inches from the tassel of his cap. (35 Musicians . . ' . . Pieter de Hooch Signed in the lower left-hand corner : " P. D. Hoogh, 1647," or 1667. ii36 Magdalen Praying by Candlelight . Schalcken ? •37 Landscape, with Cattle . Adrian Vandevelde Adrian Vandevelde was a pupil of Wynants', and painted very different abjects to his brother William Vandevelde the younger. His style has luch affinity with Paul Potter's. 38 Stacking a Hayrick . . . Wouverman 39 Portrait of a Jewish Lady . . Rembrandt ? 40 Sea Piece — A Calm .... Vandeveldt \ ■ - ) CATALOGt/E OF HAAfPTON COURT PICTURES, Mi Anne of Denmark, Queen of James I. Vansomer She holds two dogs in a leash, and one of them is jumping up to her. Round their necks are little ornamental collars on which are embroidered in gold the Queen's initials: "A.i?." On her right is a negro groom in red. The red-brick buildings in the background to the right are, as Charles I.'s catalogue proves, the house at Oatlands, not Theobalds, as is usually said, and certainly not Hampton Court. In the right-hand corner Vansomer has imitated a slip of paper stuck on with two red wafers or wax, with this inscription: "Anncr D. G Magna Brittanice Francice et Hibernice Regina ^tatis suce 43, Anno Dm. 1617." At the top of the picture is a scroll inscribed : " la mia grandezza DAL ECCELSO," and in the lower left-hand corner on a stone is fhe signature, "P. Vansomer. A° 1617." The Queen's love of sport, after her own way, was almost as great; as her delight in masques. She used to go out with a cross-bow and shoot at the deer from a stand ; though her only recorded exploit is killing the King's favuorite dog. Ben Jonson flatteringly called her "The Huntress Queen." This portrait must have been painted in the Autumn of 1617, when she made a long stay at Oatlands for her health, which was then begin ning to decline. In the Autumn of 1618, having become much worse, she moved to Hampton Court ; and the King used to come down three times a week to see her. But she grew rapidly weaker, and on the night of March 2, 1619, as the old clock struck four, she passed away Ever since then, it is said, the clock always stops whenever a deatl occurs in the palace ; and those curious in such coincidences being able to cite several undoubted cases of its occurrence within the last few years, the superstition has somewhat revived. 442 Ducks and Geese in a Farmyard . Hondecoeter^ A fair specimen of Melchior de Hondecoeter, who was a student oi Weenix {see No. 377), and who, in representing poultry, peacocks pigeons, &c., alive, and surrounded with the accessories of bird-life, ha; never been surpassed. 443 Landscape, with Cattle Hermais van Swanevelt This landscape and Nos. 27 and 31 are among the best works of thi^ Dutch scholar of Claude's. "Few artists have surpassed him in the suavity and tenderness of his tints, or the delicate ' degradation ' of hi^ aerial perspective." — (Bryan's " Diet.") 444 A River Scene in Holland . . S. Ruysdael 445 Madame la Marechale de Chatillon . Unnamea This picture is inscribed in the lower left-hand corner : " Madame la Mareschale de Chastillon." ii6 ' QUEEN'S AUDIENCE CHAMBER. M6 Lot and his Daughters . . . Schalcken Wl Exterior with Figures . . . . G. Dow - 448 Landscape — Rocks and a Lake Everdingen 449 Assembly of the Gods . . . B. Sprangher Jupiter and Juno at the top of the table. Ganymede with a goblet is close by. Venus in the centre clasped by Vulcan, and turning round to kiss Mars. Pluto on the left ; Fame above. Almost a solitary example of this painter in England ; but there are many of his works at Vienna, where he resided a long time as the favourite painter of Rudolph II. 450 A Battlepiece . . . Ph. Wouvermans 451 Edward, I2th Baron Zouche of Harringwotth, President of Wales .... Unknown A man of some considerable importance in Elizabeth's reign, and one of the peers who sat on the trial of Mary Queen of Scots. 452 Henri I IL of France ? . . . Guzman? ? vSigned Guzman. 453, Italian Peasants. (S^^ No. 464) . Bamboccio 454 Scene from the Life of St. Sebastian LUGAS VAN LeYDEN ^ 455 Scene from the Life of St. Sebastian Lucas VAN Leyden Charles I.'s brand behind. In his catalogue, p. 39 ; " Done by Lucas /> van Leyden. Item : The second of the third and last pieces of Lucas i van Leyden, where one is lying on a green bed a-dying, and another I kneeling at the bed's foot, and some standing at the bedside. ... \ Bought by the King of Sir James Palmer." 456 Martyrdom of St. Sebastian . Lucas van Leyden 457 Landscape, with a River and Castle Van Diest 458 Children Playing with a Lamb . . F. F'loris 459 The Offerings of the Magi . . Luca Giordano 460 Adam and Eve in the Garden of Eden Mabuse This is one of the most interesting pictures in the collection. It originally belonged to Henry VIIL, appearing in his catalogue, No. 128, 117 CATALOGUE OF HAMPTON COURT PICTURES.. as : A Table with a Picture of Adam and Eve. We next find it noticed in King Charles I.'s catalogue, page 90, among the pictures in "Adam and Eve's Stairs Room," thus: ^'Imprimis, without the door, at the head of the said Adam and Eve stairs, a defaced old picture at length, being Adam and Eve, entire figures, being little less than life, painted upon aboard, in an old defaced gilded frame. An old defaced Whitehall piece, painted by Maubugius." It is, says Waagen, " one of Mabuse's latest pictures after his visit to, Italy," in which "he appears as a careful but mannered imitator of the Italian School." He was the first of the Flemings whose style was seriously modified by a journey to that country, and transferred to Flanders the habit, then peculiar to the Italians, of painting nudities. j In Sir Claude Phillips's opinion this is, next to the much earlier Adoration of the Kings at Castle Howard, the most important example of this master's art to be found in England. " It serves, notwithstanding the astonishing precision of the execution, to show how much Mabuse deteriorated when, like most of his most skilful countrymen, of the same transitional period, he strove to speak in a tongue foreign to him, and to assume the suave graces of the Italian Renaissance." 561 Landscape — Ferry-boat and Fishermen Van Diest; 462 The Rape of the Sabines . Rottenhammer ? 463 Sophia, Queen of Frederick 11. of Denmark Unnamed She was the mother of Anne of Denmark, Queen of James I. 464 An Italian Market .... Bamboccio — 465 Holy Family Mabuse ? 466 Jonah under the Gourd . Marten Heemskerk Inscribed on the pillar of the arch in the centre of the picture : " 1561 JKartijnus ^Bfimskcrck Unb^niflr." 467 Duchess of Lunenberg .... ? 468 Anne of Denmark, Queen of James I. M. Gheeraerdts Behind her head is a stand-up ruff, on which, on . one side, is the letter S crowned (for Scotland) , on the other the letter E crowned (for England), and behind the letters, apparently, F. H. S. also crowned ? for France, Hibernia, and ?), and from each a pearl hangs down. In the background (probably painted by Steenwyck) is seen Inigo Jones's west fa9ade of old St, Paul's. ii8 QUEEN'S AUDIENCE CHAMBER. 169 The Death of Adonis . . B. Van Orlay 170 Lot and His Two Daughters . . Poelemberg ¥li A Spanish Lute-Player .... ? ^72 Nymphs in a Landscape, Bathing . Poelemberg 473 EHzabeth, Queen of Bohemia Honthorst or Jansen From her neck hangs a black cross crowned. From her left earring hangs a plaited lock of dark hair, hanging on the shouFder, her own being light. Her left arm has a scarf of black stuff gathered into a large rosette below the shoulder. On the right-hand side is inscribed : "ELIZABETH WIFE TO FREDERICK PRINCE PALATINE KING OF BOHEMIA." The lock of hair and the mourning band relate either to her champion, Christian, Duke of Brunswick, who died in 1626, or to her husband, who died in 1632. Compare No. 132. ¥1^ Sculptured Medallion Bust of Henry VIIL TORRIGIANO ? 475 James L in his Robes — Whitehall Behind M. Gheeraerdts Through a lattice window on the left is seen the Banqueting House at Whitehall, which was begun in 1619, and finished in 1622. As Vansomer died on January 5, 1621, this portrait must have been painted before the building was complete. Inigo Jones' Banqueting House, it is well known, formed only the central portion of one wing of a projected gigantic palace which, if completed, would have been the largest and finest in the world. '* Little did James think that he was raising a pile from which his son was to step from the throne to the scaffold." ? Background by Steenwyck. 476 A Man with a Watch . . Hans Grimmer ? In the Nuremburg Museum is a portrait apparently of this very man by the same artist. It is there ascribed to Hans Grimmer, who flourished about 1560. ¥11 Landscape, with Peasants and a Horseman J. Wynants Signed below,: "J. Wynants, In this small work of this admirable master we have an "open country," a "sandy bank," a "winding road," and a "withered tree," all of which are given as indications of his second period. iig CATALOGUE OF HAMPTON COURT PICTURES 178 A Lady as St. Mary Magdalene Ambrozius Benson ^79 Landscape, with a Rainbow * . . Wouters Behind is Charles I.'s brand — C.R. and the crown. 480 A Duchess of Brunswick .... ?' Anne Sophie of Brandenburg, married t'rederick Ulric, Duke of- Brunswick ; died in 1634. 120 George II. used occasionally to dine in public in this room. Its decoration dates from about 1732, and was doubtless designed by William Kent. The panelling, which is of deal wood, had been for many years covered with green painted canvas, stretched on battens, and was discovered in 1899, when the rearrangement of pictures took place. The Pictures — Miscellaneous, The pictiives that formerly hufig on the walls of the Prince of Walea' rooms are now displayed in the rooms still accessible, 491 Nymphs, Satyrs, and Cupids . . Poussin " 492 William "the Silent," Prince of Orange Mierevelt 493 The Death of Henri II. of France, 1559 Unnamed The King's death was occasioned by the injury he received from the lance of Montgomery, Commander of the Scots Guards, at a tournament held in honour of the marriage of Princess Elizabeth with Philip of Spain. The picture contains portraits of Catherine de Medicis and family, Cardinal de Lorraine, Henry's Confessor, &c. This highly curious picture and its four companions, Nos. 476, 484, 485 and 500, were bought by the Prince Consort in June 1860. They illustrate incidents in the persecution of the Huguenots, and depict some of the more atrocious acts of the Catholic party. At the bottom of each picture is an inscription in old German descriptive of the event portrayed, in language of not unnatural bitterness against the cruelties perpetrated by the Cardinal de Lorraine and the Due de Guise. The painter of these interesting pictures has not yet been discovered ; but there are engravings of them in reverse, which may perhaps lead to his identification. 121 CATALOGUE OF HAMPTON COURT PICTURES. 495a Nymphs and Satyrs Dancing . Poelemberg Behind is painted : " Huic poelenhurgo vix par est Magnus Apelles picta docet varys multa tahella modis." Although the works of Poelemberg — " the sweet painter of little land- scapes and figures" — are stated to be "very scarce," there are a considerable number in this collection, most of which he must have painted for Charles I. during his residence in England. 595 A Priest and his Pupil . . Venetian School 496 The Council of Passy, 1560 . . . Unnamed This Council, or rather conference, was held in the Hall of the Blessed Virgin, on September 9, 1560. Theodore Beza, the Calvinist of Geneva, is shown disputing with the young King Francois II., the Queen Mother, the Cardinal of Lorraine, &c. 497 The Two Apostles going to Emmaus School of Breughel 498 St. Jerome with a Lion by him J. van Hemmessen ? There is a similar picture at Vienna. 499 A Landscape Paul Brill 500 A Boy playing with Puppies . G. B. Castiglione 501 Embarking frqm Schevening . A. Palamedes Perhaps the occasion represented here is the embarkation of Charles II. for England. (Compare No. 62.) 502 The Elements— Earth Breughel and Rotten- hammer 503 Portrait of Cornelius Ketel, the Painter By himself This is called " Ketel, by himself," but there does not appear to be any tradition warranting this name; it is certainly, however, like authentic portraits of him. Ketel was in England from 1573 to 1581, during which time he did many portraits, and was employed by Queen Elizabeth to paint the " strange Island man and woman," brought to England by Sir Martin Frobisher. At one time he adopted the fanciful notion of painting with his fingers, beginning with his own portrait ; and afterwards undertook to paint with his feet, an antic which the public, who thought " the more a painter was a mountebank the greater was his merit," vehemently applauded. 122 PUBLIC DINING-ROOM, 504 The Woman taken in Adultery F. Neeffs ; Figures by Old Franks 505 The Elements — Water Breughel and Rotten- hammer This is one of a series of four pieces representing the four elements. Behind each are Charles I.'s cypher, and slips of paper inscribed in a handwriting of the time : " Bought by the King for Oatlandes House Gallery." The landscapes were painted by Jan, called "Velvet" Breughel, and exhibit the delicacy and softness for which he was distinguished. The figures, which are about six inches high, and the birds, fish, and other animals are ascribed to Rottenhammer. The exquisite finish of every little detail, especially in the scales, fins, and eyes of the diminutive fish, and in the scrupulous rendering of every little leaf and seed of the fruit, is truly marvellous, 506 Historical Subject . . . After Rubens Bought by Queen Victoria in 1841. 507 Sacking a Village in Winter . . P. Breughel 508 Friars in a Nunnery . . . Pieter Aartsen Branded behind with Charles L's cypher ; and in his catalogue, p. 134 : "Bought by the King of Mr. Endymion Porter. Item: A piece of a nunnery where they are sitting a-spinning and the Pater Fryar of the Cloyster sitting at his victuals by the fire, a young Nun attending, a young Fryar eating his egg, and the old Fryar is beating with his rod upon the Cupboard, where all sorts of victuals tumbling out ; by that painted in black and white in the said picture where Moses is beating at the rock for water." 509 Portrait of a Lady . . .A. del Sarto ? Behind is Charles I.'s brand, and a paper label, "From Mantua, 1628 "; and in his catalogue it is described as: "A Mantua piece, said to be of Andrea del Sarto." 510 Night-piece— Angel Delivering St. Peter Steenwyck 511. The Elements — Fire Breughel Rottenhammer 123 CATALOGUE OF HAMPTON COURT PICTURES. 512 Ganymede Carried to Heaven ^/j^^r Michael Angelo After the well-known design of Michael Angelo, from which there are, so many paintings. Dr. Waagen believed it to be " the skilful work of some Netherlandish artist, in many respects recalling Bernard van Orlay." There are other copies at St. Petersburg, Berlin, Paris, Vienna, &c. • P 613 Battle of the Forty . . . Pieter Snayers ? There are exactly forty horsemen, who are distinguished by their scarves ; twenty wearing red ones round their waists, and twenty with green ones on their left arms. Probably the Battle of Leckerbetie, near Bois-le-Duc, in 1600. 514 The Elements — Air Breughel ^^wt/ Rottenhammer 515 Portrait of an Italian Lady , , . UnknoTu Belonged to Charles I. 516 The Execution of Annas Dubourg, December 21, 1559 The hanging and burning of the Protestant Annas Dubourg on December 21, 1559, in the Place St. -Jean, Paris. Portraits of the Cardinal de Lorraine, the Due de Guise, and other noblemen, gentlemen and ladies. (See Note to No. 493.) 517 St. Christopher and other Saints Lucas Cranach ? 518 Eleanora of Austria, Queen Dowager of France, widow of Francis L " . . . . Unnamed 519 The Slaughter of Protestants at Amboise in 1560 ? Sack of the House of the Lord of Cabreyres at Cahors. (See Note to No. 493.) 520 The Shepherds' Offering . . T. Zucchero 521 Portrait of an Old Man, with a big beard . Unknown 522 The Continence of Scipio . . . . S. Ricci 523 Overthrow of Pharaoh and his Host Hans Jordaens 52i Portrait of a Knight of the Garter . Mierevelt 325 Portrait of a German Prince . . Unknown 124 PUBLIC DINING-ROOM^ 526 Christian IV. of Denmark Riding. {See No. go.) H. QUANDT '527 Massacre of the Innocents . . P.Breughel In Charles I.' s catalogue. Behind it is King Charles' cypher. A coniposition similar to this, though larger, is in the Brussels Museum, by Peter Breughel the elder. This is probably a copy from the original by his son, P. Breughel the younger, commonly called " Hell " Breughel. 528 Death and the Last judgment Marten Heemskerk On the left is represented a man on his death-bed, in a tent beneath some trees ; he is surrounded by figures of Faith, Hope, and Charity, and a priest is administering the last sacraments. At the foot of the bed are a pilgrim's staff, hat, and shoes. In the other part of the picture opposite to him is shown the Resurrection and Last Judgment — the central foreground being occupied with the dead in their cere garments rising from their tombs, while to the right hand Christ appears in the clouds. He is attended by St. John on his left hand, and the Blessed Virgin on his right ; while preceding them is a female figure of Fame, sounding a serpent-like trumpet. Beneath is the mouth of Hell, a monster's head with gaping jaws ; a devil with a pitchfork standing in the front of the lower jaw between the tusks. Into it a crowned figure, representing Earthly Pomp, is being drawn by a troop of demons. In the centre distance are a blaze of empty yellow light and a rainbow, and a lake on which is Charon and his boat, with numerous souls. This picture is far from being badly designed, some of the figures being exceedingly well drawn. But the grotesque element that pervades it renders it amusing rather than imprfessive. "The Last Judgment" was a favourite subject with the earlier painters, especially of the Teutonic schools, who turned instinctively to a topic which gave such scope for the fantastic. The treatment here, however, displays a studious departure from the established arrangement of the older artists. This is due to the painter, Martin Van Veen (called Heemskerk from the place of his birth), having learnt the Italian taste from his master Schoreel, and afterwards carrying it out, subsequent to his visit to Rome, in its most repellent form. It is probable that the panel before us was executed after he had seen Michael Angelo's famous fresco in the Sistine Chapel. It is signed in the left-hand corner : " jKartgnus IJan "^eemskerck 3In- beutor." 529 Portrait of a Flemish Gentleman Gonzales Coques 530 Cupids Dancing Wouters 531 Cupid and Psyche .... Van Dyck 125 CATALOGUE OF HAMPTON COURT PICTURES. 532 Calumny — An Allegory . , . . F. Zucchero On the left is seated Credulity, with ass's ears, stretching out his right hand. Suspicion and Ignorance (?) are whispering in his ears. A figure (of Justice ?) stands behind him and holds him back. Below, to the left, is a strong man fettered, struggling to free himself, and a dragon-like reptile with coloured wings. In the centre, in front of Calumny, is a man with a dragon-tail apparently accusing a man with his head crowned with leaves (Bacchus ?) , and a naked woman holding a dove to her breast (Venus? or a personification of Truth). Mercury is leading these two away to the right. Through an opening on the right is seen a cornfield and a man reaping. The canvas is painted with a border, with subjects en grisaille showing in each corner Medusa's head ; and below in the centre, Venus drawn by doves, and above a tablet with the inscription : "in payidvm ferivnt." 633 Pan Playing on a Pipe . . . Jordaens 53^ A Dutch Merrymaking . . . Molenaer There were several artists of the name of Molenaer, probably relations, who flourished between 1625 and 1660, and who painted somewhat in the same style. This is probably the work of Jan Miense Molenaer. 535 Holy Family with SS. Andrew and Michael Schoreel Formerly ascribed to Mabuse, " but, judging from the only well-attested picture by Jan Schoreel in the town-hall at Utrecht, decidedly by this painter, who was a pupil of Mabuse. His great reputation in his own time, and the rarity of his works, render this work very remarkable." — (Waagen) . 636 Children of King and Queen of Bohemia Poelemberg They stand all seven in a row, and are attired in most unsportsman- like, semi-classical costume ; with bare legs, arms, and shoulders, and bareheaded. To the right are stags, hares, and other game, and hounds, spurs, arrows, &c. ; in the background, on a hill, a ruined castle. The eldest is Prince Frederick, who is seen standing on the right, holding a boar's head ; he was drowned at the age of fifteen. Seated on a branch of a tree, in red, a little to the front, holding a bird on her right forefinger, and with her left on her bosom, is the youngest, Princess Sophia, the ancestress of our present most gracious sovereign. 537 Portrait of a Flemish Gentleman Gonzales Coques 538 Portrait of a Lady . . . . Italian School 539 Portrait of a German Prince . . Unknown Inscribed: Mr. George and the date 1617. 126 PUBLIC DINING-ROOM. 540 Head of Giorgione ? . . . By himself}^ The back of the wood is branded with Charles' cypher and crown. 541 Battle of Constantine After Raphael, by Giulio Romano In James II. 's catalogue. 542 Dead Game and Fruit .... Snyders It was in the market-place of Antwerp, his native city, that Snyders studied those objects of still-life — fruit, vegetables, dead game, poultry, fish — to which he confined his earlier efforts in painting. 543 Night-piece — St. Peter in Prison . Steenwyck There were several similar "Night-pieces" of St. Peter in prison, by Henry Steenwyck the younger, in Charles I.'s collection, most of which are now here. He was a painter in the service of the King, who much admired his works. 544 The Massacre of Huguenots at Vassy in Champagne, 1562 This massacre took place at Vassy, March 1, 1562. The Huguenot preacher is struck down while endeavouring to escape. The Due de Guise is shown running his sword through a lady. (See Note to No. 475.) 645 The Judgment of Paris . . . Lucas Cranach 646 Landscape— A Waterfall . . . R. Savery Roelant Savery was much employed by the Emperor Rudolph, who sent him into the Tyrol to study the wild scenery which he loved. Compare No. 765. 547 A Landscape Claude ? 548 St. Peter in Prison . ' . . Steenwyck ? 549 George Villiers, 2nd Duke of Buckingham, and his brother Lord Francis Villiers Copy after Vandyck Inscribed in the upper right-hand corner: " Copy'd by William Hannemann." From the picture at "Windsor. 550 Nymphs Sporting in Clouds . . . Chiari 551 Robbers in a Cave Dividing their Spoil S. Rosa 127 CATALOGUE OF HAMPTON COURT PICTURES. 552 Interior of a Farm — Loading a Donkey Teniers Between a duck and a hen is a stone on which is the signature : " D, Teniers. f." 553 Destruction of Popery by the Evangelist Unnamed^ This curious picture has been in the Royal Collection since the time oi Henry VIII. , 55^ Singing by Candlelight . . Honthorst {See No. 753.) ^ j 555 Henry, Prince of Wales, and Robert Devereux, third Earl of Essex, Hunting M. Gheeraerdts ? He is just drawing out his sword from its scabbard to cut the throat ofi a stag after hunting. To the left, on one knee, with his hat on the! ground, is Robert Devereux, Earl of Essex, afterwards the Parlia-! mentarian general. He wears the jewel of the Garter round his neck, of which he had been installed a Knight on July 2, 1603. Above the Prince is hung a shield with his arms, on a tree, and above his companion another shield with the bearings : Argent in a fesse gules in chief three torteaux. These are the arms of the Devereuxes, and not those of Sir John Harrington, who has usually been supposed to be represented in this picture ; but whose arms were a fret in a field sable, i There is, however, or was, a picture at Wroxton exactly similar to this,' except that the arms on the tree are those of Sir John Harrington. Both these young men were close friends and associates of the young Prince, and it is, therefore, not surprising that two pictures should have beenl painted. His pictures and articles-de-vertu , "which were many and rare," formed the nucleus of his brother Charles' famous collection ; there are many pieces in these rooms which belonged to him, and still have his cypher at the backs. 556 Portrait of a German Princf^ . . Unnamed Inscribed " Repugnancia." 557 Nymphs Sporting in Clouds . . Chiarj 558 Landscape — The Devil sowing Tares Lucas Vanuden 559 Fantastic Representation of Hell . J. Bosch This is one of those indescribably grotesque medleys of devils and damned in which certain painters of the Dutch School delighted. In the centre is a large head with open jaws, emblematic of Satan or Hell, into which all sorts of forms are passing. To the left are seen the Gates of Hell, which Christ is breaking open. In various corners are non- 128 PUBLIC DINING-ROOM, descript figures — half bestial, half human — seizing the damned and plunging them into fires and boiling cauldrons, or hanging them on gallows. Various incidents, apparently indicative of the vices, are shown -in one a group of demons playing cards. All round are hung detached arms, legs, heads, and bits of flesh. Behind are Charles I.'s cypher and a small slip of paper with this note : 1636. This picture painted by Jeronimus Boss was given to the King by the Earle of Arundell, Earle Marshalle, and Embassador to the Emperor abroad." Two pictures by Bosch that had belonged to the King were sold by the Commonwealth., In England, specimens of Bosch are very rare. The Prince of Wales's Presence Chamber," Draw- ing Room" and " Bed Room" are, for the present, closed, being occupied by the repairers of fine old silk and other stuffs and embroideries for the stools, chairs, beds and other furniture, belonging to the Palace. 560 A Skirmish on a Bridge 561 Martyrdom of a Saint . I. BOKGOGNONE Uv known Queen's Xi^^l^l^P* 562 Portsmouth Harbour . . . , 563 Landscape — A Castle, and Fountain . / 130 Queen's J^resence C[bainben 564 A Penitent Received into the Church . Baroccio 565 Portrait of a Gentleman . . Flemish School 566 Flowers — Roses, &c., in a Vase Maria van Oosterwyck This and No. 610 are good specimens of Maria van Oosterwyck, a lady painter and a scholar of De Heem's. She represents her flowers with the utmost truth of drawing, and with a depth, briUiancy, and juiciness of local colouring unattained by any other flower painter. 567 A River Scene . . ... Swaine 568 Meeting of Henry VIII. and Maximilian I. Unnamed This is a highly curious contemporary picture representing several incidents in the siege of Terouenne, undertaken by the joint armies of Henry VIII. and the Emperor Maximilian. In the foreground, the first meeting of the sovereigns, which took place on August 9, 1513, on the east side of Terouenne, is shown. On the right is Henry VIII. in gold armour and visor. On the left is the Emperor — described by an eye-witness as "of middle height, with open and manly countenance, pallid complexion, a snub nose, and a grey beard " : — in similar gorgeous apparel, his horse's trappings emblazoned with the Imperial eagle. • Behind them are their attendants. Over Henry is a tablet inscribed: " hericvs octavvs REX ANGLIC." Over the Emperor: "imperator Maximilian." In the centre the two monarchs are riding side by side ; while to the right and left are their respective armies and tents. Behind is seen the grand tournament in honour of the meeting, and parked cannon, waggons, &c. In the background, to the right, is a church, by which is painted its name, "tervane," i.e., Terouenne, which capitulated on August 22 ; to the left is the picturesque tnediseval town of Tournay, over which is painted " Tornay," which capitulated to Henry VIII. on September 24 {see notes to Battle of Spours, No. 569), with its towers, battlements, pointed roofs, and spires. Although this and similar pictures in this room, such as The Field of the Cloth of Gold, &c., have been attributed to Holbein, it is scarcely necessary to say that they have no sort of claim to be considered CATALOGUE OF HAMPTON COURT PICTURES. \ works of his. Their artistic merit is of the slightest, though their S execution shows considerable mechanical skill. They were doubtless painted by some of those artists whose names are to be found in the old records, such as "John Browne de London, payntor " ; "Andrew I Wright Serjeant Payntor to the Kynges grace"; and the "Italian « payntors Vincent Volpe and Ellis Carmyan.". 1 ( 569 The Battle of Spurs, 1513 . . ? \ This represents the defeat of the French at the village of Spours, before the walls of Terouenne, on August 16. In the lower left-hand corner is an old inscription : " Battaile of Spurrs." The English are shown on the left charging the French ; the figure in the centre in a gold helmet, with his vizor up, fighting valiantly, is probably meant for Henry VIII. In the middle distance is the town Terouenne, with its name inscribed over it in old characters : " Ter- waen" ; its moat, fortifications, and houses being distinctly portrayed, while in the centre of all rises the stately spire of its beautiful cathedral. - In front of the town is an old castle, round which the English are encamped, with their tents of white and green (the Tudor colours), amongst which the King's pavilion of cloth of gold can be distinguished, i On the extreme right is another old castle, round which is grouped another camp, presumably the Emperor's ; and further off that of the French, towards which they are shown as fleeing. \ 570 Mockery of Christ . ^/^^r Rubens or Vandyck ^' 571 Head of a Youth .... Flemish School 572 Flowers and Insects . . M. van Oosterwyck On the edge of the table : " Maria van Oosterw yck, Anno 1686." 573 A Small Sea-piece Swaine -574 A Triptych — The Passion School of Hendrik Bles Centre Compartment.— T/te Crucifixion. {v ; , tto ^^^5l; ' Left Wing. — Christ Falling under the Cross. /y. Reverse of the Left Wing. — Ecce Homo. ■ ' ' 'Right Wing.— The Resurrection. ^ 575 Charles I. returning from Spain . H. C. Vroom 132 QUEEJSnS PRESENCE CHAMBER. 576 Henry VIII. and his Family School of Holbein On the King's left is seated his queen, Catherine Parr, and next to her Princess EHzabeth standing. She is identified by the jewel she wears, in which is the letter A, the initial of her mother. On the other side is his son, Edward VI., and the Princess Mary with a jewel representing a cross. Behind her, in the doorway, is "Jane the Fool " ; while in the corresponding doorway on the right side is Will Somers, Henry VIII. 's jester. In the background, through the doorways to the right and left, is seen a garden and part of a red-brick building. The reasons why this picture cannot be by Holbein himself are fully discussed in the author's " Royal Gallery of Hampton Court, Illus- trated." It seems, in fact, from the inconsistencies in the ages, that it is a picture made up after the death of the King from v^arious original materials. If this is so, it was probably painted for Edward VI., as neither Mary nor Elizabeth would have cared to have introduced the other in a picture of this sort. Perhaps it is a work of Guillim Stretes, a Dutchman, who was painter to King Edward, and in receipt of the then large salary of £62 a year. In black trunk hose, and embroidered doublet. With dagger and sword. 679 A Boy Paring Fruit . . . Caravaggio ? 680 The Conversion of St. PauJ ... V. Malo Signed in the left-hand corner : "vincent malo inven." 681 Sea Piece — The Bay of St. Lucar-? Jan Parcelles 582 Meeting of Henry VIII. and Francis I. at the Field of the Cloth of Gold in 1520 . . ? In this curious contemporary painting we find every incident of the famous interview between the two sovereigns depicted with the most minute and elaborate historical accuracy. Left-hand side of the Picture. On this side is shown the arrival of the English cavalcade, which having landed at Calais, on May 31 removed to Guisnes on June 4. 677 Portrait of Edward VI. School of Holbc in 678 Dutch River Scene . J. J. SCHALCKE ? 133 CATALOGUE OF HAMPTON COURT PICTURES. In the foreground is the chief part of the procession, prominent in which is King Henry himself, who, as the chronicler, an eye-witness of the scene, tells us, "showed himself some deal forward in beauty and personage, the most goodliest Prince that ever reigned over the realm of England : his Grace was apparelled in a garment of cloth of silver of damask ribbed with cloth of gold, so thick as might be, the garment was large and pleated very thick." The head of Henry VIII. in this picture and in No. 450 or 452 has been at some time or other, probably during the Civil Wars, cut out. This may be detected by a close inspection of the canvas in a side light. By the side of the King is Wolsey, in violet-coloured velvet, riding a mule, and attended by pages who carry his cardinal's hat, &c, In front of the King is the Marquis of Dorset with the sword of state ; behind come many other officers of state. Right-hand side of the Picture. In the middle background is seen the plain of Ardres, studded with 2800 tents, amidst which is Henry VIII. 's, all of cloth of gold with two flags. Beyond is that of Francis I. Here the first interview of the two chivalric monarchs took place, and we see them inside it, in this picture, affectionately embracing one another. More in the foreground is the famous palace, which was an exact square of 328 ft., but of which, being seen in a foreshortened position, we can form but a very inadequate idea from this picture. Outside the palace gate, on the green sward, stand two gold fountains spouting wine. The French chronicler tells us there were large silver cups for any one to drink, "qui estoit chose singuliere," and that the English and French toasted each other, " et disoient ces parolles : Bons amys, Francoys et Angloys, en les repetant plusieurs foys en beuvant lung a laultre de bon couraige." We see some of the results of this good cheer depicted in this pictute to the right. In other parts are shown other incidents of the meeting ; thus, to the right are the lists, half-way between Guisnes and Ardres, with the galleries of the kings and queens, and the gre&t perron or tree of nobility, the trunk made of cloth' of gold, and the leaves of silver and Venetian gold, on which the shields of all the combatants were suspended. Lower down are the kitchens, where no less than two hundred cooks were employed, while more towards the foreground is a tent with people dining in it. In the upper left corner is a dragon, probably meant for the artificial salamander which we are told by the French chronicler suddenly appeared in the sky, while the cardinal, attended by bishops as deacons, was singing the grand high mass, " De Trinitate." Beyond is the old town of Ardres, where 10,000 persons had collected in its ruined houses to be present at the great festivities. Around is the camp of Francis' followers. 583 Dutch River Scene . . . . J.J. Schalke? 134 QUEElsrS PRESENCE CHAMBER. 584 The Assumption of the Virgin . . Bassano 585 The History of Argus . . . . F. Floris Argus is seated on the left, his forehead filled with eyes, almost all of which are closed, having been lulled to sleep by Mercury, who is sitting by his side, playing his pipe. Above is shown Jupiter in the clouds sending Mercury down. In the centre foreground lo is shown trans- formed into a cow, while more to the right Mercury is seen stealing away with the head of Argus. Beyond, in the far distance, Juno is putting the eyes in the tail of the peacock. 586 Interior of a Hall, with Figures Van Deelen 587 The Angel appearing to the Shepherds After N. PoussiN 588 Garland of Roses round the Madonna D. Seghers 589 Sea Piece Parcelles This is a characteristic piece of Parcelles, a Dutch marine painter, who particularly affected half-lights. 590' Embarkation of Henry VHI. from Dover, on May 31, 1520, to meet Francis I. at the Field of the Cloth of Gold. The view in this old contemporary picture is taken from the south-west of Dover Harbour, extending across the harbouu eastward to the Castle, so that the town of Dover is left in the bay to the north. The ship, the Henri Grace-de-Dieu, or Great Harry, which was built expressly for the JCing, is represented as just sailing out of the harbour, having her sails set. She has four masts ; her sails and pennants are of cloth of gold damasked, and the royal standard of England is flying on each of the four quarters of the forecastle. The quarters, sides, and stern are all decorated with shields and coats of arms. On the main deck stands the King, richly attired in crimson and cloth of gold. Following this, and to the right of it, are other similar ships, filled with yeoman of the guard with their partisans, men beating drums and playing fifes, and holding flags In the offing are a number of ships under way, and in the distance is seen the coast of France. Between the ships are a lot of small boats filled with spectators and others, one man being sea-sick. In the foreground on the right are two circular forts, communicating with each other by a terrace, with cannons firing a salute and spectators, billmen, officers, and a person of distinction, dressed in green and yellow, with a black coat — probably Sir Edward Poynings, Constable of Dover Castle and Lord Warden of the Cinque Ports. On the hill opposite is seen Dover Castle. CATALOGUE OF HAMPTON COURT PICTURES. The Henri Grace-de-Dieu was christened, or, as the old writers more appropriately said, hallowed, on June 19, 1514, the ceremony being witnessed by the Queen and all the Court, the Pope's and the Emperor's ambassadors, several bishops, and a crowd of nobles. The bills for its decoration are still extant in the Record Office, and the cost of every flag, streamer, and badge can be ascertained. One Vincent Volpe, an ItaUan, painted the streamers, and John Brown, the King's painter, did the rest. Perhaps he painted this picture. Her tonnage was 1500. 591 Study for a Boar's Head . . • . Snyders Signed below in the right-hand corner : " F. Snyders fecit.''' 592 Christ's Agony in the Garden . After N. Poussin 593 An Old Woman Blowing Charcoal . ? / 136 Queen s ^riuate Obapel- guEEN Caroline was accustomed to have prayers read by her chaplain in a room adjoining her private chamber while she was dressing. Her toilet was probably performed in the little room next to this, called the Queen's Bathing Closet. A recumbent Venus used to hang over the fireplace in the chapel, and her chaplain once made bold to observe : A very pretty altar-piece is here, Madam ! " 506 Nymph, Satyr and Cupids . . . B07 Salome and her Attendant* . . . Unknown 508 The Tribute Money .... Dietrich 509 Samson and Delilah .... Vandyck ? A copy or replica of a picture now in the Imperial Gallery at Vienna. 610 A Small Landscape . . . Salvator Rosa 611 Moses Striking the Rock. . Salvator Rosa . 612 David with Goliath's Head . .After Van Dyck 613 Perspective Piece— The Woman Taken in Adultery I The figures by old Franks ; the architecture by P. Neeffs. '614 Nymphs in a Landscape, Bathing . Dietrich 615 A Battle-piece J. Parrocel |616 Sea Piece— Shipwreck, with Moonlight Parcelles 617 Christ in the House of Martha and Mary Unnamed 618 Dutch Boors Regahng . Egbert Van Heemskerk 619 Venus and Adonis .... B. Gennari 137 CATALOGUE OF HAMPTON COURT PICTURES. 620 Martyrdom of St. Bartholomew AftcY Spagnoletto, by L. Nottery! 621 Adam and Eve Caressing — Satan Behind A. Vanderwerf 622 St. Roque Curing the Plague 623 Christ Curing the Sick 625 Venus and Youth at a Brook 625 Sacrificing a Calf . . 626 Pharaoh in Bed, Sleeping . 627 Christ healing the Sick . 628 A Holy Family * 629 Meleager and Atalanta 630 Judith with Head of Holofernes . Unnamed B. VAN Orlay ? . De Gelder Van Harp VeRRIO| . Bassano^ After Rubens After Paul Veronese, by Tenier& 631 A Quakers' Meeting . Egbert Van Heemskerk, 632 Interior of a Church .... Steenwyck* 633 St. Peter in Prison . . . . . Steenwyck' •38 Queen's ^atbJna O'^^^t* JuEEN Anne and Queen Caroline used this as a bath- oom ; and in the wall is still the tall recessed marble Dath with a tap, where the Queens used to wash. 535 Cupid on the Rock . Polidoro da Caravaggio 336 Still Life— A Book, Silver Vase, and Watch RCESTRATEN 337 A Landscape . . . Cornelius Huysman 338 Still Life — A Lute and a Music-book Rcestraten 539 " A China Dish, with Heart Cherries " Daniel Nys Thus described in James II. 's catalogue, and attributed to Daniel Sfisse, whose name is written on an old scrap of paper behind, where s also found Charles I.'s brand. There is no other evidence of Nys laving been an artist. ?40 A Man's Portrait ..... Unnamed 341 Venus and Cupid, and Satyr . . . Unnamed 542 Landscape ..... Unnamed 543 Portrait of a Knight of the Golden Fleece U?inamed 544 Judas Betraying Christ . . . Unnamed 545 Still Life : Sausages, Bread, c&c. . . Labrador Labrador, was a Spanish painter of still-life and fruit and flowers, who Nourished at the end of the sixteenth century. This and another piece low removed to Kew Palace are probably unique specimens of his art in England — at least, accessible to the public. 346 Soldiers on the March . ... Borgognone 139 QU££N'S BATHING CLOSET. 657 Tobit's Father Restored to Sight . . M. de Vos 658 Landscape, with a River and Bridge J. P. Hackert 659 Christ FaUing beneath the Weight of the Cross Garibaldo Signed in the lower right corner : Marc Antonio Garibaldo fecit. 650 Still-Hfe — A Lemon, Apples, &c. . J. D. de Heem The painter's signature : " J. De Heem, f." is on the edge of the table. This master is very little known in England, but in Holland his works are as appreciated as they are numerous. He is the most distinguished master of that great school of painters of fruits, flowers, &c., which includes the names of Kalf, Mignon, Ruysch, and Van Huysum. In tastefulness of arrangement, in drawing, in colouring, in truth to nature, he is unequalled ; and in rendering the transparency of glass, the lustre of silver, and other accessories, he almost attains to illusion. 651 Troopers in a Landscape . . . Borgognone 652 Portrait of a Lady in White . . . Unnamed 140 In this room is now the old State Bed of William III. of crimson velvet with silver braid, which bed his Majesty bought of the Earl of Jersey. 658 Madonna and Child . . . C. Cignani 659 Two Men's Heads Tiepolo 660 Salome with the Head of St. John the Baptist After Cesare da Sesto This was in Charles I.'s collection, for his brand, C.R. crowned, is found at the back of the panel. It is a repetition, with some variations, of the picture formerly in the famous Orleans Gallery, where it was attributed to Leonardo da Vinci, and afterwards to Luini ; and now in the Imperial Gallery at Vienna, where it is correctly ascribed to Cesare da Cesto. There are other versions in the collections of Mr. George Baiting, Colonel Legh, at High Legh, Cheshire, and Mr. Baillie-Hamilton. Cesare was a pupil of Leonardo's, and was working under him at Milan from about 1507 to 1512. A fine chalk drawing with the study for the hand of the executioner s in the King's Library at Windsor Castle, under the name of Leonardo. 561 Hply Family ..... Unnamed 362 Augustus consulting the Sibyl . . P. da Cortona 363 Two Youths' Heads . . . . Tiepolo 364 Cupid Shaving his Bow . After Parmigianino This copy was in James II. 's collection. The original is in the Imperial nailery at Vienna. The copy formerly in the Orleans Gallery is now at "^)ridgwater House. 565 Madonna and Child and St. Joseph . V. Malo )66 Woman with a Helmet -^^^l^"*^/ . \ _ )67 Salome with the Head of John the Baptist Unnamed i6S Christ and the Woman of Samaria . Bonifacio ? CATALOGUE OF HAMPTON COURT PICTURES. 669 Cleopatra Dying . . . Lodovico Carracci 670 Madonna and Child . . . Paul Veronese 671 The Infant Jesus Attended by Angels Carlo Maratti 672 Unassigned 673 Alphonso Davalos .... After Titian 67^ Portrait of St. Ignatius Loyola . Zurbaran 676 Judith with the Head oi Holofernes After C. Allori A copy, by one of his scholars, of the famous picture in the Pitti Palace at Florence ; of which there is a good replica at St. Petersburg,^ and copies at Vienna, Dulwich, and elsewhere. The original, when at Paris, was finely engraved by Gandolfi, for the Musee Napoleon. On a ledge, on which there is a green cushion, is this inscription ; Hoc Cristofani Allorii Hactenus invicta pene Bronzinii opere pictura Uincitur Anno, 1613 676 Madonna and Child and St. John . . V. Malo 677 Ruins and Figures . . . Domenichino 678 Two Men's Heads Tiepolo 579 The Repentant Thief on the Cross Perino del Vaga 680 Faith, with a Chalice and Host . Gueraino 681 Head of a Bishop .... Unnamed 682 The Wise Men's Offerings . . Cagliari 683 Head of a Bishop . . . • . Unnamed 68^ Two Men's Heads Tiepolo 685 The Unrepentant Thief on the Cross Perino del Vaga 686 Holy Family .... Francesco Vanni 687 St. Francis and the Infant Jesus . . GuiDO 142 688 Head of Judas Lanfranco 689 Roman Architecture with Figures . . ? 690 The Sleeping Shepherd . . . B. Gennari 691 A Saint's Head Dou ? 692 Head of a Magdalen . . After Sasso Ferrato 693 The Dead Christ . . After Nicholas Poussin 694 A Holy Family .... F. Lauri 693 Stables with Cattle, Sheep, and Figures . Unnamed 696 A Cattle Shed with Farmer and Family . ? 697 Head of St. Jerome . . . Lanfranco 143 Qu^n's i^rioate C('>^«^'^^^* 710 Sleeping Cupid ... ... ? 711 Old Woman Warming her Hands with Charcoal NOGARI 712 A Hermit Slingelandt 713 View of Native Village in the West Indies F. Post 714 Grapes . . . . .. . . Varelst This was in James II. 's catalogue: "Two bunches of graf)es with a white butterfly, by Varelst." (For this painter, see note to No. 215.) ,715 A Sleeping Nymph ... Unnamed 716 Nautch Girl's Dance . . . . :? 717 A Dutch Barrack-room . . Justus Juncker 718 Portrait of a Man .... Nogari 719 A Landscape-piece of a Den of Lions " R. Savery So entered in Charles I.'s catalogue, which adds that it was "sent to the King by his nephew, the Prince Elector, and done by Savery." Behind is the King's cypher and a label inscribed : " This picture sent to the King by Prince Charles, Elector Palatine . Done by Rowland Savery. " It is signed in front in the lower right-hand corner : ' ' RoE- LANT Savery, 1622." 720 Venus Holding up her Drapery . . ? 721 Mars, Venus, and Cupid . . Paul Veronese 722 Woman's Head . . . . A ftey Titian 723 Venus and Satyr . . . . . Albano 723aCopy of Titian's Venus qui se Mire . After Titian From the version at tbe Hermitage in Petersburg, with slight variat ons. 1-14 QUEEN'S PRIVATE CHAMBER, 724 Venus and Cupid . . . . F. Pourbus 725 Ruins, with a Vase Griffier 726 A Magdalen . . . . . . .dl/if^r Titian 727 Venus embracing Adonis .... Chiari 728 Jupiter and Europa . . After Paul Veronese 729 Dead Game and Implements of Sport Van Aelst William Van Aelst was one of that school of painters of still-life, lowers, etc., who flourished in Holland in the middle and end of the seventeenth century. " The pictures by him representing dead birds are, is respects picturesque arrangement, finely balanced harmony of cool but :ransparent colour, perfect nature in every detail, and delicate and soft treatment, admii;able specimens of the perfection of the Dutch School. " — [Kugler's Dutch and Flemish Schools.) 145 ' In this room is now George 11. 's Bedstead, 735 St. Paul . . . . . . . Ujtnamed\ 736 Greek and Ottoman Architecture . . GhisolfiI 737 Jacob Fleeing from Laban . . Filippo Lauri| 738 Danae wooed in a Shower of Gold . B. Genneri! Signed in the lower left-hand c ^rner. 739 Acts of Mercy . . . . yl/i^^r A. Carracci 740 A Woman squeezing a Sponge^full of Blood. — | 741 The Massacre of the Innocents . . P. MignareI 742 Italian Peasants Regaling . G. F. Ceppef 743 Italian Peasants Regaling . G. F. Ceppef 744 Landscape with Four Small Figures Adrian HenniM One of the last artists who came to England in the reign of Charles II 745 Cupid and Psyche . . . ... Lazzarini 746 Italian Peasants RegaHhg . G. F. Ceppei| 747 A Painter in his Studio . . . G. F. Ceppel This and the three similar rather cleverly painted pieces in this close are inscribed on the canvas, in the left-hand corner: " Gia™" franceso Cipper, 1736." Both painter and subjects are a puzzle to the c^cs. 748 Landscape, with a Lake and Mountain Van Diesi 749 The Flight into Egypt After Bassano, by Tenier: 146 KING'S PRIVATE DRESSING ROOM. rSO Judith and Holofernes After P. Veronese, by Teniers ?51 Caroline, Wife of George II. . . . Zeeman 152 A Landscape, with Ruins . . . After Claude r53 Joseph and Mary by Lamph"ght G. Honthorst This picture and No. 510 are examples of those effects of candle light n which Honthorst especially excelled, and which, during his stay in ;taly, previous to his coming to England, earned him a very considerable eputation. Abroad he is still known as " Gherardo dalle notti " ; his !xcellent portraits, for which he is chiefly valued in England, being .carcely known. {See notes to Nos. 59 and 132 for notices of him as a )ortrait-painter.) r54 View of a Country House . R. Streater Recently identified as Orchard Portman, near Taunton in Somerset- hire, now demolished. See the engraving by Kip after a drawing by and men servatits and women servants, and gave them unto Abraham, and restored him Sarah his wife." 1005. — God appears to Abraham and promises him a son. — In the centre are the three angels and Abraham ; on the left is Sarah peeping in and laughing ; and in the distance is shown the destruction of Sodom and Gomorrah. 1006. — Buying of the Field of Ephron. — "And Abraham weighed to Ephron the»-silver, and the field of Ephron, which was in Machpelah, and all the trees that were in the field were made sure unto Abraham." 1007. — Separation of Abraham and Lot. — "And Abraham said unto Lot, Let there be no strife, I pray thee, between me and thee ; for we be brethren. Is not the whole land before thee ? Separate thyself, I pray thee, from me ; if thou wilt take the left hand, then I will go to the right ; or if thou depart to the right hand, then I will go to the left." 1008. — Sacrifice of Isaac. — "And God said, Take thy son, thine only ""son, Isaac, whom thou lovest, and get thee into the land of Moriah : and offer him there for a burnt-offering upon one of the mountains, which I will tell thee of." Borders. — Not less deserving of careful inspection than the subjects, themselves are the richly elaborate borders that enframe them, and which consist chiefly of allegorical female figures, emblematic of the motives and sentiments in the principal design. All of them are cleverly conceived, and many of them exceedingly beautiful, exquisitely designed, and of wonderful workmanship. 183 This room was originally the Great Watching Chamber, or Guard Chamber, to Henry VIII. 's State Rooms. It was built by him about 1536. The design of the ceiling is late Tudor ; it is flat, but ornamented with oaken ribs and pendants, between which are various Royal cognisances : the portculli^ rose, and fleur-de-lys. In some of the^ compartments occur the Royal arms impaled with Jane Seymour's, and the initials H, and /. linked with the true-lovers' knot. 184 P^apestrtes iti the ^reat (Hatcbliifl Obamben 1030 Unknown Historical Subject. — From the style, the costumes, the surroundings, and the^ treatment, this piece would appear to illustrate some historical incident toward the close of the fifteenth century. In the foreground is a female figure kneeling, and offering a chalice to a man standing opposite to her, who appears to be admiring it, but refuses to accept it from her. By her side is an elderly lady conducting her forward, presenting her to the man, and a number of other people looking on. Behind, on a raised dais, are seated three queens with sceptres, and behind them is an open gallery, through the windows of which numerous persons are surveying the scene. Below, to the right and left, are many others, some in conversation or dalliance, and some playing on lutes and other instruments. "Y^ Storye of Trymphes." This consists of three pieces of old Flemish tapestry, which belonged to Cardinal Wolsey, and which are mentioned in the inventory of Henry VIII.'s goods at Hampton Court in 1548. At Charles I.'s sale they were sold for 47 ; but their removal was apparently prevented by Cromwell, who soon afterwards selected Hampton Court as a favourite residence. They illustrate in an allegorical form the power respectively of Fate, Renown, and Time — three of the six Triumphs of Petrarch. Every piece contains two distinct aspects of the incidents of the story. Over each part is a scroll with quaint old French verses or legends, worked in black letter, indicating the moral of the allegory beneath. 1031 " Y« Triumph of Fate over Chastity." This hangs to the left of the round bay window, and portrays the Triumph of Chastity over Love ; Chastity in her turn being assailed by the Fates, and ultimately subdued by them. 185 CATALOGUE OF HAMPTON COURT TAPESTRIES. {For Illustration, see page 195 in the larger edition only,) Left-hand Side. — On a car, drawn by four unicorns, is seated CHASTETE, attended by her maidens. On the far side the three Destinies, labelled atropos, lachesis, and cloto, riding on bulls, are seen attacking her. On the front part of the car, at the feet of Chastity, is a naked boy with his arms bound, representing Cupid ; and below is a figure labelled venvs being trampled under foot by the unicorns which ■draw the ear. Right-hand Side. — Here the three Fatal Ladies are represented in a gorgeous triumphal car, atropos holding the shears and cutting the thin- spun thread of life, which cloto, on her left-hand side, is spinning from the distatf, and lachesis on her right is twining. At their feet lies Chastity, captive and powerless. -1032 Triumph of Renown over Fate."— In this piece, which covers the south wall of the room, near the bay window, is shown the overthrow of Destiny by Fame or Renown. Left-hand Side. — Here we see again the car of Fate, but lachesis and cloto are lying prostrate under the wheels ; and atropos is tottering from her throne, stunned by the blast of the trumpet of Fame, which RENOMEE is sounding in her ears. All around the car, in answer to the summons of Renown, throng a host of figures, labelled with the names of departed heroes. Right-hand Side. — Renomee, represented as a beautiful winged female figure with a trumpet, is now standing on a magnificent car, drawn by four elephants, and captive at her feet appears^TROPOS seated. Attendant on her are a crowd of heroes. 1033 Y° Triumph of Time over Fame."— Finally, there is portrayed in this piece, which hangs opposite the last, on the north wall, the ultimate Triumph olTime over Renown or Fame. {For Illustration, see page 196 in the larger edition only.) Left-hand Side. — The car of Renown is again shown there, but it is now turned in flight before some overmastering influence. Above are shown the signs of the Zodiac — Gemini and Cancer — and the flight of the fleeting hours, represented as female figures. Right-hand Side. — The car of Time is here shown, drawn by four winged horses. Renown is seated in front submissive at his feet. Over all are more fleeting hours, and the sun in a full blaze of splendour in the sign of the Lion. 186 THE GREAT WATCHING CHAMJ5ER. " Ye Storye of ye Seaven Deadlie Synnes." These three pieces, which hang on either side of the wall as you enter the room, appear to belong to a set of Nine Feces of ye Storye of ye vii. Deadlie Synnes," which belonged to Cardinal Wolsey, and in his time hung in the Legate'^ Chamber." They are exceedingly fine specimens of old Flemish design and manufacture. They indicate, in an allegorical form, the repulsiveness of sin, man's surrender thereto, and God's mercy in pardoning him. The whole history of these tapestries, of which there are many versions scattered about Europe, is exhaustively discussed by Mr. D. Wood in a series of articles in the "Burlington Magazine " for 1911. One of the pieces belonging to the Hampton Court series was sold at Messrs. Puttick & Simpson's for £7,000. 1034 First Piece (left of the door). Below is the legend : — ^er . colum . inctptena . pritno . hanum |K0rt«k . fit . atijue . proplj«"«"t' %t)fitvx . petcata . akut . geitBrantur 3ftt . mun50 . figuraltt^r . Ijic . liflfantur. which is too bad Latin to be translated literally ; but which seems in substance to mean that " The seven deadly sins are generated in the world, like as the canvas, which is at first formless, becomes by means of the loom covered with shapes." Here we see ^upBrbia riding on a nondescript, (iula on a goat, Jmpeuttfittia on a camel, "^vljs.txxxk on a pig, inhiMa on an ass, Ira on a griflfin, and another vice with an ape. A crowd of ladies in beautiful dresses appear to be following or attending on the vices. 1035 Second Piece (on the right of the door). {For Illustyatton^f see page 197 in the larger edition only,) On the left are several female figures in rich Gothic attire, labelled f naticia, |Fxi»ea, and (ttaritas. Near them is a woman — ^emmt — holding a scroll inscribed ** ^acBnttit JJlors per IF^neatraa " (Death ascends through the windows) . Next is a figure of |Justirta with sword- uplifted to strike man — %oma — but illiaBrkoriiia intervenes to save him. Above is the Deity, represented under the figure of " three old persons, in episcopal habits, with crowns on their heads and sceptres in their 187 CATALOGUE OF HAMPTON COURT TAPESTRIES. hands "—as they are described by a visitor to Hampton Court in 1613.. Before him are pleading ^a^, JlttSBrkortita, IJeritas, and |uBima. More to the right is the same man with " (iratia gc: " presenting armour to him,, and with ^a^ holding his helmet. 1036 Third Piece (further to the right). Below is the legend : * JVnte . JfitirtcBtn . tn . !firtiitum . irrssettcta JVrgiduitt . Juatina . et . ilttacrtcnrirta ^tnatur . ODulpa . a . fustina ^eiJ . rcr0nfitltatitr . a . ilttBericoriria Wsx . ttppar^t . IFortttuiro . IrettEitttta ©atttpum . iresBrunt . semper . iteltcta. ^ercata . ttt . eternum . raatiguntur l^er Mrtutes xjuae non mortuntur, which is explanatory of the incidents portrayed, and may be freely translated thus : " Justice and Mercy plead before the Judge in presence of the Virtues. Crime is threatened by Justice, but reconciled by Mercy. Where blessed Fortitude appears, Faults always leave the field. Sins are chastised eternally by Virtues, that never die." In the left corner are a man and woman in a garden seated at a table, he playing a flute and she singing. In the centre, Man, the Sinner, and his female companion " Luxuria " are again being threatened by Justice* ; and Mercy again pleads for them. More to the right appears a crowd of ladies, mostly playing on musical instruments - one on an organ. In the upper far distance are seen the Seven Deadly Sins attacking Man, and themselves threatened by Spes — Hope. In the upper middle is seated the Diety, represented here as a 'single person, ♦ " Redda ulcione Hostibus," Deut xxvii. i88 Ti^is old room takes its name from having been for two hundred years the receptacle of a large number of horns and antlers, originally got together by Queen Elizabeth, and added to by succeeding sovereigns, until the collection became, in the time of Charles II., one of the finest in Europe. A few of the horns •ar£ now fixed to these walls, while others are placed in the Hall, the Great Watching Ch^imber, and the Haunted Gallery. This room had long been used as a lumber room, but some years age was cleared, redecorated, and hung with tapestry, and opened to the public ; and the old staircase, up which the dishes were formerly brought from the serving place and kitchens to the royal table on the dais, reopened and restored to view. The door that gives access to the dais, formerly hidden by tapestry, is now shown. « TAPESTRY IN THE HORN ROOM. 1046 Old Flemish Piece. — The subject of this piece, which evidently has some allegorical significance, is unknown. A bare description of it, therefore, is all that we can offer the reader. Left-hand side. — In the upper part are four horsemen, one with a vizored helmet, turned to the right and advancing towards, and perhaps charging, a queen who is riding on a gigantic griffin, and holding out a purse. She seems to represent " Avarice." Below this are two women and three or four soldiers on foot, and a lady on horseback attended by a driver with a switch. T89 DESCRIPTION OF HAMPTON COURT TAPESTRIES. Right-hand side. — In the upper part is an angel offering a chalice to two knights on horseback, one of whom holds a club in his left hand, and has his right hand on his breast. Near them are two women, one stooping to pick up some fruit, and the other giving some to a child. Below we see a horseman, with three attendants on foot, and a king — Alexander the Great — on horseback, with a sword in his right hand, and the orb of empire in his left. igo ^he Mistorg of Vol. I. In Tudor Times. Third Edition. Price 21s. Vol. II. In 5tuart Times. Second Edition. Price 21s. Vol. III. In Orange and Quelph Times. Price 21s. Now Reduced to 31s. 6d, for the Set of Three Volumes, By ERNEST LAW. C.B. AUTHOR OF "HOLBEIN'S AND VANDYCK'S PICTURES AT WINDSOR CASTLE"; "SHAKESPEARE AS A GROOM OF THE CHAMBER"; "ENGLAND'S FIRST GREAT WAR MINISTER," ETC. OPINIONS OF THE PRESS: "A succession of vivid pictures of courtly life in England under the rule of the magnificent Tudors." — The Times. "A Story which reads like the stately portions of * Kenilworth.' " — The Literary World. "Tastefully got up, pleasantly written, and liberally illustrated." — Spectator. "Mr. Law's pages seem to glow with purple and gold." — St. James's Gazette. 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