12 Nooti to io p.m. 
 
Mrs. BARKER 
 
 IV V Appointed by tht 
 
 H. HOWARD BATTEN, Esq,/ 
 
 HENRY WARD, Esq,, I \ " 
 
 BOvlsotp ibembers. 
 
 LAURENCE BINYON, Esq. \ '* 
 
 REGINALD BLOMFIELD, Esq., A.R.A., F.S.A. 
 
 WILLIAM BURTON, Esq., P C S. 
 
 MARTIN H. COLNAGHI, Esq. " - ' 
 
 The EARL OF CREWE, PX„ F.S, A. 
 
 CYklL J. H. DAVENPORT, Esq., V.D., F.S.A 
 
 H. AUSTIN DOBSON, Esq., XL. D. 
 
 J. H. FITZHENRY, Esq. ^ .. ' 
 
 R. L. HOB SON, Esq. / 
 
 Professor C. HOLMES. 
 
 EDWARD; HUDSON, Esq. 
 
 Lt.-Col. G. B. CROFT LYONS. 
 
 PERCY MAC0UOID, Esq;,*liI.JJ?. 
 
 ']. MASEFIELD, E§q. 
 
 C. NEWTON-ROBINSON, Esq. * 
 
 W . B . PATERSON, Esq. 
 
 S. M. PjEARTREE, Esq. 
 
 The Rev. ALFRED J. POYNDER 
 
 Commander CHARLES N. ROmNSON, R.N 
 
 GEORGE H. SHEPHERD, Esq. 
 
 HORACE P. K. SKIPTON, Esq. 
 
 EDGAR SPEYER, Esq. 
 
 Miss E. M. SYMGNDS. ; 
 
 HUMPHRY WARD, Esq. ' . 
 
 CHARLES AITKENi Esq.* Director. 
 
 C. CAMPBELL ' .'ROSS, E^q., -Skhtmy 
 
INTRODUCTION. 
 
 While it is probably true that the individual soul — even 
 the mass of the nation — is much the same in all ages, 
 certain dominant characteristics mark different ages. 
 
 The English nation, which had come to the self-conscious- 
 ness of early manhood in I he Elizabethan days, with all 
 their fervid romance, went through its periods of religious 
 questioning under the early Stuarts, and somewhat sordid 
 sowing of wild oats under the later Stuarts, to settle down 
 to a material, sensible middle-age under the Georges. 
 
 This semblance of satisfied commonsense did not endure, 
 the conscience awoke again in the French Revolution and 
 in the preachings of Wesley, but for half-a-century English- 
 men thought they had done with romance and ideals. They 
 settled down and set their houses in order, and a very 
 stately, charming order it proved, as can be seen from the 
 present Exhibition. 
 
 One great step in advance had been achieved. The great 
 Whig houses, which established George I on his throne, had 
 fought off for ever the tyranny that was to ruin France, 
 but they in their turn settled down to enjoy the rewards of 
 their struggle, and a century later the nation had to fight 
 their privileges as they had fought the royal privileges. 
 
 Meanwhile an unemotional, material commonsense gave 
 the dominant note to the age. How seemly, if uninspired, 
 this age was may be seen in its learned, dignified archi- 
 tecture — how graceful its domesticity the canvasses of 
 Reynolds and his fellow painters show ; while Dr. Johnson, 
 Burke and Hogarth prove that, through all, the sturdy 
 independence that has ever marked the English race en- 
 dured. 
 
 By 1800 the old regime was gone. The French Revolu- 
 tion was followed by Napoleon ; England, which had begun 
 the 18th century with a triumph over Holland, was ending 
 it in a death-struggle with France. 
 
 In art matters, taste passed from the sobriety of the 
 Dutch influence to the over-elegant, even flashy, French 
 influences apparent in the brothers Adams, Lawrence, and 
 the Regency styles. 
 
 It is this passage of taste from Dutch to French 'influence 
 which this Exhibition illustrates, and the great middle 
 period between the two influences in which England at last 
 developed a genuine school of painting of its own in the 
 portraiture of its great masters, Gainsborough, Reynolds, 
 Romney, and Raeburn — the social satire and original tech- 
 nique of Hogarth, and the landscape painting of Wilson, 
 Ibbetson, and Morland, and the early water-colour painters 
 Girtin and Cozens. 
 
 The aim of the present exhibition is to illustrate the 
 Georgian Era as widely as the limited space and funds 
 
allow. No attempt to do more than show a few examples 
 of some of the many branches of art practised in England 
 during the reigns of the Georges has been made. 
 
 The Committee have aimed at presenting a survey of 
 British Art in the 18th century, which is many-sided, rather 
 than exhaustive in any one branch ; so that the interest and 
 appreciation of this period of our national art may be 
 aroused or increased rather than satisfied. 
 
 The social side of the art of the period has been particu- 
 larly kept in view, and for this reason the works of Hogarth 
 and ZofFany have been specially sought. The Committee 
 only aimed at including a few portraits by each of the most 
 famous painters of the period and want of funds prevented 
 them from accepting some of the fine portraits placed at 
 their disposal, but a special effort has been made to include 
 a large number of examples of Hoppner's work, as that 
 painter was born in Whitechapel. As the idea of the 
 exhibition met with a more generous response from owners 
 of pictures than was at first anticipated, the period was 
 narrowed down to the latter half of the 18th century, and 
 the rise of the great English landscape school was left to 
 be the subject of a later exhibition. 
 
 A few drawings and water-colours by Constable, Turner 
 and Bonington are included, as they come within the dates, 
 though scarcely within the spirit of the period. 
 
 The Sedan Chair in the Vestibule is lent by 
 Messrs. H. Eyre & Son. 
 
 Those well enough off rode in flying stages ; the poorer, 
 in stage-waggons, 23 miles being a fair day's journey. 
 Inns were few and poor ; " penny hedge-inns, 35 with clean 
 sheets 6d. extra, were eschewed, for inroads on the hospi- 
 tality of local gentry, even if these were from home. 
 
 Coaches frequently were overturned on the execrable 
 roads, at which the high-spirited girls of the time " squalled 
 for joy. 55 Sedan chairs were much used in the cities. 
 
 The house planning at Bath shows arrangements for the 
 occupants being carried in these to the principal rooms 
 on the upper floor, while arrangements for housing these 
 were as difficult as ours for bicycles and motors. 
 
 The numbers begin to the right on entering. 
 The centre cases and screens follow after the 
 numbers round the walls. 
 
WHITECHAPEL ART GALLERY, 
 
 HIGH STREET, WHITECHAPEL. 
 
 SPRING EXHIBITION, 1906, 
 
 Illustrating GEORGIAN ENGLAND. 
 
 CATALOGUE. 
 LOWER GALLERY. 
 
 " To all and singular, as Dryden says, 
 We bring a fancy of those Georgian days, 
 Whose style still breathed a faint and fine perfume 
 Of old-world courtliness and old-world bloom, 
 When speech was elegant and talk was fit, — 
 For slang had not been canonized as wit ; 
 When manners reigned, when breeding had the wall, 
 And women — yes ! were ladies first of all ; 
 When grace was conscious of its gracefulness, 
 And man — though man ! was not ashamed to dress. 
 A brave formality, a measured ease, 
 Were his — and her's — whose effort was to please. 
 And to excel in pleasing was to reign, 
 And, if you sighed, never to sigh in vain. 
 
 * * * * 
 
 But then, as now — it may be something more — 
 
 Woman and man were human to the core. 
 
 The hearts that throbbed behind that quaint attire 
 
 Burned with a plenitude of essential fire. 
 
 * * * * 
 
 As at all times since time for us began, 
 Woman was truly woman, man was man. 
 And joy and sorrow were as much at home 
 In trifling Tunbridge as in mighty Rome. 55 
 
 Robert Louis Stevenson (" Beau Austin 55 ). 
 
 1 Kensington Palace (print) 
 Lent by Miss A. Carthew. 
 
 2 Naval Print 
 By Dodd. 
 
 Lent by Laidlaw Purves, Esq., M.D. 
 
 3 Battle of St. Vincent 
 By R. Dodd. 
 
 Lent by Christopher Head, Esq. 
 
 4 H.M.S. " Terrible,' 7 74 guns 
 By R. Short. 
 
 Lent by Christopher Head, Esq. 
 
 5 Burning the Rumps 
 By Hogarth. 
 
 Lent by Muirhead Bone, Esq. 
 
 6 Naval Print ' 
 By Dodd. 
 
 Lent by W. Laidlaw Purves, Esq. 
 
4 
 
 Lower Gallery 
 
 7 Two " Bath Chronicles " (1778 & 1798) 
 Lent by Thomas Burgum, Esq. 
 
 8 Laying the Foundation Stone for New College, 
 
 Edinburgh 
 By David Allan. 
 Lent by_ Miss Halkett. 
 
 9 A City Hunt 
 After Bunbury. 
 
 Lent by the Lord Berwick. 
 
 Case I.— POTTERY, PEWTER, LINEN, NEEDLE- 
 WORK, &c. 
 
 Lent by Walter Churcher, Esq. and W. Barclay Squire, 
 Esq. (pewter) ; Mrs. Peake, Miss Hipkins, Mrs. Charles 
 Longman, Miss Symonds and Miss Leigh Brown (linen, 
 etc.); B. T. Harland, Esq. and P. Fitzgerald, Esq. (pot- 
 tery). 
 
 Satinwood Tea-caddy 
 Lent by Miss Halkett. 
 
 Tea had already won its popularity in England. 
 In the Coffee-houses the charges were, per dish, 
 coffee 2d. 3 green tea i^d. Black tea cost 12s. to 
 28s. a pound; green, 10s. to 16s. The tax on tea 
 was 5s. per pound. Coffee cost 5s. 8d., and chocolate 
 3s. The Whigs refused French wine, while the 
 Tories refused port, which had come in with the 
 Whigs' Methuen Treaty of 1703. A good dinner 
 could be obtained for 1/6, but elaborate cookery and 
 cc Rickshaws 33 were rare. 
 
 10 Samplers 
 
 Lent by Mrs. Charles Longman. 
 
 i oa Sampler — Map of England — 1787 
 Lent by Mrs. Charles Longman. 
 
 a.d. 1787. "A Map of England and Wales, with 
 the Principal Market Towns, by Mary Ann Corderoy, 
 finished in the tenth year of her age, 1797." 
 GEORGIAN ENGLAND. 
 That exquisite thing we call England reached its mature 
 expression under the Georges, that delicately-fashioned 
 " green spot 33 had grown perfect with a varied richness 
 of succeeding waves of architecture : the Normans had 
 founded their Keeps and Abbeys, the Plantagenets their 
 Cathedrals and Castles, the Tudors their Halls, and the 
 Stuarts their Manors, the Renaissance had come to us at 
 first charming and fantastic, but ill-understood, in Jacobean 
 volutes, then purified and simplified with Inigo Jones and 
 Wren, till our English Renaissance architecture rivalled, 
 if it did not surpass, all other embodiments of the classic 
 ideal in architecture. Then the increasing numbers of 
 squires and merchants had built their stately Georgian 
 homes, and England was richly complete. Too small a 
 land for the swifter locomotion of later times, this varied, 
 tiny isle had still its vistas in days of stage-coaches that 
 railways have robbed it of for ever. 
 
Lower Gallery 
 
 5 
 
 England in the 18th century was still a homogeneous, 
 natural land, feeding its towns and sending into them an 
 abundant supply of healthy country-bred folk. Its magni- 
 ficent commerce brought things delicate and rare to its 
 shores, and lent its rustic retreats romantic refinements, and 
 offered a field for the enterprise and spirit of adventure 
 in its sturdy, teeming population. 
 
 With steam came the doom of England as the self-con- 
 tained, self-supporting entity a country should be. A 
 future, doubtless, lies before us as the hub of a vast 
 empire, but England is too small to bear this strain and 
 remain a country in the proper sense of the word. 
 
 This beautiful land has become one town, part suburb, 
 part slum, with ever dwindling reserves of rural landscape, 
 and these are losing their genuine wildness. The agri- 
 cultural districts of England are the hobbies of millionaires, 
 and have lost a savour they once had, a savour which the 
 far tamer country-side of France still retains. 
 
 The steam-engine, in such a small country, has brought 
 all things too close, and the town gets out quicker to the 
 country than the country gets into the town. 
 
 To repine is useless, and that many things have changed 
 for the better is proved by a glance at the prints of Hogarth 
 alone. Nevertheless the evident loss should make one value 
 the perfection of Georgian England. All things have their 
 season of full blossom, and the aesthetic florescence of 
 England was reached in the spacious Georgian days. 
 Triumph after triumph of man's handiwork had been added 
 to a singularly perfect piece of the Creator's handiwork, 
 and a traveller who, like the Lutheran pastor Moritz, 
 viewed this country in 1782, saw a land of pure delight. 
 Up to Georgian days all change had been added charm 
 and beauty ; since then, aesthetically, almost all has been 
 destruction or marring mistake. 
 
 11 Four Needlework Pictures 
 Lent by Mrs. Ridley James. 
 
 12 Four Needlework Pictures 
 By Mrs. Ellen Sharples. 
 
 Lent by the Bristol Academy of Fine Arts. 
 
 13 Hyde Park (1780) — Rotten Row 
 After Bunbury. 
 
 Lent by the Lord Berwick. 
 
 14 Portrait of Gibbs, the Architect 
 By Hogarth. 
 
 Lent by the Churchwardens of St. Martin's, Charing 
 Cross. 
 
 Case II —SHEFFIELD PLATE. 
 Lent by E. Hudson, Esq. 
 
 BAY I. 
 
 XVIIIth CENTURY LONDON. 
 
 15 Kensington Palace 
 Lent by Fred A. White, Esq. 
 
6 Lower Gallery 
 
 i 6 Interior of the Guildhall 
 By William Daniell. 
 Lent by the Corporation of London 
 
 17 Covent Garden 
 By T. Sandby. 
 
 Lent by E. Marsh, Esq. 
 
 18 Fasana's Repository 
 By H alley. 
 
 Lent by J. P. Heseltine, Esq. 
 
 19 View of Kensington Palace, 1804 
 By J. C. Nattes. 
 
 Lent by The Hon. Gerald Ponsonby. 
 
 20 View of St. Paul's and London Bridge 
 By Samuel Scott. 
 
 Lent by Messrs. P. & D. Colnaghi. 
 
 21 The Thames at Greenwich (water-colour) 
 
 By ROWLANDSON. 
 
 Lent by Randall Davies, Esq., F.S.A. 
 
 22 St. Pancras 
 By T. Varley, 
 
 Lent by j. P. Heseltine, Esq. 
 
 23 Demolition of the Savoy 
 By Rowlandson. 
 
 Lent by E. Marsh, Esq. 
 
 24. Greenwich Park 
 By George Budd. 
 Lent by J. P. Heseltine, Esq. 
 
 25 Wapping 
 
 By T. Girtin. 
 
 Lent by the Corporation Art Gallery of Leicester. 
 
 26 Count Solacio on Horse-back (Horse by 
 
 Sartorius) 
 By Hogarth. 
 
 Lent by the Governors of St. George's Hospital. 
 
 27 Sketch 
 
 By Samuel Scott. 
 
 Lent by W. Barclay Squire, Esq. 
 
 28 Lambeth 
 
 By T. Varley. 
 
 Lent by J. P. Heseltine, Esq. 
 
 29 Richmond Bridge 
 By P. Sandby, R.A. 
 Lent by E. Marsh, Esq. 
 
 30 Exterior of the Library, Christchurch, Oxford 
 By Roger Fry. 
 
 Lent by Mrs. Fry. 
 
 Dr. Clarke, the distinguished Oxford amateur, 
 was largely responsible for the design. The build- 
 ing, begun in 1716, was not completed until 1761. 
 
Lower Gallery 
 
 7 
 
 31 View of Old Magazine Fort, Hyde Park 
 
 1804 
 By J. C. Nattes. 
 
 Lent by The Hon. Gerald Ponsonby. 
 
 32 Royal Exchange 
 
 By J. M ALTON. 
 
 Lent by Messrs. P. & D. Colnaghi and Co. 
 
 33 The " Blue Bell " Inn, London 
 
 By ROWLANDSON. 
 
 Lent by Edward Boyes, Esq. 
 
 34 House (since demolished) occupied by Dr. 
 
 Turle, Organist of Westminster Abbey, in 
 
 Little Deans Yard 
 By Samuel Butler. 
 Lent by Emery Walker, Esq., F.S.A. 
 
 35 Westminster Bridge from the Thames (1750) 
 By J. B. C. Chatelain. 
 
 Lent by Edward Boyes, Esq 
 
 36 The Thames at Greenwich 
 By Anderson. 
 
 Lent by A. K. Hichens, Esq. 
 
 37 London from the north, St. Paul's in the dis- 
 TJT tance (1809) 
 
 * By John Varley. 
 
 Lent by Edward Boyes, Esq. 
 
 38 The Monument 
 By Samuel Scott. 
 
 Lent by Messrs. P. & D. Colnaghi and Co. 
 
 39 Covent Garden 
 By P. Ferg. 
 
 Lent by Messrs. P. & D. Colnaghi and Co. 
 
 40 Old London Bridge 4 
 
 Lent by the Corporation of the City of London. 
 
 Samuel Scott (1710-1772) continued the tradition of 
 the Van der Weldes and even suggests the finer 
 qualities of Van der Heyden. Horace Walpole 
 called him the first painter of his age. He is 
 specially interesting as the painter of the ruddy 
 brick frontages of the Thames and its busy life in 
 Georgian times. J.B. 
 
 41 Billingsgate about 1750 
 By J. Collett. 
 
 Lent by Messrs. Leggatt Bros. 
 
 This lively scene displays Billingsgate at the time 
 when it had a famous language of its own. The two 
 disputants in the right corner, with their seconds, are 
 doubtless professors of its use. In the other corner a 
 tradesman is tasting oysters, and the women are wait- 
 ing, not without misgivings, for his verdict. The 
 
8 
 
 Lower Gallery 
 
 porter in the red jacket wears the same headgear as 
 the Billingsgate porter of to-day. The boat at the 
 wharf-side flies the city arms. The painting of 
 the fish in the creels, the fine luscious colour of 
 the clothes and faces, the beauty of the sky over the 
 drab buildings, and the delicate aspect of the rigging, 
 and sails of the ships, make this a work of peculiar 
 variety and beauty. J.B. 
 
 42 View of Fleet Street, with old Temple Bar in 
 
 the distance (cir. 1750) 
 By Samuel Scott. 
 
 Lent by the Right Hon. Evelyn Ashley. 
 
 43 View of London 
 By Daniel Turner. 
 
 Lent by Fred. A. White, Esq. 
 
 44 View of Old Westminster 
 By David Turner. 
 
 Lent by G. H. Shepherd, Esq. 
 
 This pleasant painting depicts the river, West- 
 minster Bridge, Hall and Abbey, and shows how 
 much we have lost in the gain of the Palace of St. 
 Stephen's. Some of the old wharves in front of the 
 Abbey are only now being demolished. 
 
 45 View of the Embankment, with Naval Pageant 
 
 By Samuel Scott. 
 
 Lent by M. H. Colnaghi, Esq. 
 
 On January 8, a hundred years ago, the body of 
 Nelson was conveyed by water from Greenwich to 
 Vauxhall, thence to be taken to the tomb at St. 
 Paul's It may be noticed that the citizens, while 
 wearing their ordinary coloured clothes of the period, 
 have all black hats. 
 
 46 Fleet River 
 
 By Samuel Scott. 
 
 Lent by the Corporation of the City of London. 
 
 This well-considered painting shows the entrance 
 to one of London's lost rivers. The Fleet rose in 
 the northern heights of Hampstead, and reached the 
 Thames near where Blackfriars Bridge now is. The 
 locality is best understood by the position of the 
 spire of St. Bride's Church, off Fleet Street. On 
 the left of the river is the old Bridewell Jail, with 
 its whipping-post. The Fleet River, at the close of 
 the 18th century, became too terrible even fcr the 
 robust nose of Georgian London ; it was built over, 
 and is now only a drain. J.B. 
 
 47 Sea Fight 
 
 By T. Whitcombe. 
 
 Lent by Messrs. P. & D. Colnaghi and Co. 
 
Lower Gallery 
 
 9 
 
 48 View from Lambeth 
 
 Attributed to Samuel Scott. 
 Lent by Philip Norman, Esq. 
 
 This interesting view shows the position of the 
 buildings at Westminster before the Houses of Par- 
 liament were erected. 
 
 49 Westminster Hall and Abbey (hand-coloured 
 
 lithograph) 
 Lent by H. B. Wheatley, Esq. 
 
 It seems impossible that there could be room to 
 drive the wide Parliament Street between the north 
 side of Westminster Hall and the Abbey, but it was 
 nevertheless done. The gigantic towers and pin- 
 nacles of the Houses of Parliament have now 
 dwarfed the Hall almost beyond recognition, but 
 this picture gives an idea of its importance in Georgian 
 times. It was first built by William Rufus, and 
 the present roof — " the finest piece of carpentry in 
 England 93 — was made in Richard IPs time. Here 
 Wallace, the Scottish patriot, Sir Thomas More, Guy 
 Fawkes, and Charles I were condemned to death. 
 Before the Law Courts, in the Strand, were built, 
 this was the scene of all the great law cases. J.B. 
 
 50 The Hospital of the Savoy, before the demo- 
 
 lition for the approaches to Waterloo 
 
 Bridge 
 By Ambrose Poynter. 
 Lent by T. W. Jackson, Esq. 
 
 These ruins of the old Palace and Hospital were 
 removed to provide the site for the north side of 
 Waterloo Bridge about 1820. The little chapel of the 
 Savoy can still be seen much as it looked when this 
 great palace was in its prime. The bridge on the 
 right is old Westminster Bridge. 
 
 51 Gardens of Carlton House, in the possession of 
 
 the Dowager Princess of Wales 
 By W. Woollett. 
 Lent by H. B. Wheatley, Esq. 
 
 Carlton House was the town palace of George IV 
 when he was Prince of Wales and Prince Regent. 
 It stood where Carlton House Terrace now stands. 
 When it was taken down the Corinthian pillars at its 
 entrance were used for the facade of the National 
 Gallery, Trafalgar Square. Part of the Gardens 
 were added to St. James' Park. 
 
 52 Two Engravings of the Knights of the Bath — 
 & 59 Prince William offering his sword to the 
 
 Dean in Henry VII Chapel 
 Knights at Dinner 
 By T. Pine, after Highmore. 
 Lent by H. B. Wheatley, Esq. 
 
 53 Lord Nelson's Funeral Procession by water 
 
 from Greenwich to Whitehall, Jan. 8, 1806 
 Lent by J. H. Fraser Walter, Esq. 
 
IO 
 
 Lower Gallery 
 
 54,61 Three Engravings of Kensington Palace 
 (65 By J. Tinney, after Highmore. 
 Lent by H. B. Wheatley, Esq. 
 
 This part of the Palace was built by Sir Chris- 
 topher Wren 
 
 Queen Victoria was born in this Palace. 
 
 55 Chain Pier at Brighton (shows the Prince of 
 
 Wales in a coach and four and a number 
 of celebrities) 
 Lent by the Corporation of Brighton. 
 
 56 View of Wanstead House, Essex, the seat of 
 
 Earl Tylney 
 Lent by Lieut. -Col. Croft-Lyons. 
 
 It was in connection with this mansion, long since 
 destroyed, that Hogarth painted his picture "The 
 Wanstead Assembly. 55 
 
 57 View of Cheapside, 1825 (hand-coloured litho- 
 
 graph) 
 
 Lent by H. B. Wheatley, Esq. 
 
 Represented at the beginning of the 19th century. 
 Although the old shopf ronts have gone, Cheapside has 
 retained more of its old Georgian brick than any 
 other busy London thoroughfare. Mercers and 
 cutlers have traded here since Saxon times. The 
 name is derived from the Anglo-Saxon, " ceapian," 
 to sell or bargain. 
 
 58 View of Covent Garden Church (representation 
 
 of funeral of an unmarried man or woman, 
 
 the figures being in white) 
 By Rooker, after Sandby. 
 Lent by H. B. Wheatley, Esq. 
 
 60 Westminster Election, 1820. 
 
 Engraved by Havell, after Scharf. 
 
 62, 63 Plates from the fc Microcosm of London ' 
 By Pugin and Rowlandson. 
 Lent by Muirhead Bone, Esq. 
 
 64 Hanover Square, 1787 (print) 
 Lent by The Hon. Gerald Ponsonby. 
 
 In Georgian times London was particularly proud 
 of her architecture. Artists of note devoted their 
 talents to delineating the new squares and mansions, 
 and these drawings, reproduced by Mezzotint, were 
 eagerly purchased on the Continent as well as in the 
 provinces. The architecture was faithfully copied, 
 but by beautiful drawing and tasteful lighting these 
 pictures are often works of art, and are highly 
 esteemed to-day for their beauty. The artists perhaps 
 added space as well as enchantment to these views. 
 Dayes* view of Hanover Square makes it seem more 
 
Lower Gallery 
 
 ii 
 
 spacious and nobler than it is to-day. Many of these 
 weil-proportioned brick mansions are still in their 
 places, and the tine old St. George's Church is still 
 the centre of the marriages that are made in May fair 
 and Belgravia. J.B. 
 
 65A Four Georgian Mirrors 
 Lent by Charles Davis, E^q. 
 
 BAY II. 
 THE NAVY AND ARMY. 
 
 Queen Anne and George I. maintained the navy at 
 about the same strength at which they found it. George 
 II. 's successful naval wars with Spain and France in 1748 
 and 1756, and the building of larger ships for them brought 
 the numbers up to 412 ships at his death, and George III. 
 had 700 ships at the Peace of Amiens. The expanding trade 
 of which England had practically a monopoly in time of 
 war, and the growth of colonies beyond the seas contri- 
 buted to making the British Navy far more powerful than 
 all the navies of the world taken together. 
 
 The idea of fighting in line was gradually developed, and 
 the strength of fleets came to be counted, not by the actual 
 number of ships, but by the number of "ships fit to lie 
 in a line," whence came the term "ships of the line." 
 Any variation from fighting in line was forbidden, though 
 it did not prove advantageous without great superiority of 
 numbers. 
 
 Byng at Cape Passaro, 17 18, and Sir Edward Hawke in 
 Quiberon Bay, 1759, and Rc dney accidentally at Dominica, 
 showed how much might be gained by violating the ru;e 
 on occasion. The greatness of Howe, St. Vincent, Duncan, 
 and Nelson, showed itself in their freedom from traditional 
 routine, and resulted in the glorious victories of Ushant, 
 Vincent, Camperdown, The Nile, Copenhagen, and 
 Trafalgar. 
 
 Case III. —NELSON RELICS. 
 
 Lent by J. H. Walter. Esq. 
 Case IV —MODEL OF SHIP. 
 Lent by South Kensington Museum. 
 
 66 Battle of Copenhagen — near midnight 
 By R. Dodd. 
 
 Lent by J. H. Walter, Esq. 
 
 66a Mezzotint of Edmund Burke 
 By Dickinson, after Romney. 
 Lent by H. S. Theobald, Esq., K.C. 
 
 67 Battle of Trafalgar — van division 
 By R. Dodd. 
 
 Lent by J. H. Walter, Esq. 
 On September 15, 1805. Nelson left Portsmonth, and 
 on October 21 the Battle of Trafalgar was fought. 
 The English had 27 ships, the French 18, and the 
 Spaniards 15. The "plan of attack," the "Nelson 
 touch," had been carefully considered beforehand, and the 
 " Victory," Nelson's flagship, broke the enemy's line. She 
 had a terrible duel with the French " Redoubtable," and a 
 shot from her tops gave Nelson his death-wound. 
 
12 
 
 Lower Gallery 
 
 "England expects that every man will do his duty"; 
 and right nobly did our fleet respond to that signal, but at 
 what a tremendous cost was that victory won ! 
 (See also Nos. 72, 75 and 78.) 
 
 68 Portrait of Officer 
 By Reynolds. 
 
 Lent by Lieut. -Col. Croft-Lyons. 
 
 This resembles the portrait of John Manners, 
 Marquess of Granby, in the National Gallery. 
 
 69 The Polish Pie 
 Attributed to Gilbey. 
 
 Lent by Miss E. M. Symonds. 
 
 70 Duke of Wellington 
 After Isabey. 
 
 Lent by the Hon. Gerald Ponsonby. 
 
 71 Attack on the Danes 
 By R. Dodd. 
 
 Lent by J. H. Walter, Esq. 
 
 72 Battle of Trafalgar — in the van 
 By R. Dodd. 
 
 Lent by J. H. Walter, Esq. 
 
 73 Vice Admiral Lord Nelson 
 By W. Barnard (after Abbott). 
 Lent by J. H. Walter, Esq. 
 
 Lord Nelson was born on September 29, 1758. He 
 joined the " Raisonable 33 in 1771, and the following year 
 was in the Arctic Seas. In 1778 he became First Lieutenant, 
 and in 1779 he gained the post of Captain. In 1794 he 
 was made Rear Admiral, and helped to win the battle of 
 Cape St. Vincent. At Teneriffe he lost his right arm. 
 On August 1, 1798, he won the battle of the Nile and was 
 made Baron Nelson. In 1801 he was made Vice Admiral, 
 and gained the battle of Copenhagen. On October 22, 
 1805, he defeated the combined fleets off Cape Trafalgar 
 and fell in the hour of victory, aged 47. 
 
 The greatest of all British Seamen, He was victor- 
 ious at the Nile, at Copenhagen, and at Trafalgar. 
 He commanded the " Agamemnon " at the reduction 
 of Corsica, in 1794, losing an eye at siege of Calvi. 
 He also became Duke of Bronte in Sicily, and was 
 created Viscount Nelson after Copenhagen, in 1801. 
 After his memorable blockade of Toulon, and his 
 long pursuit of the French, he fell at Trafalgar in 
 the hour of victory, 21st October, 1805. His last 
 words were, " I have done my duty." 
 
 74 Battle of Copenhagen 
 By R. Dodd. 
 
 Lent by J. H. Walter, Esq. 
 On March 30, 1801, under Sir Hyde Parker, with 
 Nelson second in command, the English fleet passed 
 Cronenburg Castle, and on April 2, the battle of Copen- 
 hagen was fought and won. 
 
 (See also Nos. 66 and 71.) 
 
Lower Gallery 
 
 13 
 
 75 Victor of Trafalgar — in the rear 
 By R. Dodd. 
 
 Lent by J, H. Walter, Esq. 
 
 76 Battle of Trafalgar — the "Victory " breaking 
 
 the line 
 
 By E. Duncan (after W. J. Huggins). 
 Lent by J. H. Walter, Esq. 
 
 77 George III Reviewing the 10th Regiment (print 
 
 after Beechey) 
 Lent by the Rev. A. J. Poynder. 
 
 78 Battle of Trafalgar — rear division 
 By R. Dodd. 
 
 Lent by J. H. Walter, Esq. 
 
 79 King George II and Frederick Prince of Wales 
 
 Reviewing the Guards 
 Y By John Wootton. 
 
 Lent by Charles Davis, Esq. 
 
 Wars were almost incessant in the latter part of the 18th 
 century, after Walpole lost control. England even had to 
 bear the strain of war within her borders when the Young 
 Pretender tried to seize the kingdom in 1745. What the 
 army looked like then may be judged (with allowances) from 
 Hogarth's satire £ The March to Finchley,' (No. 300) which 
 shows the future heroes of Culloden leaving London. 
 From 1756 to 1763 England played for the stakes of North 
 America and India with France, and thanks to Wolfe, Clive, 
 and her seamen she won them, only to lose the larger part 
 of America by her own folly in the American War of 
 Independence, 1773-1781. 
 
 80 Lord St. Vincent 
 By Sir W. Beechey. 
 
 Lent by the Corporation of the City of London. 
 
 81 Death of Nelson 
 
 By Samuel Drummond. 
 
 Lent by Mrs. Martin H. Colnaghi. 
 
 82 Sea Battle 
 
 Lent by W. Laidlaw Purves, Esq., M.D. 
 
 83 Death of Nelson (engraving) 
 After Samuel Drummond. 
 
 Lent by M. H. Colnaghi, Esq. 
 
 84 Review of Troops at Windsor 
 Lent by Messrs. Jackson. 
 
 85 Consecration of the Colours of the Royal East 
 
 India Volunteers 
 By H. Matthews. 
 
 Lent by the Secretary of State for India. 
 
Lower Gallery 
 
 86 Viscount Hood 
 
 By F. Lemuel Abbott. 
 
 Lent by the Corporation of the City of London. 
 
 Abbott (1760-1803) was a meritorious but somewhat 
 tasteless painter. He had a trick of catching a 
 sitter's likeness, and is best known for his convincing 
 portrait of Nelson. 
 
 As the Venetian nobles of the 16th century Renais- 
 sance had themselves painted handling a bust, 
 so the English admirals of the 18th century fancied 
 a fine old three-decker ship put in a corner of their 
 portraits, as a symbol of what had interested and 
 concerned them most in their passage through exis- 
 tence. 
 
 This great seaman, who was second in command in 
 the action off the Chesapeake, 1781, and in Rodney's 
 total defeat of the French Fleet in 1782, has been 
 spoken of as the instructor and precursor of Nelson, 
 who, undoubtedly, owed much to him. Hood was a 
 great and upright administrator, and ranks very high 
 among British seamen. 
 
 87 Siege of Gibraltar 
 By R. Paton. 
 
 Lent by Christopher Head, Esq. 
 
 88 Portrait of a Guardsman on horseback 
 By D. Dighton. 
 
 Lent by Charles Davis, Esq. 
 
 89 The "Victory " (the ship prior to Nelson's) — 
 
 woodcut, in an old Georgian frame 
 Lent by Newton Braby, Esq. 
 
 90 The British Fleet, under Sir Hyde Parker, 
 
 entering the Sound, March 28, 1801 
 By Bluch, after Pocock. 
 Lent by Christopher Head, Esq. 
 
 91 Battle of the Nile — near midnight 
 Engraved by Dodd. 
 
 Lent by J. H. Fraser Walter, Esq. 
 
 92 An exact representation of the glorious defeat 
 
 of the French Fleet off the River Nile in 
 
 Egypt 
 By G. Thompson. 
 Lent by J. H. Fraser Walter, Esq. 
 
 93 The Royal Mails in 1794 racing as armed 
 & 98 Cutters from Dublin to Holyhead 
 
 By Whitcomb. 
 
 Lent by W. Laidlaw Purves, Esq., M.D. 
 
 94 Battle of the Nile — 10 o'clock at night 
 By R. Dodd. 
 
 Lent by J. H. Fraser Walter, Esq. 
 
Lower Gallery i5 
 
 95 The Battle of the Nile 
 
 By J. Fittler (after F. de Loutherbourg). 
 Lent by J. H. Fraser Walter, Esq. 
 
 96 H.M.S. " Monarque," 74 guns 
 By R. Short. 
 
 Lent by Christopher Head, Esq. 
 
 97 Battle of the Nile — the attack at sunset 
 By R. Dodd. 
 
 Lent by J. H. Fraser Walter, Esq. 
 On June 7, 1798, began Nelson's long chase after 
 the F-rench fleet, which culminated, on August 1, in the 
 victory of the Nile. The English had 14 ships, 8,068 men 
 and 1012 guns; the French 17 ships, 10,710 men and 1190 
 guns. Nelson was severely wounded in the head, but he 
 captured or burnt all the enemy's fleet, with the exception 
 of four vessels, all of which, sooner or later, fell into our 
 hands. (See also Nos. 91, 94, and 99.) 
 
 99 Battle of the Nile — on the ensuing morning 
 By R. Dodd. 
 
 Lent by J. H. Fraser Walter, Esq. 
 
 100 The Glorious Naval Victory of the Battle of 
 
 Trafalgar, or British Tars triumphant over 
 Fleets of France and Spain 
 By G. Thompson. 
 Lent by J. H. Fraser Walter, Esq. 
 ioo.v Johnnie Newcome in the Peninsula 
 
 By ROWLANDSON. 
 
 Lent by Horace Skipton, Esq. 
 
 BAY III.— THEATRICAL AND LITERARY. 
 Case V.— GEORGIAN SILVER. 
 
 101 Garrick as Kitely in " Every Man in His 
 
 Humour " 
 After Reynolds. 
 Lent by H. B. Wheatley, Esq. 
 
 102 Portrait of Garrick 
 
 By Val. Green, after Gainsborough 
 Lent by H. B. Wheatley, Esq. 
 
 103 Mdlle. Auretti 
 
 By Ryley, after Amiconi. 
 
 Lent by H. S. Theobald, Esq., K.C. 
 
 Actress. Appeared at the Haymarket in 1746. 
 
 104 Turbutt 
 
 By Miller, after Bisse. 
 
 Lent by H. S. Theobald, Esq., K.C. 
 
 An actor of whom nothing is known. Painted in 
 1740. 
 
 105 Garrick and Mrs. Gibber in "Venice Preserved' ' 
 
 (mezzotint) 
 After Zoffany. 
 
 Lent by H. B. Wheatley, Esq. 
 
1 6 Lower Gallery 
 
 106 Mrs. Woffington 
 
 By Faber, after Haytley. 
 
 Lent by H. S. Theobald, Esq., K.C. 
 
 Margaret ("Peg 55 ) Woffington, actress, born in 
 Dublin 1714, was the daughter of a bricklayer. She 
 came to London in 1741, and played with Garrick 
 for several years, dying in 1760. 
 
 107 Griffin — Johnson 
 By Van Bleek. 
 
 Lent by Fritz Reiss, Esq. 
 
 Benjamin Griffin and Benjamin Johnson in the 
 parts of "Tribulation 55 and "Ananias 55 in "The 
 Alchemist.'' Griffin was born in 1680, son of a 
 Norfolk Parson. Wrote several plays. Died 1740. 
 Johnson (1665-1742) played at Drury Lane, Hay- 
 market, etc. 
 
 108 Portrait of G. F. Cooke as ' Sir Pertinax 
 
 Macsychophant ' 
 By Woodman, after De Wild. 
 Lent by H B. Wheatley, Esq. 
 
 109 Garrick between Tragedy and Comedy 
 By Fisher after Reynolds. 
 
 Lent by Fritz Reiss, Esq. 
 
 no Mrs. Siddons 
 
 By J. R. Smith, after Lawrence. 
 Lent by H. S. Theobald, Esq., K.C. 
 
 in Garrick and Mrs. Pritchard in "Macbeth" 
 (mezzotint) 
 After Zoffany. 
 
 Lent by H. B. Wheatley, Esq. 
 
 [For Garrick, see No. 113]. Hannah (Vaughan) 
 Mrs. Pritchard (1711-1768). Actress. Appeared at 
 Bartholomew Fair, and at the Haymarket, 1733; 
 was held to be the greatest " Lady Macbeth " of her 
 day. A monument is erected in Westminster Abbey 
 to her memory. 
 
 112 Foote 
 
 By Blackmore, after Reynolds. 
 Lent by H. S. Theobald, Esq., K.C. 
 
 (1720-1777) Actor and Dramatist. Educated at 
 Worcester Coll., Oxon. Obtained in 1766, through 
 the Duke of York, a patent for a theatre in West- 
 minster, as compensation for a practical joke which 
 had cost him his leg. Built the Haymarket Theatre 
 in 1767. 
 
 113 Garrick 
 
 By J. Watson, after Reynolds. 
 Lent by H. S. Theobald, Esq., K.C. 
 
 (1717-1779). Actor and playwright. At school 
 under Dr. Johnson. Came to London with him, 
 1737. Buried in Westminster Abbey. 
 
Lower Gallery 
 
 i7 
 
 114 Mrs. Cibber 
 
 By Faber, after Hudson. 
 
 Lent by H. S. Theobald, Esq., K.C. 
 
 (1714-1766). Actress. Susannah Maria, d. of 
 Mrs. Arne, and sister of Dr. Arne, the composer. 
 Highly esteemed as a singer, both in oratorio and 
 opera. A powerful tragedian. Married in 1734, 
 to Theophilus, son of Colley Cibber. 
 
 115 David Garrick as " Abel Drugger " in "The 
 
 Alchemist ; ' 
 By Dixon, after Zoffany. 
 Lent by H. S. Theobald, Esq., K.C. 
 
 116 Mrs. Charlotte Charke, Actress, daughter of 
 
 Colley Cibber (died 1760) 
 By Hudson. 
 
 Lent by Lieut. -Col. Croft-Lyons. 
 I 17, Il8, 124, 127 — 
 
 Four cabinet pictures on panel — subjects from 
 
 Shakespeare's Comedies 
 By R. Smirke, R.A. 
 Lent by Mrs. Ridley James. 
 
 119 Study — " Quin, the Actor " 
 By Sir J, Reynolds. 
 
 Lent by A. Kay, Esq., F.S.A. 
 
 120 Garrick and Mrs. Cibber playing in Otway's 
 
 " Venice Preserved." 
 By Zoffany. 
 
 Lent by C. Newton Robinson, Esq. 
 
 Belonged to Garrick and Sir H. Irving. 
 
 121 Edmund Kean 
 
 By George Clint, R.A. 
 Lent by Bram Stoker, Esq. 
 
 (The only portrait Kean ever sat for.) 
 
 122 Baddeley as "Moses" in "The School for 
 
 Scandal " 
 . / By Zoffany. 
 
 V Lent by Mrs. K. J. Hutchison. 
 
 123 Portrait of David Garrick 
 By Robert Edge, after Pine. 
 Lent by Martin H. Colnaghi, Esq. 
 
 125 Garrick as Abel Drugger in " The Alchemist n 
 By Zoffany. 
 , Lent by the Earl of Carlisle. 
 
 This was the first picture exhibited by Zoffany. 
 It was bought by Sir Joshua Reynolds, who resold it 
 for double the original price, on the first day, to the 
 great-grandfather of the present Earl of Carlisle, on 
 the understanding that the increased price was to go 
 to Zoffany. 
 
1 8 Lower Gallery 
 
 126 David Garrick and His Wife, playing picquet 
 
 jt By ZOFFANY. 
 
 Lent by the Trustees of the Shakespeare Memorial. 
 
 128 Portraits of John Palmer, actor, wearing red 
 
 dress and blue cloak 
 By Angelica Kauffmann. 
 Lent by Charles Davis, Esq. 
 
 129 John Kemble 
 
 By Sir T. Lawrence. 
 
 Lent by Hugh P. Lane, Esq. 
 
 130 A Pantomime Ballet on the English Stage 
 
 (about 1730) 
 By Hogarth. 
 
 Lent by C. Newton Robinson, Esq. 
 
 A very interesting painting of a harlequinade at 
 Queen's Theatre in Lincoln's Inn Fields, painted 
 about 1725. The guard of soldiers was placed by 
 royal order at this theatre as a special recognition 
 of the services of Quin, the Manager, in helping to 
 quell a riot in 1721. Drury Lane was the only other 
 theatre guarded by soldiers. 
 
 The theatre of early Georgian days was at a low 
 ebb. The license of the Restoration drama had 
 produced a reaction, and, apart from religious senti- 
 ment, the drama did not interest the people. The 
 world of fashion patronized the opera, and to secure 
 public interest the theatres started pantomimes and 
 harlequinades 
 
 131 Portrait of the Poet Gay 
 Attributed to Hogarth. 
 
 Lent by Messrs. H. Eyre and Son. 
 
 132 Pope 
 
 By Faber, Junr. after Vanloo. 
 Lent by Fritz Reiss, Esq. 
 
 (1688-1744). Poet. Son of a London linen- 
 draper. Translator of Homer. Author of " The 
 Dunciad," etc., etc. Lived at Twickenham, where 
 he died, 1744 
 
 133 Dr. Benjamin Franklin 
 By D. Martin. 
 
 Lent by the Right Hon. the Earl Stanhope. 
 
 134 Horace Walpole 
 By Hogarth. 
 
 Lent by H. S. Vade Walpole, Esq. 
 
 Horace Walpole the youngest son of Sir Robert 
 Walpole, became the type of the cultivated amateur 
 of his time His entrance into a room is thus des- 
 cribed : c< In the style of affected delicacy which 
 fashion had made almost natural, chapeau bras be- 
 tween his hands, as if he wished to compress it, or 
 under his arm ; knees bent, and f eet on tip-toe, as 
 if afraid of a wet floor.' 
 
Lower Gallery 
 
 19 
 
 His literary productions, though the " Castle of 
 Otranto " has a historical interest in the develop- 
 ment of fiction, are unimportant, with the exception 
 of his inimitable letters which reflect the age as only 
 a passive mirror can. 
 
 135 Doctor Wolcot 
 By Opie. 
 
 Lent by Rev. H. de Courcelle?. 
 
 John Opie was the son of a Cornish carpenter. The 
 age was one that delighted in prodigies, and Opie, 
 brought to London by Dr. Wolcot (Peter Pindar), and 
 exhibiting in the Academy at 19 years of age, was 
 hailed as the "Cornish Wonder." and even Reynolds 
 compared him to Velasquez and Caravaggio. A some- 
 what coarse vigour and liking for over-effective con- 
 trasts of light and shade reveal the provinciality and 
 insufficient training of Opie's mind and eye, but there 
 is no doubt that Dr. Wolcot was more amply justified 
 in 'discovering' Opie than most of the art patrons of 
 the day in their 'fiads ' of proteges. Opie was largely 
 patronised by the gentry of Cornwall, and many o 
 his portraits still remain in the Duchy. 
 
 Dr. Wolcot (1738-18 19) was known as a satiric poet 
 under the name of Peter Pindar. He satirized George 
 III. mercilessly and also had several bitter contro- 
 versies with the Royal Academicians of the day. 
 
 This drawing in crayon on paper was executed be- 
 fore 1781. There is only one other crayon drawing 
 known by Opie — that of Lieut. Lawrence. 
 
 136 Sheridan 
 
 Bv HOPPNER. 
 
 Lent by A. Kay, Esq., F.S.A. 
 
 137 Portrait of Dr. Johnson 
 
 By John Opie, R.A. 
 Lent by Lady Wantage. 
 
 Painted about 1782. The influence of Gainsborough 
 is so marked in this portrait that it has been con- 
 sidered by some to be his work, and was exhibited as 
 his in 1857. was a * so exhibited at British Institu- 
 tion, 1857, at Winter Exhibition of Royal Academy in 
 187 1. Formerly in the possession of Sir St. John 
 Aubyn. Sold at Lime Grove after Lady Aubyn's 
 death in 1856. Seen to waist §, face to left, looking 
 down and to his right ; brown coat and waistcoat ; 
 grey wig ; hands not seen ; a bright light casts a 
 strong shadow under the nose. 
 
 This superb portrait of Dr. Johnson shows us, on 
 the whole, a nobler aspect of Johnson than Reynolds' 
 more famous work. We see in this the Olvmpian, 
 brooding nobility of Johnson's brusque, sterling 
 character, when it has been refined by age to a less 
 pugnacious attitude to life. This is the real Dr. 
 Johnson that won him his friends and his immor- 
 tality, in spite of the foibles and prejudices that often 
 
20 
 
 Lower Gallery 
 
 marred his character, though they added to the 
 interest of Boswell's biography. 
 
 Born at Lichfield, Johnson began his literary 
 life in 1738 with a poem which Pope praised. 
 After some literary drudgery he brought out his 
 first prose work fcr Cave, in 1744, "The Life 
 of Savage." For forty years from that date 
 he dominated the English literary world. We 
 scarcely know how he achieved this position, but one 
 imagines it was by the sheer weight of his personality. 
 The cc Dictionary " appeared in 1755, just after his 
 " Rambler 33 essays. Then succeeded " The Idler, 5 ' 
 " Rasselas," and much later his " Lives of the Poets." 
 A Tory, and even inclined to be a Jacobite, he 
 accepted George III and a pension, and in 1763 he 
 met his great exponent, Boswell. Ill-health alone 
 spoilt the satisfaction of Johnson, who was now re- 
 garded as a dictator by a large circle of the most 
 attractive and brilliant persons of his day, amongst 
 whom were Edmund Burke and Miss Burney. 
 
 138 Sir Isaac Newton 
 By Thornhill. 
 
 Lent by Trinity College, Cambridge. 
 
 139 Portait of Richardson 
 By Hogarth. 
 
 Lent by Sir Audley Neeld, Bart 
 
 Richardson initiated the subordination of mere 
 adventure to the delineation of personal character 
 and the careful representation of daily life, and gave 
 the novel that purgation, — that outlet of the dis- 
 interested and noble emotions in sympathy, which 
 the drama had formerly alone achieved. In 
 " Clarissa Harlow," with all its absurdities and 
 stiffnesses, we seem to hear the measured beat of the 
 footsteps of fate dashing this young life to pieces, 
 — that it dashes it against conventions which are 
 more absurd than those usually regarded as the 
 material for tragedy, only shows Richardson's funda- 
 mental soundness of vision. Fielding added humour 
 to the novel, and Sterne the play of fantastic wit 
 and sentimental brooding. 
 
 140 Portrait of Byron 
 By Phillips. 
 
 Lent by John Murray, Esq. 
 
 Case VI.— GEORGIAN BOOKS. 
 
 Lent by H. B. VVheatley, Esq., and Miss Broadwood. 
 
 The literature of the Georgian period is marked by a 
 preference for accepting a correct, conventional standard, 
 and from this point of view deep personal emotions, if de- 
 picted at all, are treated with a dull coldness. It is curious 
 that this material, commonsense age expressed itself so 
 often in poetry rather than in prose, except in the cases of 
 Swift, and Defoe, whose " Robinson Crusoe " appeared in 
 1719. 
 
Lower Gallery 
 
 21 
 
 The age has claimed the title of "Augustan," but it 
 aimed at a very trifling and limited perfection, and ob- 
 tained it by the sacrifice of qualities much more important. 
 The central part of the 18th century is dominated by the 
 figure of Dr. Johnson. 
 
 During this period a great school of English History 
 was initiated with Gibbon, Hume and Robertson. The 
 literary men of the mid-i8th century believed them- 
 selves to be severely classical and correct, but they 
 harboured amongst them the romantic attempts of 
 Percy's " Relics, 55 and the poetry of Chatterton, 
 while Burns, Blake, Crabbe, and Cowper succeeded them. 
 Gray had his own peculiar blend of classic and romantic 
 aims. The term " Grub Street, 55 so ably exploited by 
 Macaulay, is characteristic of this period. An idea of 
 often unnecessary, somewhat squalid Bohemianism attached 
 itself to the calling of a literary man of this period, just 
 as later it attached itself to the painter's mode of life. 
 Fielding, Goldsmith, and Johnson, all suffered from debt, 
 but they had chiefly themselves to blame for this. 
 
 The greater portion of the Books produced during the 
 eighteenth century were not excellent either in printing or 
 illustrations. Some of the finest books were issued from 
 the Oxford University Press, specimens of which (from 
 1704 to 1762) are here shown. 
 
 William Caslon, to whom England owes a revival of her 
 independence in the matter of type-setting, was born in 
 1692, and died in 1766. During a few years in the 
 middle of the century very beautiful works were printed 
 by John Baskerville (1706-1775). He commenced letter- 
 founding in 1750, and he is said to have spent ^600 before 
 he could produce one letter to please him. Fine work was 
 also produced by the Messrs. Foulis, of Glasgow, — notably 
 a splendid " Homer, 55 published in 1756, and a " Virgil, 5 ' 
 published in 1778. The types of these works were cut bv 
 Alexander Wilson, a native of St. Andrews. William 
 Bulmer (1757-1830) produced many specimens of fine print- 
 ing at the Shakespeare Press. Charles Whittingham (1767- 
 1840), founder of the Chiswick Press, commenced business 
 in 1790, and printed many charming books during the con- 
 cluding years of the 18th century. H.B.W. 
 
 141 Fielding 
 
 Lent by the Hon Gerald Ponsonby. 
 
 Except Defoe's works, fiction worthy of the 
 name did not exist till Richardson (born as 
 early as 1688), Fielding (born 1707), Smollett 
 (born 1721), and Sterne, created the 5 novel, 5 
 — the great heritage the 18th century left to the 
 world. Thin romances had existed, but not the 
 'novel 5 as we know it. "Pamela 55 appeared in 
 1740, "Joseph Andrews' 5 in 1742, "Roderick Ran- 
 dom 55 in 1748. Thus Richardson, Fielding and 
 Smollett, though of such different ages, produced 
 their first works within a decade. Sterne's lazy life 
 led him to delay production till " Tristram Shandy 55 
 appeared in 1760. 
 
22 
 
 Lower Gallery 
 
 These four men stand on an absolutely different 
 footing to the other numerous but forgotten novelists 
 of their time. 
 
 142 William Woollett 
 
 By J. K. Sherwin, after J. K. Sherwin. 
 Lent by Fritz Reiss, Esq. 
 
 1735-1785. The famous line engraver. " The first 
 English engraver whose works were admitted and 
 purchased on the continent " 
 
 143 Charles Lamb 
 
 Probably Meyer, after Henny. 
 Lent by Sir Chas. Dilke, Bart., M P. 
 
 144 Beauty in Search of Knowledge 
 Lent by Francis Harvey, Esq. 
 
 145 Pope (original sketch) 
 By Geo. Vertue. 
 
 Lent by the Right Hon. Sir C. Dilke, Bart., M.P. 
 
 During the first half of the 18th century the most 
 conspicuous influence in literature was that of Pope. 
 The men who had lent lustre to the age of Queen 
 Anne died out somewhat rapidly — Prior in 1721, Con- 
 greve and Steele in 1729, Addison in 1719. Pope took 
 10 years to write his translation of Homer, and won 
 by it some ^"10,000, and an enduring reputation. 
 Pope's genius suited his age, which aimed rather at 
 correct views and rounded periods than genuine first- 
 hand personal emotion. During the last 30 years of 
 his life, Pope was chiefly engaged on satires, such as 
 " The Dunciad," which he allowed to become too 
 much a clever attack upon his personal enemies. 
 
 146 Royal Institution, Albemarle Street 
 From Pugin & Rowlandson's " Microcosm. 5 ' 
 Lent by Muirhead Bone, Esq. 
 
 BAY IV. MEZZOTINTS. 
 
 The majority of the mezzotints {all those in light 
 oak frames) throughout the Exhibition are lent by H. S. 
 Theobald, Esq. K.C. and Herbert H. Home, Esq. Those 
 in black and gold frames are lent by Fritz Reiss, Esq. and 
 John Charrington, Esq. To save sface the names of the 
 lenders of mezzotints are omitted in this Bay. 
 
 METHOD OF WORK. 
 The plate is first, by a purely mechanical process, 
 "rocked" with an instrument shaped like a broad chisel, 
 with a curved edge, and fluted on one side with a number 
 of small straight grooves running lengthwise down to the 
 edge. This is worked across the plate in many directions 
 with a "rocking" motion until the entire surface is 
 roughened into a close grain. If the plate were, at the end 
 of this process, to be inked and printed from, the impression 
 would be of a soft and even black all over. The engraver 
 then scrapes or rubs away this grain, to a greater or less 
 depth according to the gradation of light and dark required. 
 Where the grain is untouched it prints black, where it is 
 partially scraped it prints of an intermediate tone, and white 
 where it is wholly scraped away and burnished down. 
 
Lower Gallery 
 
 23 
 
 147 Air Pump 
 
 By V. Green after J. Wright. 
 Lent by Fritz Reiss, Esq. 
 
 148 Mrs. Farthing 
 
 By H. T. Greenhead after John Hoppner. 
 Lent by H. B. K. Skipton, Esq. 
 
 CASE VII. 
 
 THEATRICAL PRINTS, CARDS, RELICS, &c. 
 Lent by Miss Hipkins and W. Laidlaw Purves, Esq. 
 
 149 Still Life 
 By Smith. 
 
 150 Sir John St. Aubyn 
 
 By S. W. Reynolds, after Opie. 
 Lent by Rev. H. de Courcelles. 
 
 151 Miss Jacob 
 
 By Spilsby, after Reynolds. 
 
 152 The Ladies Yorke 
 
 By Fisher, after Reynolds. 
 
 Daughters of Viscount Royston, 2nd Earl Hard- 
 wicke. Lady Amabel (1751-1833) m. Alexander, 
 Lord Polwarth — she was created Countess De Grey 
 1816. Lady Mary (1757-1830) m. Thomas, 2nd Lord 
 Grantham. 
 
 153 Earl of Leiaster 
 
 By Dixon, after Reynolds. 
 William, second Duke, 1749-1804. 
 
 154 Rev. Richard Robinson, D.D. 
 By J. R. Smith, after Reynolds. 
 
 1709-1794. First Baron Rokely. Lord Lieutenant 
 of Ireland, 1751. Bishop of Killalon, 1752. Arch- 
 bishop of Hernagh, 1765. A Lord Justice for Ireland, 
 1787, &c, &c. 
 
 155 Mrs. Warren 
 
 By Hodges, after Romnet. 
 
 Ann, d. of Wm. Powell a famous actor. 
 
 156 Sir Robert Walpole 
 By Jervas. 
 
 Lent by H. S. Vade Walpole, Esq. 
 
 Charles Jervas (1675-1739), born in Ireland, was, 
 perhaps, the best native painter of George I.'s reign, 
 This, however, is not saying much. 
 
 He imitated Titian, and in his own estimation 
 surpassed him. 
 
 " Poor little Tit ! How he would stare ! " is reported 
 as his comment on one of his own pictures. 
 
 This statesman led and typified the Whig victory which 
 established the Hanoverian Electors as Kings of England 
 on condition of their never attempting the despotism of the 
 Stuarts. 
 
2 4 
 
 Lower Gallery 
 
 The German interests of George I and George II allowed 
 the Whig ministers great power, and gave cabinet govern- 
 ment time and opportunity to develop. But in foreign 
 politics this pre-occupation of the King with German affairs 
 constituted a danger, and we owe it to Sir Robert Walpole, 
 who was practically a dictator from 1721-1742, that England 
 was not dragged into foreign complications, and so gained 
 time to recover from the 17th century struggles and attain 
 a material prosperity that stood her in good stead in her 
 succeeding struggle with France. 
 
 Walpole's fall, succeeded by his death, followed on the 
 mistake he made in yielding to the nation's desire for war 
 against his own instinct, rather than give up his position ; 
 but he maintained his fight against the war party long, 
 enough to save England. Of his methods little good can 
 be said. Bribery became an organised system, and his 
 enmity was relentless, but he had a certain rough sense of 
 fairness, and his commonsense led him to simplify our 
 fiscal system. His Excise Bill of 1735 would have carried 
 this simplification further if it had not had to be withdrawn 
 owing to the unreasoning popular prejudice against excise 
 duties. 
 
 It may be contended, with some show of reason, that there 
 are two ways of helping the world. There is that of the 
 martyr who dies to raise his spire of protest against the 
 wickedness of the world, but there is also the way of the 
 man of the world who uses the world with a necessary un- 
 scrupuloasness possibly painful to his own conscience to 
 build a good solid Newgate, to beat down and shut up 
 some fraction of the world's wickedness. 
 
 Sir Robert Walpole was no martyr, except to gout, but 
 he preserved his ideal of the welfare of England through 
 all his dubious actions. 
 
 156A Nancy Catley as " Hebe " 
 
 Lent by John Charrington, Esq. 
 
 156B The Jessamy Bride 
 
 By Dunkarton, after Reynolds. 
 
 157 Rev. Wm. Mason 
 
 By Doughty after Reynolds. 
 
 160 Viscount Boyne 
 
 By Miller, after Hogarth. 
 
 Gustavus, 2nd Viscount (1710-46). 
 
 161 Lady Moray 
 
 By Faber, after Davison. 
 
 Christian, dau. of 9th Earl of Eglinton, m. James 
 Moray of Perthshire, d. 1748. 
 
 162 Countess of Coventry 
 
 By Richard Houston after Cotes. 
 
 Maria (Gunning) (1733-1760). Sister of Elizabeth 
 Gunning. Married, 1752, George William, 6th EaTl 
 of Coventry 
 
Lower Gallery 
 
 *5 
 
 163 Duchess of Ancaster 
 By M'Ardell after Hudson. 
 
 Mary, daughter of Thomas Panton, keeper of the 
 King's running horses at Newmarket (he won the 
 Derby in 1786). Married, 1750, Peregrine, 3rd Duke 
 of Ancaster. Was Mistress of the Robes to Queen 
 Charlotte, and a leader of fashion. D. 1793. 
 
 164 Miss Kitty Gunning 
 
 By Richard Houston after Cotes. 
 
 Catherine, youngest daughter of John Gunning. 
 Married, 1769, Robert Travis. Died at Somerset 
 House, 1773. 
 
 165 Miss Woodley. 
 
 By Walker, after Romney. 
 
 Frances, d. of Wm. Woodley, Governor of the 
 Leeward Islands, m. 1784 Henry Bankes, M.P. for 
 Corfe Castle, d. 1822. 
 
 166 Marchioness of Granby 
 By Hogarth. 
 
 Lent by the Duke of Rutland. 
 
 The colour and manner suggests Henry Morland 
 rather than Hogarth. 
 
 167 Duchess of Argyll and Hamilton 
 By F. Cotes and R. Houston. 
 
 Lent by H. P. Home, E«q. 
 
 Elizabeth (Gunning) (1 734-1790). A famous 
 beauty. Married James, 6th Duke of Hamilton, 
 1752, and in 1759, Tohn Campbell, afterwards Duke 
 of Argyll. Lady of the Bedchamber to Queen 
 Charlotte. 
 
 168 Lady Fernhoulet (mezzotint) 
 By J. McArdell, after Reynolds. 
 
 169 Mrs. Abington 
 
 By J. Watson after Reynolds. 
 
 170 Miss Magill (mezzotint) 
 
 By J. Watson, after Reynolds. 
 Lent by H. B. Wheatley, Esq. 
 
 Theodosia, daughter of R. H. Magill, of Gilhall, 
 Co. Down. Married, 1765, Sir John Meade, after- 
 wards Lord Clanwilliam. Died at Brighton, 1817. 
 
 171 Countess Cholmondley 
 By C. Turner, after Hoppner. 
 
 172 Mrs. Payne Galwey and Sons 
 By J. R. Smith, after Reynolds. 
 
 (1758-85). Philadelphia, d. of O. de Lancey, of 
 New York, m. Stephen Gallwey, of Tofts, Norfolk. 
 
 173 Lady Kent 
 
 By Dean, after Reynolds. 
 
 Mary, d. of Josiah Wordsworth, of Wordsworth, 
 Yorks., m. Charles Egleton, who assumed the name 
 of Kent and was made a baronet in 1782. 
 
26 
 
 Lower Gallery 
 
 174 The Princess Sophia 
 By Sir William Beechy. 
 
 Lent by the Rt. Hon. the Earl Waldegrave. 
 
 William Beechey was born in Berkshire, and cannot 
 claim the Celtic strain that seems to be essential to 
 the ancestry of the English artist. He abandoned 
 the law for painting and managed to attract the 
 favour of George III., through rejection at the Acad- 
 emy, and thanks to this easy passport to public favour, 
 achieved a popularity and reputation that his pleasing 
 colour and superficial showy manner scarcely justi- 
 fied. 
 
 175 Mrs. Abington 
 
 By Judkins, after Reynolds. 
 
 (1737-1815). Actress. In girlhood a flower- 
 seller. Appeared at the Haymarket Theatre, 1755. 
 Very successful in comedy ; original representative 
 of "Lady Teazle 55 (1777). 
 
 176 Mrs. Stables 
 
 By J. R. Smith, after Romney. 
 
 Dorothy, wife of John Stables, a Director of the 
 East India Co. and one of the Supreme Council of 
 Calcutta. 
 
 177 Mrs. Carwardine and Child 
 By J. R. Smith, after Romney. 
 
 Anne, wife of the Rev. T. Carwardine, of Earl's 
 Colne, Essex, who had been originally a miniature 
 painter ; d. 1817. 
 
 178 Mrs. Richards 
 
 By Spilsbury after Gainsborough. 
 
 Wife of a musician, who was " first violin ,} at 
 Drury Lane 
 
 179 Lady Mildmay 
 
 By Say, after Hoppner. 
 
 180 Boy and Kitten 
 
 By H. Meyer after Owen. 
 
 181 Colonel Tarleton 
 
 By J. R. Smith after Reynolds. 
 
 182 Lady Hamilton, in male attire 
 Attributed to Gainsborough or Romney. 
 Lent by W. Laidlaw Purves, Esq. 
 
 183 Mrs. Davenport 
 
 By Jones, afier Romney. 
 
 Probably Charlotte, d. of Ralph Sneyd of Keel 
 Hall, Staffs. ; m. 1777 Davies Davenport, M.P. for 
 Cheshire ; d. 1829. 
 
 184 Master Tempest. 
 
 By Walker, after Romney. 
 
 John Walter (or Wharton), only son of J. Tempest, 
 M.P. for Durhan, d. 1793 
 
Lower Gallery 
 
 27 
 
 185 Countess of Essex 
 
 By McArdell, after Reynolds. 
 
 Frances, d. of Sir Charles Hanbury-Williams, m. 
 William Holies, 4th Earl of Essex, 1754. d. 1759. 
 
 186 Miss Lewis 
 
 By McArdell, after Liotard. 
 
 Probably a portrait of Mile. Lavergne, niece of 
 Liotard. 
 
 T 87 Mrs. Sheridan and Children 
 By Dunkarton, after Reynolds. 
 
 188 Roubillac 
 
 By Martin, after Carpenter. 
 
 (1695-1762). Sculptor. b. at Lyons. Settled in 
 England about 1730. A full-length statue of Shaks- 
 pere executed by him for David Garrick is in the 
 British Museum. 
 
 189 Duchess of Cumberland 
 
 By James Watson, after Reynolds. 
 
 Anne, daughter of Simon Luttrill (Baron Irnham, 
 Earl of Carhampton). Married: 1st. Christopher 
 Horton ; 2nd (in 1871) Henry Frederick. Duke of 
 Cumberland— brother of George III. It was her 
 marriage and that of Maria. Countess of Waldegrave, 
 to William Henry, 1st Duke of Gloucester, that 
 brought about the Royal Marriage Act, 1772. 
 
 190 Mrs. Curtis 
 
 By Walton after Hudson. 
 
 This charming print by Walton is exceedingly rare. 
 
 191 Eliza (Mrs. Hoppner) 
 By Young after Hoppner. 
 
 Probably a portrait of the painter's wife. Phebe, 
 daughter of Mrs. Wright, of Pall Mall, a modeller 
 of portraits in wax. 
 
 192 Thomas Bragg — line Engraver (b. 1778, d. 
 
 1867) 
 By Hoppner. 
 Lent by Mrs. Thunder. 
 
 193 The Duchess of Gloucester 
 By Watson, after Reynolds. 
 
 194 Opening of Waterloo Bridge 
 By J. Constable and D. Lucas. 
 
 195 Ladies Waldegrave 
 
 By V. Green after Reynolds. 
 
 Elizabeth Laura, Charlotte Maria, and Anne 
 Horatia, daughters of James, 2nd Earl Waldegrave, 
 and Maria, daughter of Sir Ed. Walpole. Lady 
 Elizabeth (1760-1816) married (1782) her cousin 
 George, Lord Chewton, who became 4th Earl Walde- 
 grave. Lady Charlotte (1761-1808) married (1784) 
 George, Earl of Euston, afterwards 4th Duke of 
 
28 
 
 Lower Gallery 
 
 Grafton. Lady Anne (1762-1801) married (1786) 
 Hon. Hugh Seymour Conway, Vice-Admiral of the 
 Blue. 
 
 196 Portrait of William Pitt 
 By Hoppner. 
 
 Lent by His Grace the Duke of Wellington, K.G. 
 
 William Pitt (1759-1806), the centenary of whose death 
 is being celebrated this year, is represented here by three 
 portraits, one by Hoppner, one by Owen, and one by Clint. 
 Perhaps his personality appears to us most impressively in 
 the fine mezzotint. 
 
 Delicate and a martyr to hereditary gout, he became 
 Prime Minister in 1783 in his 25th year. Though laughed 
 at by his opponents, he had the support of the King and 
 the House of Lords, and obtained a large majority in the 
 elections of 1784. 
 
 He at first turned his attention to finance, and reduced 
 the National Debt, instituting the Sinking Fund. The 
 latter part of his life was occupied with steering England 
 through the European complications following on the out- 
 break of the French Revolution. 
 
 His death was caused by the news of the defeat 
 of his Coalition against Napoleon in the battle of 
 Austerlitz. He died exclaiming " Oh, my country ! how 
 I leave my country ! 5 ' He had succeeded in destroy- 
 ing the now dangerous power of the Whig oligarchy, and 
 so prepared the way for reforms later on though he himself, 
 owing to foreign complications was never able to carry 
 them out. His plan of fighting France by coalitions of 
 the continental powers imposed an almost intolerable 
 financial burden on England, but he preserved her from 
 serious disaster and vastly increased the country's military 
 reputation and colonial possessions. 
 
 197 Masson 
 
 By Brookshaw, after Mortimer. 
 
 A famous tennis-player, 
 died in 1817. 
 
 198 Lady Derby 
 
 By Bartolozzi after Lawrence. 
 
 Elizabeth Farren (1759-1829). Actress. Appeared 
 at the Haymarket, 1777. Married Edward Stanley, 
 12th Earl of Derby, and retired from stage; 1797. 
 
 The painting from which this was engraved was 
 painted by Lawrence when he was only 21 years of 
 age. 
 
 Stipple-engraving is only a variety or special development 
 of line- engraving. The material employed and the method 
 of printing are the same ; but shade and gradation are 
 obtained, not by incising the surface of the plate by a multi- 
 tude of lines, but by stabbing it with a multitude of dots, 
 which vary in depth and closeness. 
 
 199 Portrait of Peter von Winter 
 By Sam *el Owen. 
 
 Lent by Mrs. Horsley. 
 
Lower Gallery 
 
 29 
 
 200 Mrs. Siddons 
 
 By Clint, after Lawrence. 
 
 (1755-1831). Actress. d. of Roger Kemble and 
 sister of John Philip and Stephen Kemble, m. 1773, 
 William Siddons. Played with Garrick. Very 
 successful in Shaksperean characters. 
 
 201 Mrs. Stratton 
 
 By C. Turner, after Lawrence. 
 
 202 Master Lambton 
 
 By S. Cousins, after Lawrence. 
 Lent by the Rev. H. de Courcelles. 
 
 203 King George II 
 
 By Woolidge, after Houston. 
 
 Case VIII.— SILHOUETTES AND RELICS. 
 
 Lent by Hon. Gerald Ponsonby, Miss Halkett, Miss Leigh 
 Brown, Miss Rooth, and Mrs. Wood. 
 
 SCREEN I. 
 
 204 Horace Walpoie 
 
 By McArdell, after Reynolds. 
 
 (1717-1797). Fourth Earl of Orford. Educated 
 at Eton and King's Coll., Cambridge. M.P. in 1741. 
 Settled at Strawberry Hill, Twickenham (1747), 
 where he made a famous collection of objects of art 
 and antiquity. Established there a private press, 
 where he printed his " Anecdotes of Painting in 
 England," " The Castle of Otranto," etc., etc. 
 
 205 Dr. Johnson 
 
 By Doughty, after Reynolds. 
 
 Samuel Johnson, 1709-84. Born at Lichfield ; 
 educ. at Pembroke Coll., Oxon. Began his English 
 dictionary 1747. Friend of Reynolds, Goldsmith, 
 Burke, etc. Founded the Literary Club. LL.D. 
 Dublin 1765, Oxford 1775. 
 
 206 Ozias Humphries 
 
 By Green, after Romney. 
 
 207 Sir W. Scott 
 
 By Turner after Raeburn. 
 
 (1771-1832). Novelist and poet. Born in Edin- 
 burgh; educated at the Edinburgh High School and 
 University. Called to the Bar in 1792. Married, 
 1797, Charlotte Mary Carpenter. Author of the 
 " Waverley Novels," etc., etc. Died at Abbotsford. 
 
 208 Miss Burney 
 
 By C. Turner, after Burney. 
 
 Frances (Burney), Mme. D'Arblay (1752-1840). 
 Novelist. Daughter of Dr. Burney, the musician. 
 Published " Evelina," 1778. Attached to the house- 
 hold of Queen Charlotte, and kept an interesting 
 " Diary," which was published 1842-6. Married 
 General D'Arblay, a French refugee in England, 
 1793- 
 
30 
 
 Lower Gallery 
 
 209 Goldsmith 
 
 By Marchi, after Reynolds. 
 
 (1728-74). Author. Second son of an Irish clergy- 
 man ; educated at Trinity College, Dublin, studied 
 medicine and qualified but took to literature. Mem- 
 ber of Dr. Johnson's "Club. 5 Author of "The 
 Vicar of Wakefield," etc. 
 
 Oliver Goldsmith (1728-1774) was the founder of 
 the modern English drama. His " Traveller " had 
 appeared in 1764; "The Vicar of Wakefield" in 
 1766; and "The Deserted Village 55 in 1770; but 
 " She Stoops to Conquer," together with " The Good- 
 natured Man," suddenly revealed the revival of 
 English drama. The year after Goldsmith died, 
 having achieved immortality in a very short period 
 of literary production. 
 
 210 Prince Win. Fredk., Prince of Gloucester 
 By Caroline Watson, after Reynolds. 
 
 1776-1834. Chancellor of Cambridge University. 
 Field-Marshal. Married Mary, fourth daughter of 
 George III., 18x6. He was the son of William Henry 
 (1st Duke) brother to George III. 
 
 211 James Ward 
 
 By J. Ward after J. Ward. 
 
 212 School 
 
 By V. Green after Opie. 
 
 213 V. Green 
 
 By V. Green after Abbots. 
 
 (1739-1813). One of the very finest of the mezzo- 
 tint engravers. Born in Worcestershire ; pupil of 
 Robert Hancock. Worked in London from about 
 1760. Produced, altogether, about 400 plates. 
 
 214 Sir Joshua Reynolds, P.R.A. 
 By James Watson, after Reynolds. 
 
 215 James McArdell 
 
 By Earlom, after McArdell. 
 
 Notes on the Mezzotints were kindly sufflied by 
 John Charrington, Esq. 
 
 ROYAL PORTRAITS. 
 
 216 Prince Charles Edward 
 After Mercier. 
 
 (1720-1788). The "Young Pretender," eldest 
 son of James, Prince of Wales, son of King James II 
 and Mary of Modena. Born and bred at Rome. 
 Landed in Scotland in 1745. Defeated at Culloden 
 1746. Died at Rome. 
 
 217 Queen Charlotte 
 
 By G. Dupont after Gainsborough. 
 
 (1744-1818). Daughter of the Duke of Mecklen- 
 burgh-Strelitz. Married, 1761, King George III. 
 Died at Kew. 
 
Lower Gallery 
 
 3i 
 
 218 Admiral Lord Duncan. 
 By Hoppner. 
 
 Lent by the Corporation of the City of London. 
 
 219 George I. 
 After J. Faber. 
 
 The early Hanoverian Kings were not personally 
 attractive. Coarse in speech and habits, without 
 charm or intellectual power, they might still have 
 been popular, if their whole-hearted interest had not 
 gone out to their German possessions. 
 
 To live at Herrenhaussen, the grotesque German 
 parody of Louis XIV's Versailles, in a coarse license 
 that just affected a pseudo-classic veneer, was their 
 ideal. The English nation simply accepted them as a 
 necessary nuisance, which had to be tolerated owing 
 to the continued existence of descendant? of the Stuart 
 despots. When George II. was supposed to have been 
 drowned in storm, only his faithful Queen and Walpole 
 cared, the latter for political reasons primarily. 
 
 220 George II in Coronation Robes (print) 
 By Andreas Geyer, after Joachim Kayser. 
 Lent by Francis Harvey, Esq. 
 
 221 Electress Sophia (1613-1740) 
 By Faithorne. 
 
 Sophia of Zell, the daughter of a Stuart princess 
 and the squalidly romantic ' Winter King ' of Bohemia, 
 had married (1658) Ernest Augustus, 1st Duke of 
 Hanover, a dull provincial North German petty 
 princeling. She longed intensely to survive her cousin , 
 Queen Anne, and taste the sweets of royalty (as her 
 correspondence shows), but fate was hard and she died 
 first. The pleasure of succeeding to the English 
 throne was wasted, because George I. much preferred 
 his Hanoverian possessions. 
 
 222 George L 
 Aftsr Houbraken. 
 
 Lent by Messrs. Jackson Bros. 
 
 223 Church and King (silhouette) 
 Lent by the Hon. Gerald Ponsonby. 
 
 224 George III. 
 
 By W. Woollett, after A. Ramsay. 
 Lent by J. Chairington, Esq. 
 In line-engraving, the method is the reverse of that used 
 in wood-engraving, inasmuch as the lines intended to print 
 black are not left standing in relief, but are sunk into the 
 surface of the substance employed. This is generally copper ; 
 but in the early stages of the art other metals were occasion- 
 ally used, as silver (and in a few instances gold), iron and 
 brass, and about 1820-50. the use of copper was gradually 
 superseded by steel, which from its hardness is capable of 
 yielding a greater number of impressions. More lately still, 
 the custom has arisen of facing a copper plate with a thin 
 
32 
 
 Lower Gallery 
 
 coating of steel before printing. When the work of incising 
 the metal is complete, the plate is inked and then carefully 
 cleaned so that the ink remains only in the lines ; impres- 
 ions on paper are then taker* by means of a press of special 
 power, by which the paper is forced into the incised lines 
 and takes off the ink with which they are charged. 
 
 225 George I., when Prince of Hanover 
 By Tompson, aftev Kneller. 
 
 Lent by Messrs. Jackson Bros. 
 
 (1660-1727). George Lewis, great grandson of 
 King James L Married, in 1682, Sophia Dorothea, 
 of Celle, Became King of England 1714. Died 
 of apoplexy at Osnabriick, and buried at Hanover. 
 
 226 Marriage of George, Prince of Wales, and 
 
 Princess Caroline of Brunswick 
 Lent by the Hon. Gerald Ponsonby. 
 
 227 King George III in the 50th year of His Reign 
 By Stradler, after Rosenberg. 
 
 Lent by the Corporation of Brighton. 
 
 228 George III., in colours 
 Lent by Messrs. Jackson Bros. 
 
 229 George II 
 
 By R. E. Pine. 
 
 Lent by Humphry Ward, Esq. 
 
 George II. had the two qualities ot personal 
 courage and common sense. When he applied 
 this with Germaa logic to a criticism of fox 
 hunting he quite failed to endear himself to 
 English squires more stupid than himself. He 
 had to be content to go down to posterity as the 
 last English king who led his own troops in battle 
 at Dettingen in 1743, when the English troops 
 defeated the French, who were trying to stop their 
 junction with the Austrians. Even there George II. 
 appeared as a ludicrous, though spirited, little figure, 
 having to dismount in order to prevent his horse 
 running away with him and stamping him the coward 
 he was not. 
 
 230 H.R.H. George, Prince of Wales (George IV) 
 By Hoppner. 
 
 Lent by H.R.H. the Duchess of Argyll. 
 
 231 William Pitt 
 , By Owen. 
 
 Lent by J. L. Rutley, Esq. 
 
 232 The Family of George III. 
 
 By ZOFFANY. 
 
 Lent by Martin H. Colnaghi, Esq. 
 
 <• FARMER GEORGE." 
 To those who love England even to its very faults there 
 is a peculiar .delight in Georgian England. The very 
 name ' George,' that of England's mythical patron Saint — 
 ' the husbandman,' according to its Latin derivation, turned 
 
Lower Gailery 
 
 33 
 
 traveller and saint, rather for the sake of adventure, one 
 imagines, than for any very clearly conceived piety — has 
 come to have a clay-bed solidity about it, particularly 
 English. For generations Kings who were Scotchmen, 
 or men bitten with a French madness, or Dutchmen, or 
 Germans, had sat on the throne of England. At last, in the 
 apogee of Georgian times, came " Farmer George," a king 
 of homely, respectable tastes, an opiniated muddler, and 
 not perhaps the less English in that. George III seems to 
 sum up and typify his period. In the 18th century we 
 have the Englishman not perhaps at his highest or best, 
 but at his most characteristic. 
 
 " Farmer George 55 is indeed the grandfather of John 
 Bull, who had, from force of circumstances, to go into 
 business to the increase of his purse, but to the loss of his 
 perfect' ease of mind, in order to provide the sentimental 
 Mid-Victorian woman, his wife, with the genteel refine- 
 ments she desired. 
 
 " Farmer George " stands for the Englishman unregen- 
 rate, and not yet cosmopolitanized, who went " down to the 
 sea in ships" with Nelson, and fought with Wolfe and 
 Clive. Never before had the type been so typically 
 English. England had had its fervour of youth in 
 Elizabethan days, but Shakespeare is superior to, rather 
 than typical of England, and the violent emotions of the 
 succeeding periods had all been characterized by that 
 " something too much " which is fundamentally at variance 
 with your true Englishman who is above all a creature of 
 instinct and compromise, not of logical calvinistic thorough- 
 ness. 
 
 In " Farmer George," with his fine solid house, his 
 broad acres, his port and its attendant well-earned, expected, 
 almost unrepined against, gout, his habit of bringing home 
 Italian pictures in his wooden ships from the Grand Tour, 
 his delicate china, silver and Chippendale, his somewhat 
 heavy habits of life, his rhymed didactic poetry of Pope 
 and Crabbe, his taste for Handel, — we get the most typical 
 Englishman we have ever known, a man of kind heart, 
 stubborn courage, sound judgment, slow intellect, liking 
 to live by instinct and rule of thumb, yet revealing a basis 
 of heroism and an odd congeries of delicate appreciations. 
 
 233 Admiral Vernon . * » % 
 
 By Gainsborough. ^ ^^KV^CftP*.* 
 
 Lent by Hugh P. Lane, Esq. 
 
 Admiral Vernon with the Howitzer gun he invented. 
 An early signed work by Gainsborough of his Suffolk 
 period. 
 
 Previously unknown to fame, Admiral Vernon was 
 sent with six men-of-war and a few soldiers against 
 Porto Bello, and destroyed it. England had just 
 rushed into war with Spain over the supposed outrage 
 to a trader, named Jenkins; who declared he had had 
 an ear torn off by a Spanish Customs officer. Vernon 
 became a popular idol, but he failed to win success' in 
 a later more important expedition against Carthagena 
 
34 Lower Gallery 
 
 owing to stupid quarrels with Wentworth, the com- 
 mander of the troops engaged on the expedition. 
 
 234 Queen Charlotte 
 By Hogarth. 
 
 Lent by the Corporation of the City of York. 
 
 235 George III 
 
 By Allan B am say. 
 Lent by Mrs. Peake. 
 
 236 H.R.H.the Prince Regent 
 Lent by Fritz Reiss, Esq. 
 
 237 Portrait of George IV when Prince Regent 
 By Sir T. Lawrence. 
 
 Lent by Lieut. -Col. Croft-Lyons. 
 
 Thomas Lawrence was born at Bristol, the son of 
 an innkeeper. When only 21 he painted his wonder- 
 ful picture of Miss Farren (mezzotint No. 198). 
 The King took him up and had him made an A.R.A 
 when only 21 years of age, and in 1792, on Reynolds- 
 death, Painter in Ordinary 
 
 Between 1798 and 1813 he exhibited 90 portraits at 
 the Academy, and in 1816 he painted the allied 
 sovereign^ at Aix la Chapelle. 
 
 It was said that Lawrence made coxcombs of his 
 sitters, and that they made a coxcomb of him. But 
 with all his superficiality and vulgarity, Lawrence 
 had genuine power and a sincere appreciation for 
 art, which led him to collect the splendid drawings 
 by great masters which he left to Oxford. 
 
 238 Warren Hastings 
 
 By Z OFF ANY. 
 
 Lent by Lieut. -Gen. H. F. Davies. 
 
 Warren Hastings may be said to have created the 
 administration of the empire Clive had won. Hastings 
 planned rural administration by English officials. He 
 established courts of justice and a trained police. From 
 1774 to 1785 he was the first Governor-General of 
 India. He initiated a bold foreign policy which has 
 been much criticised. Warren Hastings was im- 
 peached in 1786, and the long drawn out trial left him 
 ruined, though acquitted. 
 
 239 King George III and Royal Family 
 By Murphy, after Stothard. 
 
 Lent by Messrs. Jackson Bros. 
 
 240 King George IV travelling (coloured engraving) 
 Lent by the Hon. Gerald Ponsonby. 
 
 241 The Prince of Wales 
 
 By Stradler, after Rosenberg. 
 Lent by the Corporation of Brighton. 
 
 242 King George III, aged 72 (Jubilee print) 
 Lent by the Hon. Gerald Ponsonby. 
 
 243 George III (mezzotint) 
 
 By Houston, after Zoffany. 
 Lent by Thomas Burgum, Esq. 
 
Lower Gallery 
 
 35 
 
 244 George IV, seated (a very good impression of 
 
 a mezzotint after the large seated portrait 
 of George IV) 
 Lent by the Corporation of Brighton. 
 
 245 Viscount Cornwallis 
 By Copley. 
 
 Lent by the Corporation of the City of London. 
 
 246 King George III and Family 
 By Earlom, after Zoffany. 
 
 Lent by the Rev. A. J. Poynder. 
 
 247 King George II 
 By Ryley. 
 
 Lent by Messrs. Jackson Bros. 
 
 248 Etching by James Barry, from his paintings 
 
 at the Society of Arts 
 Lent by H. B. Wheatley, Esq. 
 
 249 His Majesty George III (coloured engraving) 
 By Stradler, after Rosenberg. 
 
 Lent by Major G. Yarrow Baldock. 
 
 250 Thomas Walpole 
 By John Astley. 
 
 Lent by H. S. Vade Walpole, Esq. 
 
 Painted 1742. A present from Sir John Smith, 
 Bt., of Hill House, Essex. 
 
 251 Lord Baltimore giving freedom to the Red 
 
 Indians 
 By James Barry. 
 Lent by H. B. Wheatley, Esq. 
 
 252 Mrs. Jordan 
 
 By Jas. Heath after Russell. 
 
 Lent by the Corporation of Brighton. 
 
 Dorothea (Bland) Jordan (1762-1816). Actress. 
 Appeared at Dublin in "As You Like It," 1777; at 
 Drury Lane in " The Country Girl," 1785. Died 
 at St. Cloud, where she was buried. 
 
 253 Presentation of Colours to the Royal East 
 
 Indian Volunteers. 
 By H. Matthews. 
 
 Lent by the Secretary of State for India. 
 
 254 Enthusiasm delineated. 
 By Hogarth. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 255 Royal Visit to the Academy 
 By West. 
 
 Lent by Fritz Reiss, Esq. 
 
 256 Burke 
 
 By Jones after Romney. 
 Lent by H. S. Theobald, Esq., K.C. 
 
 (1729-97). Statesman, 2nd son of Richard Burke, 
 attorney, of Dublin. Ed. Trin. Coll., Dub. Started 
 
36 
 
 Lower Gallery 
 
 the Annual Register 1759. M.P. for Wendover 
 1765. Strongly attacked Warren Hastings and 
 opened the case for his impeachment in Westminster 
 Hall, 1788. Delivered a nine-days' speech in reply 
 to the defence, 1794 Present at the acquittal of 
 Hastings in 1795. 
 Largely owing to the obstinate stupidity of George III, 
 the American Colonies were lost to England. The King 
 insisted on trying to bind these growing communities 
 down bv vexatious duties levied in the interests of the 
 Mother Country. In spite of Burke, and many liberal- 
 minded Englishmen, matters were needlessly forced to the 
 issue of war, and England received the defeat she 
 thoroughly deserved, becoming involved in wars with France 
 and Spain, who gladly seized this time of domestic strain 
 to attack their rival. England finding herself isolated 
 appealed to Russia to help her to restrain the " increas- 
 ing frenzy of His Majesty's unhappy and deluded people 
 on the other side of the Atlantic," a vague geographical 
 definition which was probably sufficient for the Empress 
 Catherine. She, however, had no objection to increasing 
 frenzy among other monarch's subjects, and promptly 
 joined the coalition against England. 
 
 256A William Pitt 
 
 By George Clint, R.A. 
 
 Lent by Messrs. P. & D. Colnaghi and Co. 
 
 257 Lord Chester field 
 
 By Bell, after Gainsborough. 
 
 Lent by H. S. Theobald, Esq., K.C. 
 
 Probably Philip, 5th Earl (1755-1815) K.G. A 
 favourite of George III. 
 
 Lord Chesterfield (1694-1773) was an acute and 
 unscrupulous statesman and courtier ; he shows, in 
 his letters to his son, a brilliant intellectual power, 
 unfortunately dominated by the evil ideal of his age, 
 which led him to urge on his son the moral duty of 
 not painting or singing himself, or indeed trying to 
 do anything, while he was to profit to the utmost 
 by the efforts of others. 
 
 258 Gratton 
 
 By V. Green after Wheatley. 
 Lent by Fritz Reiss, Esq. 
 
 (1746-1820). Statesman. Born in Dublin; edu- 
 cated at Trinity Coll., Dublin. An eloquent advo- 
 cate of Free Trade, Roman Catholic Emancipation, 
 and of Independence for Ireland. Died in London, 
 and was buried in Westminster Abbey. 
 
 259 General Wolfe 
 
 By Houston, after Schaack. 
 
 Lent by H. S. Theobald, Esq., K.C. 
 
 James Wolfe (1727-1759). Second Lieutenant of 
 Marines, 1741. Brigade-Major, 1745. Was on 
 staff at Culloderj Colonel 67th Regt, 1758. Com- 
 manded force sent against Quebec, 1759. Shot 
 during battle on Plains of Abraham, and died after 
 hearing that attack was successful. 
 
Lower Gallery 
 
 37 
 
 Owing to the exhaustion of the nation and to Walpole's 
 recuperative peace policy, the army makes little show during 
 the first half of the 18th century. Wolfe, who joined the 
 army in 1742, had a very poor opinion of it, " our 
 military education is the worst in Europe," " lazy in peace, 
 and, of course, want of vigilance and activity in time of 
 war," he wrote to his father. Again, " The officers are 
 loose and profligate, and the soldiers are very devils. 55 As 
 to marksmanship, Wolfe urges a friend to teach his troops, 
 " it may not have been thought of by your commander, and 
 I have experience of its utility. 55 Continental officers used 
 to say " England possessed an army of lions led by asses, 55 
 which probably only meant that animal courage in 18th 
 century England was, as usual, commoner than the intellec- 
 tual effort needed to direct it most effectively. 
 
 CASE CONTAINING ILLUSTRATED BOOKS. 
 Lent by C. Fairfax Murray, Esq. and H. B. 
 Wheatley, Esq. 
 
 260 Wm. Pitt 
 
 Bv Dupont, after Easlom. 
 
 Lent by H. S. Theobald, Esq., K.C. 
 
 BAYS V., VI., & VIL, FURNITUE OF THE 
 GEORGIAN ERA. 
 
 Bays V., VI., & VIL are arranged as rooms. In Bay 
 V. are placed an Adams Chimneypiece and mouldings, 
 kindly lent by Messrs. Charles 
 
 In Bay VI. a Middle-i8th Century Chimneypiece and 
 sections of panelling of the Middle and Early 
 Georgian periods. In Bay VII some Oak Panelling of 
 the Queen Anne style, which lasted on through the reigns 
 of the two first Georges 
 
 The FURNITURE in the Bays V., VI., & VIL, has 
 been kindly lent by the following : — 
 
 Sir Samuel Montagu, Bart., Stuart M. Samuel, Esq., M.P., 
 D. L. Isaacs, Esq., Messrs. Morant, Hon. Gerald Ponsonby, 
 Messrs. Charles, Fred A. White, Esq. Messrs. Isaacs, W. 
 Barclay Squire, Esq., and J. L. Rutley, Esq. 
 
 BAY V. 
 
 PORTRAITS OF XVIIIth CENTURY DIVINES. 
 261-269 Prints various 
 
 Lent by the Corporation of the Church House. 
 
 269A Portrait of a Bishop 
 By Lely. 
 
 Lent by the Corporation of the Church House. 
 
 The painters at work in England in George I 5 s 
 reign were mostly foreigners. Kneller, who survived 
 Queen Anne by nine years ; Dahl, the meritorious 
 Swede, to be seen best at Petworth ; Laguerre and 
 Verrio, who supplied an unintelligent public with 
 debased classicisms. 
 
 Jonathan Richardson and Jervas were English born 
 portrait painters of repute, but they divided their 
 
38 
 
 Lower Gallery 
 
 allegiance between art and literature. The paint- 
 ings of Dietrich Netscher, son of Kaspar, the sea- 
 pieces of Monaray, and the portraits of Liotard, of 
 Geneva, met with considerable patronage. 
 
 270 Sterne 
 
 By Fisher, after Reynolds. 
 
 Lent by H. S. Theobald, Esq., K.C. 
 
 (1713-1768). Author. Born at Clonrnel ; edu- 
 cated at Jesus Coll., Cambridge. Took orders. 
 Prebendary of York 1741. Published " Tristram 
 Shandy,' 3 1760. 
 
 271 Swift 
 
 By Mc A.RDELL. 
 
 Lent by H. S. Theobald, Esq., K.C. 
 
 Jonathan Swift (1667-1745). b. at Dublin, ed. at 
 Trin. Coll., Dublin. Political pamphleteer and 
 author of £ Gulliver's Travels,' etc. Dean of St. 
 Patrick's, 1713. 
 
 Swift influenced and was influenced by his age far 
 less than Pope, though his influence on succeeding 
 ages has been much greater. Gulliver's Travels 
 appeared in 1726. Swift wrote most of his works 
 that are well known, after his exile to Ireland in 1713, 
 when his ambitions were overthrown by the triumph 
 of the Whigs. 
 
 Swift was careless as to the fame of his writings, 
 and Gulliver's Travels, for which he received ^200, 
 was the only work for which he received any payment. 
 
 His deep indignation against all shams and oppres- 
 sion, in combination with his own noble but soured 
 character, gave his work a ferocity and violence that 
 has alienated many critics, including Dr. Johnson. 
 
 272 Confirmation 
 By Stothard. 
 
 Lent by J. T. Heseltine, Esq. 
 
 273 Bust of John Wesley (from a bust taken during 
 
 his life) 
 By John Adams Acton. 
 Lent by Charles A. Kellv Esq. 
 
 The great influence of John Wesley was one of 
 the first indications of a revival of spiritual forces in 
 the 18th century. Wesley insisted on the idea that 
 living faith was not a matter of accepting intellectual 
 creeds or theological dogmas, but depended only on 
 an intense devotion to Christ's example. As a 
 young man he was converted at a fellowship-meeting 
 held in Aldersgate Street, while Luther's disquisition 
 on the Galatians was being read aloud, and " felt 
 his heart strangely warmed, that he did trust in 
 Christ, Christ alone, for salvation." This conversion 
 animated him throughout his arduous, earnest, well- 
 organised life which continued for 50 years more. He 
 found difficulty in getting permission to preach in the 
 
Lower Gallery 
 
 39 
 
 regular churches, and gradually, from sheer necessity, 
 organised his followers on a basis outside the church, 
 being much influenced by the Moravian Organisation, 
 but he always regarded himself and his followers as 
 belonging to the Church of England, and it was only 
 after his death, in 1791, that Wesleyan ministers ven- 
 tured to administer the Sacraments, and to hold their 
 services at the same hours as those of the Established 
 Church. 
 
 The Church had been divided by the Hanoverian 
 succession. The great prelates were Whigs, and 
 owed their preferment to politics. The mass of the 
 Clergy were poor and held Tory if not Jacobite 
 views. Convocation was closed in 1717, and re- 
 mained closed for 135 years. The lethargy into 
 which the Church of Georgian days had fallen has 
 probably been exaggerated, but it was not a time 
 of strong spiritual emotion, and Dissent as well as 
 the Established Church suffered. The oppressive 
 tests which precluded dissenters of all shades of 
 opinion from public office were gradually repealed. 
 In 1813 even the Unitarians had their disabilities 
 removed. 
 
 Bishop Butler, of Durham, declared "the influ- 
 ence of Christianity was wearing off the minds of 
 men." 
 
 The system of holding several livings and not 
 residing in their cures militated against the spiritual 
 influence of the Clergy. We probably get a fair 
 idea of the average Georgian parson from Fielding's 
 " Parson Adams," or Goldsmith's " Vicar of Wake- 
 field." But 'Dr. Sharpe,' in ZofTanv's painting 
 No. 148, is also a type to be kept in mind. 
 
 274 King George IV's Marriage 
 Lent by the Hon. Gerald Ponsonby. 
 
 275 Whitefield 
 
 Lent by the Rev. Charles H. Kelly. 
 
 276 Charles Wesley 
 By Gainer. 
 
 Lent by the Rev. Charles H. Kelly. 
 
 277 John Wesley 
 
 By Greenwood, after Hone. 
 
 Lent by H. S. Theobald, Esq., K.C. 
 
 (1703-91). Evangelist and divine. Ed. at the 
 Charterhouse and Ch.Ch., Oxon. Founder of the 
 Wesleyan Methodists. 
 
 2 77 A J onn Wesley 
 
 Lent by H. S. Theobald, Esq., K.C. 
 
 278 Whitefield 
 
 By Watson, after Russell. 
 
 Lent by H. S. Theobald, Esq., K.C. 
 
 (1714-70). A celebrated preacher, b. at Gloucester, 
 ed. Pembroke Coll., Oxon. Opened chapel in the 
 Tottenham Court Road, 1756. 
 
4° 
 
 Lower Gallery 
 
 George Whitefield worked in sympathy with 
 Wesley for several years, but drifted, to some extent, 
 away from him on doctrinal points. Whitefield had 
 an unrivalled gift as an emotional orator, and con- 
 verted immense audiences of the roughest people, like 
 the miners at Kingswood, near Bristol, but he had 
 little of Wesley's intellectual organising power and 
 none of his wise tolerance. 
 
 279 Whitefield 
 
 By Faber, after Wollaston. 
 
 Lent by H. S. Theobald, Esq., K.C. 
 
 279A Sir Sidney Smith 
 By Sir T. Lawrence. 
 Lent by the Rev. J. Hector de Courcelles. 
 
 The celebrated naval officer and victor of Acre. 
 Born in 1765. This picture is mentioned with admir- 
 ation by Dr. Waagen, the celebrated Berlin art critic, 
 in his "Galleries and Cabinets of Art in Great Britain." 
 
 Exhibited at the Manchester Art Treasures Exhi- 
 bition, 1857. 
 
 280 Two Children and Dog 
 
 By Zoffany. 
 
 Lent by Humphry Ward, Esq. 
 
 This picture belongs to the period when Zoffany 
 was painting in India. 
 
 281 Assembly Rooms 
 By Miss Sharples. 
 
 Lent by the Bristol Academy of Fine Arts. 
 A great feature of Georgian days, before steam central- 
 ized England, was the importance of the provincial centres, 
 where local county society gathered for the dull months. 
 York, Norwich, and many other provincial cities, even towns 
 so near London as Lewes, had their season, as the fine old 
 Georgian houses, now so often become Nursing Institutions 
 or Reformatories, testify. This was due to what is des- 
 cribed as " the new-fashioned way of conversing by 
 assemblies. 55 Besides these provincial seasons the taste 
 for a very artificial rusticity and landscape gardening gave 
 suburbs like Twickenham, Richmond, Chiswick, and 
 Hampstead, great vogue, while a combination of the desires 
 for health and society on the part of a gouty and bored 
 generation led to the popularity of the great Wells, Bath, 
 Tunbridge, Epsom, and later, Cheltenham and Clifton, 
 Scarborough, with its sea-bathing, attained popularity last 
 of all. 
 
 BAY VI. 
 
 28 1 a Paper Fashion-figures. 
 Lent by Mrs. Rooth. 
 
 282 Newe Barwicke, Esq. 
 
 By Carter (formerly stiffosed to be by Zoffany). 
 Lent by G. E. Lloyd Baker, Esq. 
 
Lower Gallery 
 
 4 1 
 
 283 The Right Hon. Sir John Sinclair 
 By Blackburn, after Raeburn. 
 
 Lent by the Archdeacon of London. 
 Painted in Raeburn's studio. 
 
 TheRt. Hon. Sir John Sinclair, Bart., M.P., born 
 1754, died 1835. Founder of the Board of Agriculture, 
 1793 ; Author of the Statistical Account of Scotland ; 
 Founder of the British Wool Society ; raised two 
 Regiments of Fencibles in the County of Caithness for 
 the great French War ; son of George Sinclair and 
 Lady Janet Sutherland ; buried in Holyrood Abbey. 
 
 284 Joseph Hucks as Salt-Bearer at Eton Montem 
 
 Lent by the Lord Aldenham. 
 
 Painted for the headmaster at Eton College when 
 the subject of the portrait was in Sixth Form. 
 
 CASE IX. -LOWESTOFT CHINA. 
 
 285 Chippendale Cabinet 
 
 Lent by W. Hugh Spottiswoode, Esq. 
 
 containing — 
 
 286 Collection of " Lowestoft " Ware 
 Lent by W. W. R. Spelman, Esq. 
 
 The Lowestoft Factory was founded about the year 1756 
 and was closed about 1803. It was situated between Crown 
 Street and Factory Lane, formerly called Bell Lane. The 
 first proprietors were Messrs. Walker, Brown, Aldred and 
 Richman. In the years 1902 and 1903, these premises which 
 had recently been used as a Malthouse, were pulled down prior 
 to reconstruction, and in course of demolition a large quan tity 
 of moulds, saggars, broken china, and other debris appertaining 
 to the manufacture of Porcelain were d isco vered . These d is- 
 coveries gave the key to what was really manufactured at 
 Lowestoft, in the way of Porcelain, and proved that this was 
 a soft paste composed chiefly of silica, alumina and bone 
 earth; and not the hard paste porcelain usually called 
 Lowestott. A monograph on the subject has been written 
 by Mr. W. W. R. Spelman, the owner of the larger portion 
 of the remains, giving illustrations of them, and of examples 
 of the true Lowestoft ware. 
 
 Copies ol this work can be obtained at the turnstile. 
 
 W.W.R.S. 
 
 287 The Thornhill Family 
 By Hogarth. 
 
 Lent by W. K. Willcocks, Esq. 
 
 Hogarth ran away with Sir James Thornhill's 
 daughter, and owed his forgiveness, it is said, to the 
 impression made by his pictures on his new father- 
 in-law, who was enough of an artist to recognise 
 their great merits, when they were brought to his 
 notice by his wife. 
 
42 
 
 Lower Gallery 
 
 288 Portraits of Earl of Orford, and Hon. Thomas 
 
 and Hon. Richard Walpole 
 By Amiconi, 
 
 Lent by H. S. Vade Walpole, Esq. 
 
 Earl of Orford in centre, Hon. Thos Walpole on 
 right (to whom belonged many of the coats in the 
 Centre Case), Hon. Richard Walpole in background, 
 This is the central part of a picture of 1st Lord Wal- 
 pole of Wollerton, his wife, and nine children. 
 
 289 George Morland 
 
 By J. R. Smith, after Morland. 
 Lent by John Charrington, Esq. 
 
 290 John Hoppner, R.A. 
 
 By Charles Turner, after Hoppner. 
 Lent by Fritz Reiss, Esq. 
 
 291 Portrait of Thomas Girtin 
 By John Opie, R.A. 
 
 Lent by G. W. H. Girtin, Esq. 
 
 292 Richard Parkes Bonington 
 By R. P. Bonington. 
 
 Lent by the City of Nottingham Art Museum. 
 
 293 Portrait of the Artist 
 By R. Wilson. 
 
 Lent by the Bristol Academy of Fine Arts. 
 
 294 Hogarth 
 
 By Benj. Smith, after Hogarth. 
 Lent by Lady Russell. 
 
 295 Reynolds 
 
 By Kikkley, after Reynolds. 
 
 Lent by H. S. Theobald, Esq., K.C. 
 
 (1723-92). Portrait painter, b. at Plympton, 
 Devon, son of Rev. Samuel Reynolds. Learnt 
 painting under Hudson and in Italy. Intimate 
 friend of Johnson, Garrick and Goldsmith. With 
 Johnson, founded the ' Literary Club,' 1764. Selected 
 as President of the Royal Academy on its foundation 
 in 1768; knighted 1769; buried St. Paul's Cathedral. 
 
 295A Eighteenth Century Embroidered coat 
 Lent by Newton Braby, Esq. 
 
 Case X. 
 
 296 Chippendale Cabinet 
 
 Lent by W. Hugh Spottiswoode, Esq. 
 
 containing — 
 
 297 Staffordshire Pottery 
 Lent by B. T. Harland, Esq. 
 
 Unlike the porcelain our Georgian pottery was not copied 
 from the Chinese or the Continental wares, it is purely 
 English in make and ornament. Among Mr. Harland 's 
 
Lower Gallery 
 
 43 
 
 pieces, the oldest are the Astbury wares and the white salt- 
 glazed teapots, both made in the first half of the 18th 
 century. The salt-glazed warejs very hard, thin and light, 
 and has a surface nearly as rough as orange skin : the tea- 
 pots are interesting for their quaint forms, such as houses, 
 ships, animals, shells and other unexpected objects. The 
 ornament is sharp and finely moulded, and great skill was 
 required to make them successfully. After about 1750 they 
 were usually painted with coloured enamels. The splashed 
 and clouded wares belong to the middle part of the century, 
 and are generally called Whieldon pottery from the name of 
 their most celebrated manufacturer. The cream-coloured 
 earthenware was not made to perfection till about 1765. 
 Staffordshire was noted for its pottery figures, such as those 
 lent by the Victoria and Albert Museum. The best 
 modellers were Ralph Wood, father and son, Wedgwood 
 and Enock Wood, and the humorous groups of the Vicar 
 and Moses, and the Parson and Clerk, as well as the popular 
 Toby jugs, are illustrated in the same loan. 
 
 R.L.H. 
 
 298 Roubillac sculpturing the bust of Garrick 
 
 By Pyne. 
 
 Lent by Martin H. Colnaghi, Esq. 
 
 299 Canvassing for Votes (engraving) 
 By Hogarth. 
 
 Lent by the Corporation of the City of York. 
 
 300 Strolling Actresses in a Barn 
 By Hogarth. 
 
 Lent by Rev. H. de Courcelles. 
 
 The original picture was destroyed by a fire. 
 
 301 A Quaker (mezzotint) 
 By R. Houston. 
 
 Lent by Lawson Thompson, Esq. 
 
 302 Reading the Scriptures (mezzotint) 
 After Haydon. 
 
 Lent by Lawson Thompson, Esq. 
 
 303 Gracechurch Street Meeting (water-colour) 
 Lent by Lawson Thompson, Esq. 
 
 304 Marriage a la Mode (six engravings) 
 By Hogarth, 
 
 Lent by Lord Aldenham. 
 
 305 William Hucks, M.P. 
 .< By Vanderbank. 
 
 * Lent by Lord Aldenham. 
 
 306 The Fair Quaker (mezzotint) 
 By R. Houston. 
 
 Lent by Lawson Thompson, Esq. 
 
 307 William Hucks. M.P. (died 1740) 
 By Vanderbank. 
 
 Lent by Lord Aldenham. 
 An engraving of No. 305. 
 
44 
 
 Lower Gallery 
 
 308 The Polling (engraving) 
 By Hogarth. 
 
 Lent by the Corporation of the City of York. 
 
 309 Engraving — " The March to Finchley. ,, 
 
 By Hogarth. 
 
 Lent by Rev. H. de Courcelles. 
 
 Case XL —CHIPPENDALE CABINET. 
 CONTAINING CHINA 
 
 310 Chippendale Cabinet 
 
 Lent by Hugh Spottiswoode, Esq. 
 
 The Chinese influence is very marked in this fine 
 piece of furniture. 
 
 containing 
 
 311 Collection of Bristol China 
 Lent by Alfred Trapnell, Esq. 
 
 312 More Scotchmen 
 Attributed to Galray. 
 
 Lent by Miss E. M. Symonds. 
 
 313 Drawing 
 
 By ROWLANDSON. 
 
 Lent by the Corporation c f Brighton. 
 
 314 A Country Mall 
 
 By Maria Caroline Temple. 
 Lent by Colonel Tipping. 
 
 315 Richmond Hill (1782; 
 By Bunbury. 
 
 Lent by Miss Halkett. 
 
 316 Caricature — William Pitt 
 By John Halkett. 
 
 Lent by Miss Halkett. 
 
 317 Caricature 
 
 Lent by Miss Halkett 
 
 318 Lunardi's Balloon in the German Ocean 
 
 (1785) 
 
 By David Allan 
 Lent by Miss Halkett 
 
 319 Drawing of Tuilleries Gardens 
 
 By ROWLANDSON. 
 
 Lent by Ernest Gye 3 Esq. 
 
 320 Engraving of Northcote's Portrait of Lord 
 
 Chancellor Loughborough 
 By Bartolozzi. 
 Lent by Miss Halkett. 
 
 321 Portrait of Dr. Russell (the founder of Modern 
 
 Brighton) 
 By Zoffany. 
 
 Lent by the Corporation of Brighton. 
 
Lower Gallery 
 
 45 
 
 322 Caricature, Lord North 
 By John Halkett. 
 
 Lent by Miss Halkett. 
 
 323 Caricature — " Dumouriez." 
 By John Halkett. 
 
 Lent by Miss Halkett. 
 
 324 Drawing 
 
 By ROWLANDSON. 
 
 Lent by Ernest Gye, Esq. 
 
 325 Wife and No Wife : a Trip to the Continent 
 
 (depicting the marriage of the Prince and 
 Mrs. Fitzherbert) 
 Lent by the Corporation oi Brighton. 
 
 326 Etching of Old Edinburgh 
 By David Allan. 
 
 Lent by Miss Halkett. 
 
 327 The Three Browns booked for Brighton 
 
 (local coaching skit) 
 Lent by the Corporation of Brighton. 
 
 328 George IV Driving in Hyde Park 
 Lent by Messrs. S. & A. Fuller. 
 
 329 " The Grand Tour." 
 
 By John Halkett. 
 Lent by Miss Halkett. 
 
 CENTRE OF GALLERY. 
 
 LARGE CENTRE CASE CONTAINING COSTUMES, 
 CHINA, GLASS, SAMPLERS. &c. 
 
 Centre Case A. 
 
 On the tof — 
 
 Bust of Pope, by Roubillac 
 Lent by H. B. Wheatley, Esq. 
 
 •* I breakfasted with Rogers yesterday ... in the 
 dining room there are some beautiful paintings. But 
 the three most remarkable objects in that room are, I 
 think, a cast of Pope taken after death, by Roubillac, 
 a noble model in terra-cotta by Michael Angelo . . and 
 lastly a mahogany table (by Chantrey). — Letter of 
 Macaulay to his sister Hannah, June 25, 1831 . H.B.W. 
 
 Staffordshire Figures lent by Wilson Steer, Esq. 
 
 Pottery, etc., lent by Mrs. Hutchison, Mrs. Forrest, 
 etc. 
 
 SAMPLERS. 
 Lent by Mrs. Charles Longman. 
 1. a.d. 1725. Alphabets and borders above. Panels 
 below, containing The Lord's Prayer, The Commandments, 
 
4 6 
 
 Lower Gallery 
 
 8 a.d. 1813. A series of borders, with houses, figures, 
 etc., with formal border round. Signed E. Healy. 
 
 9 a.d. 1816. A very small sampler worked in black silk 
 on fine muslin. Alphabets above, moral maxims below. 
 
 Signed, Lucy Titshell. 
 
 10. a.d. 1821. Landscape, with house windmill, etc., and 
 clouds above. Verse of hymn below. Signed, Rachel Lee, 
 aged 11. 
 
 Screen I.— DRAWINGS AND ETCHINGS OF 
 XVIIIth CENTURY— LONDON. 
 On this Screen are arranged a tribute of the 20th Century 
 to the 18th Century. 
 
 Side A. — Water-Colours, by Philip Norman, Esq., of 
 18th Century London houses, mostly now pulled down. 
 
 Side B — Drawings, and Etchings of 18th Century Lon- 
 don architecture, by Muirhead Bone, Esq. 
 The Belief; but only as much of each as would fit into the 
 space. Signed Elizabeth. 
 
 2. a.d. 1736, Alphabet, and Verse below. 
 
 " When this you see, remember me, 
 And keep me in your mind, 
 And be not like the weathercock, 
 That turn att every wind. 
 When I am dead, and laid in grave, 
 And all my bones are rotten, 
 By this may I remembered be 
 When I should be forgotten." 
 
 Signed Ann Woolfrey. 
 
 3. a.d. 1739. A verse of a hymn. 
 
 " Death cannot make our souls afraid 
 If God be with us there, etc." 
 
 Signed, Elizabeth Stephenson. 
 
 4. a.d. 1741. Verse of a hymn at the top, and various 
 devices below. Signed, 
 
 " Mary French ended this work in the tenth year of 
 her age, one thousand, seven hundred, forty one. In 
 the fourteenth year of the R. K. G. 2." 
 
 5 a.d. 1749. Alphabets in various stitches, a verse of a 
 hymn, and landscape with windmill below, 
 
 " No happiness is here compleate 
 'Tis hard to be both good and great, 
 In riches no assurance is 
 And pleasure yields uncertain bliss, 
 But wise are they who careful be 
 To gain a good eternity. 
 For tho' our days uncertain are 
 The work must be compleated here. 
 
 Signed Rebekah Bland. 
 
 6 a.d. 1753. Verseabove, Lion and Unicorn below, Parrot, 
 clouds, etc. 
 
 7 a,d. 1792. Dr. Watt's hymn " How doth the little 
 busy bee " in centre. Beehive above and bees. A landscape 
 below, with two figures. Signed Mary Brooks. 
 
Lower Gallery 
 
 47 
 
 Case XII.— PORCELAIN. 
 
 Lent by South Kensington Museum. 
 
 The old English porcelain in the Georgian Exhibition is, 
 generally speaking, of two kinds, both of which differ in 
 manufacture and in outward appearance from our modern 
 ware. The first is true* hard-paste porcelain made in the 
 Chinese fashion from two natural minerals, china stone and 
 china clay, and is pure white. This class was only made for 
 a few years, between 1768-1780, at Plymouth and Bristol, 
 and is well illustrated by Mr. Trapnell's beautiful specimens, 
 in Case 
 
 The second kind is made of an artificial glass mixed with 
 clay, and is called soft-paste porcelain : it is covered with a 
 soft glass or glaze of creamy tint. This class was made with 
 slight variations at nearly all the early factories of which the 
 most noted were Chelsea, Bow, Derby and Worcester. 
 
 R.L.H. 
 
 Centre Case B. 
 WOMEN'S COSTUMES, 
 Lent by Mrs. Peake and Lord Stanley of Alderley. 
 
 The Georgian woman seems to have had a charming in- 
 stinct in the material if not always in the form of her dress. 
 Fashion seems inevitably to dictate extravagance of form, 
 this being an easy road to that personal noticeableness that 
 so many secretly crave for. It is impossible to defend the 
 broad, flat hoops in vogue in the middle of the 18th 
 century. It can only be said that, managed with skill, 
 even these did not militate against a certain grace. 
 In material, however, the Georgian woman showed 
 a quick taste, and a commonsense, founded on real 
 knowledge of good materials. We learn from Richardson 
 in " Clarissa Harlowe," how a young lady was set up by 
 her father for the battle of life with two good frocks. 
 These being meant to last her life time could be of 
 thoroughly sound rich material. The science of cutting, 
 as one would expect in the handling of expensive materials 
 by thrifty people, was at a very high degree of perfection. 
 To protect these rich stuffs, all kinds of pretty, delicate 
 aprons were worn, such as the yellow silk one embroidered 
 in Chinese fashion, an exact counterpart of which may be 
 seen in one of Hogarth's pictures in the Gallery. 
 
 In George Fs reign even the gentry wore Indian chintzes 
 and Dutch calicoes. The wool and silk weavers rioted at 
 this neglect of their ware in 1719, and the custom was 
 attacked in the persons of the wearers and by legislation. 
 The chintz dresses were turned into quilts, and dimities, 
 linens, and fine hollands embroidered by the wearer's hands 
 succeeded. 
 
 Ostentation in dress was common. One lady appeared 
 at a Royal wedding in lutestring at 13s. a yard, "brocaded 
 with great ramping flowers in shades of purples, reds and 
 greens." Queen Caroline borrowed 2,400,000 of jewels 
 for her coronation, and wore them all on her person at that 
 event. 
 
4 8 
 
 Lower Gallery 
 
 The large size of the hoop allowed large patterns. A 
 duchess wore a petticoat with " brown rocks covered with 
 all sorts of weeds, and every breadth had an old stump ef 
 a tree that ran up almost to the top of the petticoat, broken 
 and ragged, and worked with brown chenille, round 
 which twined nasturtians (sic), ivy, honeysuckle, periwinkle, 
 convolvuluses 39 — evidently inspired hyf a Chinese robe. 
 Another dress consisted of " festoons of nothing at all." 
 
 The rich silks, with sprigged embroideries worked by the 
 wearers themselves, form as charming a dress material as 
 can be imagined. These embroideries were inspired by 
 the Chinese work which had such a vogue and exercised such 
 excellent influence on English taste in the. 18th century. 
 
 The splendid durability of these beautiful stuffs is proved 
 by the perfect preservation of these dresses, which are as 
 good and fresh to-day as when purchased and fitted in the 
 18th century. The linings are of linen. 
 
 Case XIII. —POTTERY. 
 Lent by South Kensington Museum. 
 Screens III. & IV.— ARCHITECTURAL PHOTO- 
 GRAPHS. 
 
 Lent by Messrs. Batsford, The Proprietors of The 
 Architectural Review, The Proprietors of Country 
 Life, and Mowbray Green, Esq. 
 
 The great age of English Renaissance Architecture comes 
 during the 17th century and closes with Wren's death, but 
 for a permeating taste and scholarship in architecture no 
 age can surpass the 18th century. 
 
 Probably never before or since has an interest in building 
 and a knowledge of its laws, both of beauty and construc- 
 tion been so widely spread in a nation as among the English 
 of the 18th century. Under Wren a school of accomplished 
 artizans had grown up to whom we ov/e probably the 
 excellence of much of the splendid work of the 18th century. 
 
 Architecture became a popular hobby, and possibly this 
 led to its fall, for the dilettante amateur, who, like Lord 
 Burlington, had a pretty taste in proportion, fancied 
 he could build with just a little practical assistance from 
 a professional architect, whereas building must be the out- 
 come of great structural necessities nobly expressed. Pos- 
 sibly the degeneration was due to the inherent artificiality 
 of Renaissance architecture in a northern, essentially Gothic 
 countrv. 
 
 The genius of Wren had used Renaissance terms for his 
 purposes, but once his dominant personality was gone, 
 the style mastered the professor and buildings became 
 scholarly and correct, but artificial. Dance, in Newgate, 
 revealed an absolute talent of the highest order, but on 
 the whole the spirit of the 18th century architecture is that 
 of tasteful correctness in artificiality. It is redeemed by 
 its splendid workmanship. We cannot, however, be sur- 
 prised that English Renaissance architecture degenerated 
 slowly as it did through Adam, Burton and Nash, to die in 
 King's Cross Station and the Wesleyan Chapels of Hackney 
 and Homerton. 
 
Lower Gallery 
 
 49 
 
 Sir Christopher Wren, the architect of most of our City 
 churches, died in 1723, and left an important school behind 
 him, mostly composed of men who had worked either for or 
 in conjunction with him. Nicholas Hawksmoor, the eldest of 
 these, had been his assistant and was the architect of several 
 churches in the East end of London notably St. Anne's, 
 Limehouse, St. , George's-in-the-East, and Christchurch, 
 Spitalfields (1). He also built St. George, Bioomsbury (2), 
 and helped Wren with Queen's College, Oxford (3). 
 
 Sir John Vanbrugh, architect, poet and dramatist, designed 
 Blenheim Palace and Castle Howard. His buildings are 
 nearly all heavy and large in scale. Seaton Delaval Hall, of 
 which two photos are shown (4), is one of his best efforts, but 
 Duncombe Park (5) is a good example of his heavier manner. 
 Pope, in a punning epitaph, said of him : — 
 
 " Lie heavy on him Earth, for he 
 Laid many a heavy weight on thee." 
 
 James Gibbs, architect of St. Martin's-in-the-fields, St. 
 Mary-le-Strand and the Radcliffe Library at Oxford. The 
 Radcliffe is one of the best Rennaissance buildings in 
 England. Gibbs, although his work was correct and in 
 many ways academic, treated his buildings with great ability 
 and originality. 
 
 John James v/as the architect of St. George's, Hanover 
 Square. The two houses in Cavendish Square (7) which are 
 supposed to be the wings of an incompleted mansion, are 
 excellent examples of his work. 
 
 William Kent, architect of the Horse Guards, the Home 
 Office and several large country houses. He was a great 
 friend and adviser in art matters of the Earl of Burlington, 
 to whom is credited the design of the villa at Chiswick. 
 Kent, who began life as a carpenter, went to study in Italy 
 at Lord Burlington's expense and afterwards became quite 
 a fashionable architect 
 
 Giacomo Leoni, an Italian who built Moor Park, near 
 Rickmansworth, also made a design for a huge house at 
 Carshalton, engravings of which are exhibited, and show the 
 big scale on which things were done in the 18th century 
 The plan shows the formal setting out of the grounds with 
 straight paths and geometrically-shaped plots. 
 
 Colin Campbell built Houghton for Sir Robert Walpole, 
 * Sir William Chambers v/as the last of the great architects 
 who carried on the tradition of the Wren school. His best 
 and most important work is Somerset House, the river front 
 of which is as line as anything done in this period, either in 
 England or abroad, though it has been somewhat spoilt by 
 the Thames Embankment. 
 
 John Wood, of Bath, built Prior Park, near Bath, and 
 also laid out and built .many streets of fine buildings in that 
 city when it was in its heyday as a fashionable watering 
 place. 
 
 George Dance built the old Newgate Prison that has just 
 been pulled down. This building, though it looked grim 
 and prison-like, was, for this very reason a fine piece of 
 architecture, as it forcibly expressed the purpose for which 
 
50 
 
 Lower Gallery 
 
 it was built. Dance also built All Hallows, London Wall, 
 a very good church, and also St. Luke's Hospital in Old 
 Street. 
 
 Robert and James Adam. These were two Scottish broth- 
 ers, who went out to Dalmatia and studied the Roman archi- 
 tecture of Diocletian's Palace there. Some of the delicate 
 and fanciful decoration which they introduced into their 
 buildings was to some extent the result of their foreign study. 
 Some of the best examples of their work are to be found in 
 London — the Adelphi was built by them as well as Kedles- 
 ton, a photo of which is shown. 
 
 Decimus Burton did most of his work in the early years of 
 the Nineteenth Century and is therefore one of the last of the 
 Georgian architects. The screen at Hyde Park Corner and 
 other buildings in the Park are his best known work in 
 London. 
 
 Apart from the works of well-known men there is a great 
 deal of interest in the smaller architectural work of the 
 Period. The photographs of the doorways in Bath, and the 
 views of old London streets give some idea of the dignity and 
 quiet charm of these buildings. Michael Bunney. 
 
 Case XIV.— WEDGWOOD WARE. 
 Lent by South Kensington Museum. 
 Josiah Wedgwood (1730-1795), "the Prince of Potters," 
 was the greatest and most successful English potter. He 
 began by using salt-glaze Whieldon and cream-wares, but he 
 is most celebrated for his many inventions and improvments, 
 of which jasper-ware and black "basalt" were most 
 remarkable. His jasper ware, perfected between 1770-80, is 
 well seen in the vases, plaques, and medallions in the case 
 lent by the Victoria and Albert Museum ; it is usually decor- 
 ated in white reliefs on a ground of blue, green or black, and 
 the copies of the famous Portland vase, exhibited in the Brit- 
 ish Museum, are amongst the best works in this material. 
 The black "basalt," which is well illustrated in this case, 
 was used by a number of potters who followed Wedgwood's 
 example, and his jasper ware was closely imitated, as may be 
 seen in the vases made by Adams and lent by one of his 
 descendants. The firm of Wedgwood & Sons is still at work 
 at Etruria in Staffordshire, and the jasper ware with the old 
 designs is still made. Josiah Wedgwood started a new era 
 in English pottery ; his influence was felt all over the 
 continent and his wares were shipped to all parts of the 
 world. R.L.H. 
 
 Centre Case C— XVIIIth CENTURY GLASS. 
 (Two Tof Shelves.) 
 Lent by R. A. Leckie, Esq. 
 
 1. Old Cordial Glass. 
 
 2. Glass showing Sunderland Bridge, 1796. 
 
 3. Air Spiral Wine Glass. 
 
 4. Coaching Glass (made to be set down, when drained, 
 
 on a tray held up to the driver). 
 
 5. Engraved Mug with Coin in foot. 
 
 6. White Spiral Wine Glass. 
 
Lower Gallery 
 
 5i 
 
 7. Early 18th Century Wine Glass. 
 
 8. Drinking Horn (engraved). 
 
 g Wine Glass, Double Air Spiral. 
 
 10. Drawn Wine Glass. 
 
 11. Baluster Stem Wine Glass. 
 
 12. Wine Glass, showing " Bellerophon." 
 
 13. Coloured Twist Wine Glass. 
 
 14. Air Spiral Wine Glass. 
 
 15. Ale Glass. 
 
 16. Cut Stem Wine Glass. 
 
 17. Air Spiral Wine Glass. 
 
 18. Baluster Stem Wine Glass 
 
 19. Early Engraved Wine Glass. 
 
 20. Rose Engraved Wine Glass. 
 
 21. White Spiral Wine Glass. 
 
 22. Rose Glass — Jacobite Emblem. 
 
 23. Moulded -Bowl and White Spiral Wine Glass. 
 
 24. Engraved and Cut Stem Wine Glass. 
 
 25. Double. Egg Cut Stem Wine Glass. 
 
 1769. Handkerchief divided diagonally into 4 divi- 
 sions, in which are given the various fares between 
 different parts of London. 
 
 1. by Hackney coach 
 
 2. by Hackney chair 
 
 3. by Boats on the Thames 
 
 and in the 4th division the distances to different cities 
 from London. T. Barwick & Co. March 1769. 
 Lent by Mrs. Charles Longman. 
 
 {Bottom Shelf) 
 
 Pair of 18th century Adams Jasper Oviform Vases 
 and Covers, on foot, with designs representing the 
 Seasons Height 9^ in., mark impressed 44 ADAMS." 
 Period 1780. 
 
 Pair of 18th century solid Pale Bide Adams Jasper 
 Vases and Covers, with Acanthus leafage from base 
 in white relief, Romanesque border, &c. Height 
 9£ in., mark impressed M ADAMS." Period 1780. 
 Lent by P. Adams, Esq. 
 
 Worcester China lent by Lieut. -Col. Croft Lyons. 
 
 William Adams, Tunstall (1745-1805) came of an old Staf- 
 fordshire family of landowners and master-potters. From a 
 will dated i6i7the name of another William Adams is found 
 to have been a Staffordshire Potter, and there have been 
 many since of the same name eminent as potters. The firm 
 of William Adams & Co. are still making pottery of nearly 
 every description at Tunstall. in Staffordshire, and this in- 
 cludes a reproduction of their well-known blue and other 
 coloured Jasper (which their eminent predecessor, William 
 Adams, made at the same manufactory some 120 years ago). 
 Four specimens of the 1780 period are displayed in centre 
 case C, bottom shelf. Specimens of the original Adams 
 Jasper are to be found in the British Museum, South Ken- 
 sington, and many Museums in the provinces. The Adams 
 Jasper possessed considerable originality both in colour and 
 
52 
 
 Lower Gallery 
 
 design, and if occasionally a specimen is found to be similar 
 to the work of other makers, it is because the antique 
 originals were used as guides, and were often resorted to by 
 the Staffordshire potters. F.F. 
 
 Centre Case D. 
 
 Reproductions of the illustrations to cc Social Caricature 
 in the 18th Century," by George Paston ; lent by Messrs. 
 Methuen & Co., the publishers. 
 
 In 1742 the grounds of Viscount Ranelagh's Villa, at 
 Chelsea, were laid out and opened as a public resort. 
 There was a large hall for eating, and gardens. Horace 
 Walpole visited it, but did not " find the joy of it." The 
 Vauxhall Gardens, decorated by Hogarth, had been re- 
 opened by Tyre, in 1736, and, as they were accessible by 
 water, they were very popular. 
 
 The English people seem at this time to have had the 
 sensible habit of the Germans of to-day, and frequented, in 
 family parties, such public places, where either out of doors 
 or in a large hall, food, music and society could be enjoyed. 
 
 Sadler's Wells, Islington, Cupan's Gardens, opposite 
 Somerset House, provided similar facilities for humbler 
 folk. Marylebone Gardens, were frequented for open-air 
 bathing and breakfast. 
 
 MEN'S COSTUMES. 
 Lent by Mrs. Peake, Lord Stanley of Alderley, 
 and H. Vade Walpole, Esq. 
 
 The long wigs of Queen Anne's time, with curls reaching 
 nearly to the waist, in imitation of Louis XIV's style of 
 dressing the hair, had gone out. A gentleman who wished 
 to affect fashion wore a cc toupee " of curls over his fore- 
 head, but the ends of the wig were tied in a pigtail or 
 put in a silk bag. 
 
 For daily wear a plain coat, waistcoat and breeches were 
 worn, with stockings of the same colour. For dress occa- 
 sions gentlemen wore coats and waistcoats like those in this 
 case, some of them embroidered in Paris at a cost of ^140, 
 others worked in England on the tambour frame, as we see 
 the lady working in Angelica Kauffman's picture (No. 63 
 in the Upper Gallery). With these went partridge silk 
 stockings, ruffles, lace frills, gold buckles, powdered wigs, 
 muslin cravats weighted with beads to correct their stiffness. 
 
 Linen, woven in the househoM for less important pur- 
 poses, was purchased from Holland for shirts, at 14/- an 
 ell (45 inches). 
 
 Later on the use of flour for powdering wigs went out 
 owing to the scarcity of bread during the Napoleonic wars. 
 
 Case XV.- BOW AND CHELSEA CHINA. 
 Lent by Wilson Steer, Esq. & L. A. Harrison, Esq. 
 
 The two London factories, Chelsea and Bow, are the 
 oldest, both beginning about 1745. Their earliest wares 
 were white undecorated porcelain, like the cups with raised 
 sprigs, the coffee-pot and the figures lent by Mr. Wilson 
 Steer. 
 
Lower Gallery 
 
 53 
 
 Coloured decoration was gradually introduced, and the 
 patterns were usually copied from old Chinese and Japanese 
 designs, such as the quail or partridge pattern on the eight- 
 sided dish in the same case. Next came the flower designs 
 borrowed from Dresden China, and lastly the rich-coloured 
 backgrounds with gilt borders and painted subjects of 
 figures, flowers, birds, &c, in the style of old Sevres. Two 
 plates, lent by the Victoria and Albert Museum, show the 
 beautiful blue and the rare claret colour for which Chelsea 
 was celebrated. The prettily-modelled and bright coloured 
 figures were made in great numbers at Chelsea, Bow and 
 Derby. The London factories ceased to exist about 1780. 
 
 R.L.H. 
 
 CASE XVI.— WORCESTER (TRANSFER), LONGTON 
 HALL AND LOWESTOFT CHINA. 
 Lent by Merton A. Thorns, Esq. 
 
 The Worcester works began in 1751, and continue after 
 many changes to this day, and the Derby factory has almost 
 as long a record. 
 
 Worcester porcelain is very neatly made and carefully 
 decorated. Most of the transfer-printed pieces, lent by 
 Mr. Thorns, were made there about 1756-66. Printing on 
 china is an English invention ; it was used first in Liverpool 
 in London, and in Worcester, but afterwards came into 
 general use in the Potteries, where it forms an important 
 branch of decoration at the present moment. Portraits of 
 the kings, queens and heroes of the time were popular subjects 
 of china decoration at Worcester, as will be seen on Mr. 
 Thoms's Mugs. R.L.H. 
 
 SCREEN V. 
 Side A— GLASS PRINTS. 
 Lent by Edward Hudson, Esq. 
 
 Side B— SAMPLERS. 
 Lent by Mrs. Charles Longman. 
 
 11 a.d. 1726. Various designs in Holliepoint, as used on 
 babies' caps, &c. — Signed, P.W. 
 
 12 a.d. 1730. Various verses and moral maxims sur- 
 rounded by a border of flowers. 
 
 M Keep a strict guard over thy tongue, thine ear and 
 thine eye, lest they betray thee to things vain and 
 unlawful. Be sparing of thy words and talk not 
 impertinently or in passion. Keep the parts of thy 
 body in a just decorum and avoid immoderate 
 laughter and levity of behaviour." — Signed Sarah 
 Grimes. 
 
 13 a.d. 1767. Adam and Eve in the Garden. Texts and 
 border round. — Signed, Ann Smith. 
 
 14 a.d. 1779, With Agur's prayer in centre. Figures on 
 either side, with clouds above, &c. — Signed, Ann Chapman. 
 
54 
 
 Lower Gallery 
 
 15 a.d. 1782. Verse with basket of flowers below. 
 
 11 Youth is the time for 
 progress in all Arts ; 
 Then use your Youth 
 to gain most noble Parts. 
 
 Signed, Eleanor Debenne. 
 
 16 a.d. 1797. Parrot in centre worked in darning stitches 
 and samples of other darns round. — Signed, Eliza Wilkin, 
 Sudbury. 
 
 17 Early 19th century map of England, worked on net in 
 various stitches. 
 
 18 Figure of Lady with dog, Worked on white silk in 
 fine black silk. 
 
 19 Three-quarter figure of lady, worked on satin in various 
 stitches. 
 
 20 a.d. 1801. Inscribed with Gen. iii., verses 1 to 18. 
 Below, Adam and Eve with Tree of Knouledge, and close 
 background worked in satin stitch. Border of flowers. 
 Signed " Mary Padfield." 
 
 21. Ship (woolwork). Lent by Mrs. Salmon. 
 
 22. Sampler 1824, by Harriott Mares. Lent by W. 
 Barclay Squire, Esq. 
 
 23. Sampler 1826. Lent by W. Barclay Squire, Esq. 
 
 The Sampler, in its original form, was simply a record 
 of designs or stitches. The earliest specimens have, as a 
 rule, various patterns worked in strips across them, which 
 patterns were copies of borders for garments or hangings. 
 By the middle of the 17th century alphabets began to be 
 added to the sampler ; probably by this time household 
 goods had increased, marking became more general, and 
 different forms of lettering were practised and recorded on 
 the sampler. It soon became the custom to sign the worker's 
 name and the date on the sampler, and to this again were 
 added moral axioms and texts or verses. 
 
 This stage was reached by the beginning of the Georgian 
 period. By then, too, the earlier style of rows of patterns 
 had given place to something of more pictorial effect. 
 Borders were now usually worked round the sampler as a 
 frame, and by the time George II came to the throne 
 designs began to change into regular pictures, which gradu- 
 ally became more elaborate as time went on. Perhaps the 
 last half of the reign of George III was the best period 
 for samplers in this style, a good specimen of which is the 
 view of the Garden of Eden with Adam and Eve, to be 
 seen in No. 13. 
 
 Needlework pictures were also popular during these years. 
 The verv fine black silk then in use, was a good medium for 
 copying engravings. Some of the pictures^then worked, 
 of which Nos. 10 and 19 are good examples, are 
 faithful reproductions of weU-known prints; but it may 
 well be doubted whether these pictures are worth the time 
 spent on them, either from the artistic or the. educational 
 point of view. On the other hand, the maps that were 
 also so often copied during this period, must at least have 
 had the merit of fixing some geography in the worker's 
 mind. 
 
Lower Gallery 
 
 ,55 
 
 The early samplers fulfilled their original purpose b> 
 showing a good variety of stitches, as besides the usual 
 back-stitch then so much used in embroidery, and the cross- 
 stitch, there were often specimens of stump work, such as 
 is seen in the needlework pictures of the Stuart period, alsc 
 samples of drawn work and other varieties of stitches. 
 These had mostly disappeared by the Georgian era, though 
 one of the earlier samplers exhibited (No. n) gives 
 designs in the Holliepoint, which was especially used foi 
 babies' caps both then and for many succeeding years. 
 
 As a rule, however, the Georgian samplers were worked 
 in cross-stitch, though Bird's-eye stitch was anothei 
 favourite for some of the alphabets. Later in the i8tb 
 century a fresh departure was made when samplers, worked 
 in darning stitches, were introduced. The Map (No. 18) 
 worked on net in Carrickmacross stitches is another de- 
 parture from the more usual forms. 
 
 By the end of the Georgian period all the best traditions 
 as regards both stitches and designs were fast disappearing. 
 The beautiful fine linens and muslins on which the samplers 
 had formerly been worked, were being replaced by canvas ; 
 the fine silks and threads for the stitching were replaced 
 by worsted or coarse cotton, and the elaborate designs had 
 dwindled down to a few alphabets, with perhaps an ugly 
 house, or a few formal trees and birds for ornaments. 
 
 It is only fair to say, however, that the worst period in 
 samplers was not reached until well on Queen Victoria's 
 reign. Mrs. Charles Longman. 
 
 SMALL ROOM. 
 
 DRAWINGS. 
 
 Schools of Painting in which the sculpturesque or linear 
 design is everything — such as the Florentine, whose works 
 might be called "painted drawings" when compared with 
 the Venetians — necessarily leave behind them an immense 
 mass of designs, because practically all the problem of their 
 pictures could be worked out in drawings : with schools like 
 our English of the eighteenth century on the other hand, 
 colour was the great desideratum, and the wrestling with the 
 pictorial problem took place on the actual canvas itself. 
 Hence if our English school produced no great draughtsmen 
 like Leonardo or Ingres, yet a sound level of drawing 
 appears in the works of Morland, Reynolds and Wilson — 
 these men were all capable of the beautiful simplifications 
 by which good drawings, like all good art, conceals itself. 
 The exception to it all was the exceptional and adorable 
 Gainsborough, who produced an endless number of drawings 
 of beautiful quality — full of swiftness, unexpected charms, 
 and all the gifts of that unexplained grace of hand we call 
 " style," of which he was indeed the supremest English 
 master. Hogarth drew well and vigorously when he liked — 
 his preliminary sketches are always good — but the habits of 
 the engraver dulled his hand when the design had to be 
 carried farther, though in judging him and his con- 
 temporaries in this respect we must remember that they 
 
56 
 
 Small Room 
 
 set no store on their drawings, which were always with 
 them a means to an end, and never things to be prized 
 for their own sake. Rowlandson is usually put forward 
 as the best draughtsman of the school, but to many 
 eyes now-a-days his vices outweigh his merits. Yet this 
 is surely unjust to a man who can draw with the spirit 
 and action displayed in many of the drawings here. His 
 landscape backgrounds are always conventional and betray 
 no trace of a personal observation of nature, yet many of our 
 present-day draughtsmen would be proud to draw T with the 
 suppleness and sense of design displayed in a drawing like 
 the 44 Horses " (n). But it does not behove an artist always 
 to be grinning at life — that which made Rowlandson an 
 entertaining companion in his own day is apt to make him a 
 bore in ours, yet while much of his work has never left the 
 18th century for the ageless kingdom of art, here and there 
 it claimed an entrance and has taken its place. 
 
 M.B. 
 
 1 Rake's Progress (sketch for) 
 By Hogarth. 
 
 Lent by C. Newton Robinson, Esq. 
 
 2 Drawing for Jack Sheppard 
 
 By Valentine Green, after Thorn hill. 
 Lent by Messrs. Carfax & Cc. 
 
 3 Paul before Felix 
 By Hogarth. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 4 Interior 
 
 By Gainsborough. 
 
 Lent by J. H. Fitzhenry, Esq. 
 
 5 From the Series " Four Stages of Cruelty " 
 By Hogarth. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 6 Dr. James paying a bill 
 By Sir N. Holland. 
 
 Lent by C. Newton Robinson, Esq. 
 
 7 Hudibras — The Committee 
 By Hogarth. 
 
 Lent by C. Newton Robinson, Esq. 
 
 This drawing and No. 27 are part of a set drawn 
 by Hogarth to illustrate Butler's " Hudibras, 55 and 
 were the painter's first popular productions. The 
 other drawings of the set are at Windsor. 
 
 8 Study for the Defence of Gibraltar 
 By J. S. Copley, R.A. 
 
 Lent by the Board of Education. 
 
 9 Three Ladies 
 By F. Hayman. 
 
 Lent by C. Newton Robinson, Esq. 
 
 Francis Hayman (1708-1776) was a painter of his- 
 torical subjects, and executed book illustrations. He 
 
Small Room 
 
 57 
 
 painted some of the celebrated decorations for 
 Vauxhall Gardens, and the 11 Finding of Moses," at 
 the Foundling Hospital. He was an original member 
 at the foundation of the Academy. He is chiefly 
 interesting to us as the master of Gainsborough. 
 
 This charming sketch shows the relationship of 
 the painter to his greater pupil. 
 
 ic From the Series :i Four Stages of Cruelty " 
 By Hogarth. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 1 1 Horses 
 
 By ROWLANDSON. 
 
 Lent by Ernest Gye, Esq. 
 
 12 Father and Five Sons 
 By Laroon. 
 
 Lent by E. Marsh, Esq. 
 
 13 Head of old man 
 By Hogarth. 
 
 Lent by E. Marsh, Esq. 
 
 14 Taking Tea 
 By Laruon. 
 
 Lent by E. Marsh, Esq. 
 
 1 5 Cephalus and Procris (large size — decoration 
 
 of staircase) 
 By Sir James Thornhill. 
 Lent by J. P. Heseltine, Esq. 
 
 This is a design for a ceiling. The drawing is very 
 spirited and makes us regret that so little of this 
 spirit found its way into his larger works.. 
 
 Sir James Thornhill came of a old Derbyshire 
 family. He succeeded Wren as member for the 
 borough of Melcombe Regis, and was knighted in 1715. 
 Beginning as an amateur he was defective in training, 
 but his gift for composition was considerable as may 
 be seen in the designs for decorations in the small 
 Gallery. His colouring is heavy and unpleasant. 
 His chief works are the decoration of the Hall at 
 Greenwich, and of the dome of St. Paul's, the com- 
 mission for the latter being obtained largely through 
 his social position. His contemporaries were pleased 
 to see, as Young put it, 41 How Raffaele's pencil lives 
 in Thornhill's hand." We chiefly remember his name 
 as the nominal master and actual father-in-law of 
 Hogarth. 
 
 16 Design for Staircase at Stoke Court, Hereford 
 
 By Sir James Thornhill. 
 Lent by J. P. Heseltine, Esq. 
 
 17 Girl and Child 
 By West. 
 
 Lent by T. P. Heseltine, Esq. 
 
58 
 
 Small Room 
 
 1 8 Woman and Child (Oil) 
 By Hogarth. 
 
 Lent by J. P. Heseltine, Esq. 
 
 Of the Hogarths in the room this is the best, though 
 not really a drawing but a tiny monochrome painting 
 in oils. No touch could be more impressive or less 
 mannered than this. The different kind of gaze 
 habitual to the two faces is most subtly denoted. 
 
 19 Heads — Mrs. Denman and the Tulk family 
 By Flaxman. 
 
 Lent by J. P. Heseltine, Esq. 
 
 20 An Interior 
 By F. Hayman. 
 
 Lent by T. P. Heseltine, Esq. 
 
 21 Riverside Tavern 
 By Rowlandson. 
 
 Lent by E. Marsh, Esq. 
 
 22 Domestic Scene 
 By Hogarth. 
 
 Lent by E. Marsh, Esq. 
 
 A most uncommon drawing for this artist ; the 
 uncompromising life of his own times, yet expressed 
 with a classic spaciousness. 
 
 23 Ladies Riding 
 
 By LOUTHERBOURG. 
 
 Lent by J. P. Heseltine, Esq. 
 
 24 Gin Street 
 By Hogarth. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 25 Caricature 
 
 By Rowlandson. 
 
 Lent by Ernest Gye, Esq. 
 
 26 Lady of Fashion 
 By Rowlandson. 
 
 Lent by Ernest Gye, Esq. 
 
 27 Trulla protecting Hudibras 
 By Hogarth. 
 
 Lent by C. Newton Robinson, Esq. 
 
 28 Study for Relief of Gibraltar 
 By Copley. 
 
 Lent by the Victoria and Albert Museum. 
 
 29 Landscape 
 
 By Rowlandson. 
 
 Lent by Ernest Gye,. Esq. 
 
 30 Beer Street 
 By Hogarth. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 31 Gipsy Encampment 
 By Wheatley. 
 
 Lent by J. P Heseltine, Esq. 
 
Small Room 
 
 59 
 
 32 Hunting Scene 
 
 By ROWLANDSON. 
 
 Lent by E. Marsh, Esq. 
 
 33 A Park Keeper 
 By Laroon. 
 
 Lent by Messrs. Carfax & Co. 
 
 The elder Marcellus Laroon (1653-1702) was born 
 at the Hague, and came to England as a youth. 
 Kneller employed him on draperies, and Laroon was 
 clever in imitating the styles of various masters. He 
 etched and engraved, and his illustrations for 
 Tempest's " Cryer of the City of London, 1688, 55 are 
 very spirited. His son, Marcellus Laroon (1679-1 772) 
 was born in London. He visited Venice, became an 
 actor, and then a soldier. He had great skill as a 
 draughtsman 
 
 34 Water-colour — Copenhagen House, 
 
 Islington 
 By Wilson. 
 
 Lent by E. Marsh, Esq. 
 
 35 Mrs. Downman (Sister-in-law of the Artist) 
 By J. Downman. 
 
 Lent by J. P. Heseltine, Esq. 
 
 A splendid drawing— clear and pellucid as the 
 character it represents. 
 
 36 The Disciples at the Sepulchre 
 By Westall. 
 
 V Lent by H. B. Wheatley, Esq. 
 
 37 Portrait of Romney 
 By Romney. 
 
 Lent by Fritz Reiss, Esq. 
 
 38 Lake and Cattle 
 By Wilson. 
 
 / Lent by J. P. Heseltine, Esq. 
 
 An impressive drawing— instinct T Aith a wonderful 
 solemnity of mood. 
 
 39 Scene outside an Inn 
 Attributed to Rowlandson. 
 Lent by the Board of Education. 
 
 40 Landscape 
 
 By Taverner. 
 
 Lent by E. Marsh, Esq. 
 
 41 Two Children 
 By H. Edridge. 
 
 Lent by J. P. Heseltine, Esq. 
 
 42 Sketch of the Artist himself, drawing from a 
 
 landscape by the aid of a black mirror. 
 By Gainsborough. 
 Lent by C. Newton Robinson, Esq. 
 
6o 
 
 Small Room 
 
 43 The Artist 
 
 By Gainsborough. 
 
 Lent by J. P. Heseltine, Esq. 
 
 An interesting drawing. The figure, it will be seen, 
 has been cut from another drawing and inserted ; the 
 added landscape portion is of no importance It is 
 the shy, angular grace of the figure which captivates. 
 
 44 Mountain and Landscape 
 By T. Girtin. 
 
 Lent by the Board of Education. 
 
 45 Mountain Scene 
 By A. Cozens. 
 
 Lent by E. Marsh, Esq. 
 
 46 Landscape — Cattle and Sheep 
 By Gainsborough. 
 
 Lent by J. P. Heseltine, Esq. 
 
 47 Monte Cavo, with Lake Albano 
 By J. R. Cozens. 
 
 Lent by G. W, H. Girtin, Esq. 
 
 48 Boy 
 
 By Gainsborough. 
 
 Lent by J. P. Heseltine, Esq. 
 
 49 Two Ladies, walking 
 By Gainsborough. 
 
 Lent by J. P. Heseltine, Esq. 
 
 Two young girls out for a walk on a windy day, 
 revelling in the opportunity for a "real good talk." 
 Beyond the exquisite grace of the drawing, it is 
 extraordinary what Gainsborough expresses in a few 
 simple lines. We seem to see the character of the 
 two girls expressed in the curves of their graceful 
 backs as they bend their necks to keep their hats on. 
 It is Clarissa Harlow, before her tragedy, somewhat 
 independent-minded for her age, out for a walk with 
 Miss Howe. Her back seems to say, "Well, 
 say what they like, this is my view of the matter, and 
 I think I am a fairly clear-sighted young woman 33 ; 
 and in the back view of the other girl we see all the 
 qualities of the perfect c confidante, 5 sympathetic, 
 though herself less bold in intellect. No one has 
 known better than Gainsborough how to mould the 
 modish artificiality of fashion to an increased effect 
 of grace. 
 
 50 Boy 
 
 By Gainsborough. 
 
 Lent by J. P. Heseltine, Esq. 
 
 51 Portrait of a Lady 
 By B. Cosway. 
 
 Lent by A. Kay, Esq., F.S.A. 
 
 52 Landscape 
 
 By Gainsborough. 
 Lent by Fritz Reiss, Esq. 
 
Small Room 
 
 Si 
 
 53 Portrait of a Lady 
 By Hoppner. 
 
 Lent by A. Kay, Esq., F.S.A. 
 
 54 Mountain Scene 
 By A. Cozens. 
 
 Lent by E. Marsh, Esq. 
 
 55 Landscape — Distant view 
 By Gainsborough. 
 
 Lent by J. P. Heseltine, Esq. 
 
 56 Portrait of Solomon Delane 
 By George Dance, R.A. 
 
 Lent by the City of Nottingham Art Museum. 
 
 57 Girl (full length) 
 By Gainsborough. 
 
 Lent by J. P. Heseltine, Esq. 
 
 The finest spirit of the Georgian age emanates from 
 the exquisite grace of such a drawing as this, which is 
 Gainsborough at his best. It cannot be maintained 
 that sensitiveness was the key-r,ote of the time as 
 whole, but had its Gainsborough, and no age will ever 
 possess a mere sensitive soul than his. 
 
 58 Italian Landscape 
 By J. R. Cozens. 
 
 Lent by G. W. H. Girtin, Esq 
 
 59 Landscape 
 
 By Robert Adams 
 Lent by E. Marsh, Esq. 
 
 60 A Soldier 
 
 By MORLAND. 
 
 Lent by J. P. Heseltine, Esq. 
 
 61 The Disciples at the Sepulchre 
 By Westall. 
 
 \f Lent by H. B. Wheatley, Esq. 
 
 62 Portrait 
 
 By Downman. 
 
 Lent by Arthur Kay, Esq. 
 
 63 Seascape (Drawing) 
 
 By Morland. 
 
 Lent by J. P. Heseltine, Esq. 
 
 64 The City and Bay of Naples 
 By J. R. Cozens. 
 
 Lent by the Victoria and Albert Museum, South 
 Kensington. 
 
 65 Lady and Old Woman 
 By Fuseli. 
 
 Lent by Randall Davies, Esq., F.S.A. 
 
62 Small Room 
 
 66 Illustration for Homer 
 By H. Fuseli, R.A. 
 
 Lent by W. Barclay Squire, Esq. 
 
 Henrich Fuseli (Fussely), (1741-1825) was a breezy, 
 original, imaginative artist. Haydon's biography 
 shows him to us as delightfully free from preten- 
 tiousness in an artificial period. His artistic train- 
 ing was defective, and his imaginative power there- 
 fore largely wasted. 
 
 67 The Love Dream 
 By West. 
 
 Lent by J. P. Heseltine, Esq. 
 
 68 The Crucifixion 
 By John Martin. 
 
 Lent by the Corporation of Nottingham. 
 
 69 Hertha and Heva bathing 
 By W. Blake 
 
 Lent by E. Marsh, Esq. 
 
 70 Coast Scene 
 By J. R. Cozens. 
 Lent by T. Girtin, Esq. 
 
 71 Distant View of the City of Ripon 
 By P. S. Munn. 
 
 Lent by the Victoria and Albert Museum. 
 
 72 Woman's Head (red chalk) 
 By Bartolozzi. 
 
 Lent by Randall Davies, Esq., F.S.A. 
 
 73 Study — " Mrs. Fitzherbert " 
 By Hoppner. 
 
 Lent by A. Kay, Esq., F.S.A. 
 
 74 Portrait of Lady Lambert 
 By J. Downman. 
 
 Lent by Laidlaw Furves, Esq. 
 
 75 Pencil Sketch for " Serena " 
 By G. Romney. 
 
 Lent by Randall Davies, Esq., F.S.A. 
 
 76 Landscape with a wooden bridge 
 By T. Girtin. 
 
 Lent by G. W. H. Girtin, Esq. 
 
 77 Portrait of the Artist 
 By Richardson. 
 
 Lent by C. Newton Robinson, Esq. 
 
 78 Landscape 
 
 By J. C. Ibbetson. 
 
 Lent by W. Barclay Squire, Esq. 
 
 79 The Rape of the Lock, Canto III. 
 By Stothard. 
 
 Lent by J. P. Heseltine, Esq. 
 
Small Room 
 
 63 
 
 80 Full-length figure 
 By Hoppner. 
 
 Lent by T. P. Heseltine, Esq. 
 
 A drawing like this and the Romney ones are 
 merely intended as indications or first hints for 
 pictures. They are in their slight way very charming 
 and enable us to discern the germ of ideas which 
 afterwards assumed imposing dimensions. 
 
 81 The Crucifixion 
 By J. Martin. 
 
 Lent by the Board of Education. 
 
 John Martin (1789-1854) began as a painter of china 
 and coaches. Born near Hexham, he came to London 
 in 1806, and illustrated the Bible and Paradise Lost. 
 He engraved his own paintings. His works show some 
 fantastic imagination, but scarcely enough to carry 
 through their ambitious intentions. 
 
 82 Theatrical Scene 
 By Smirke. 
 
 Lent by Martin H. Colnaghi, Esq. 
 
 83 Drawing for male figure 
 By George Morlanb. 
 
 Lent by A. Kay, Esq., F.S.A. 
 
 84 Scene from the Decameron 
 By Stothard. 
 
 Lent by J. P. Heseltine, Esq. 
 
 85 Girl making lace 
 
 By Cri STALL. 
 
 Lent by J. P. Heseltine, Esq. 
 
 86 Theatrical Scene 
 By R. Smirke, R.A. 
 
 Lent by Martin H. Colnaghi, Esq. 
 
 87 The Rape of the Lock, Canto V. 
 By Stothard. 
 
 Lent by J. P. Heseltine, Esq. 
 
 88 Italian Landscape 
 By Hoppner. 
 
 Lent by Messrs. Carfax & Co. 
 
 89 Landscape 
 By T. Hearne. 
 
 Lent by the Board of Education. 
 
 go Drawing 
 
 By W. Blake. 
 
 Lent by the Rev. A. Stopford Brooke. 
 
 91 Sketch for male figure in Peer's robes 
 By J. S. Copley. 
 
 Lent by Randall Davies, Esq., F.S.A. 
 
 92 Carnarvon Castle 
 By T. Girtin. 
 
 Lent by G. W. H. Girtin, Esq. 
 
64 Small Room 
 
 93 Figure Study 
 
 By H. Fuseli, R.A. 
 
 Lent by the Victoria a d Albe t Museum. 
 
 94 The Ascension 
 By W. Blake. 
 
 Lent by A. Graham Robertson, Esq. 
 
 95 Drawing 
 
 By W. Blake. 
 
 Lent by the Rev. A. Stopford Brooke. 
 
 96 Oval Portrait of Charles James Fox 
 Lent by the Right Hon. the Earl of Ilchester. 
 
 Charles James Fox, the third son of Henry Fox, 1st 
 Lord Holland, who achieved notoriety by his speeches 
 against Wilkes, was a leader of the Whigs during 
 George Ill's reign, and the opponent of Pitt. 
 
 The King pursued him with the relentless hatred 
 born of fear. He defended many enlightened 
 measures for economical reform, catholic emancipa- 
 tion, and the abolition of the slave trade. In spite of 
 an extravagant habit of life and consequent poverty, 
 Fox resisted all attempts to sell himself for pecuniary 
 advantage. 
 
 He made the great mistake of his life in 1772 when, 
 after ousting Lord North and the Tories he consented 
 to a coalition with Lord North, owing to the divi- 
 sions among the Whigs and Rockingham's death. 
 This mistake relegated the Whig party to obscurity 
 till the times of the Reform Bill. 
 
 97 Watercolour 
 By Bonington. 
 
 Lent by J. H. Fitzhenry, Esq. 
 
 98 Plinlimmon 
 By T. Girtin. 
 
 Lent by G. W. H. Girtin, Esq. 
 
 99 Landscape, with Dray and figures 
 By P. Sandby, R.A. 
 
 Lent by the Board of Education. 
 
 100 Lock, Newbury, 1825 
 By Constable 
 
 Lent by J. P. Heseltine, Esq. 
 
 101 A Magdalen 
 By R. Cosway. 
 
 Lent by C. Newton Robinson, Esq. 
 
 Richard Cosway (1740-1821) was one more Devon- 
 shire man who exhibited capacity for art in this 
 period. The pupil of Hudson, he became a skilful 
 draughtsman from the antique, and an R.A. in 1771. 
 He married Maria Hadneld, herself a clever minia- 
 turist and illustrator of Boydells' Shakespeare. 
 
 102 The Hop Pickers (large oil sketch). 
 By Sir Joshua Reynolds. 
 
 Lent by C. Newton Robinson, Esq. 
 
 It is not recorded that any picture was painted of 
 this subject. 
 
Small Room 
 
 j 03 Girl Reading 
 By Romney. 
 
 Lent by C. Newton Robinson, Esq. 
 
 104 Indian Warrior 
 By T. Sm4rt. 
 
 Lent by C. Newton Robinson, Esq. 
 
 105 Moses receiving the Tables of the Law 
 By W. Blake 
 
 Lent by Theodore Lucas, Esq. 
 
 SCREEN. 
 
 106 Women's Heads 
 By W. Hunt. 
 
 Lent by J. P. Heseltine, Esq. 
 
 107 Study — Girl's Head 
 By Lawrence. 
 
 Lent by Arthur Kay, Esq 
 
 108 Hotwells 
 
 By Turner. 
 
 Lent by the Bristol Fine Arts Academy. 
 
 Painted when Turner was only 16 years old. 
 
 109 The Gamekeeper 
 By Str David Wilkie. 
 
 Lent by M. H. Colnaghi, Esq. 
 
 no Mrs. Siddons 
 By Lawrence. 
 
 Lent by J. P. Heseltine, Esq. 
 
 in Portrait of Artist (24 years old) 
 By Constable. 
 Lent by J. P. Heseltine, Esq. 
 
 112 Study — Girl's Head . 
 By Lawrence. 
 
 Lent by Arthur Kay, Esq. 
 
 1 1 3 The Thames at Lambeth (sepia drawing) 
 By L. T. Francia. 
 
 Lent by Randall Davies, Esq., F.S.A. 
 
 1 14 Landscape 
 By Munro. 
 
 Lent by J. P. Heseltine, Esq. 
 
 115 Vene tian subject — Desdemona 
 By Bonington. 
 
 Lent by J. P. Heseltine, Esq. 
 
 116 Convent Scene 
 
 By R. P. Bonington. 
 
 Lent by the Corporation of the City of York. 
 
 117 Piazza of St. Marks, and the Campanile, 
 
 Venice 
 By R. P. Bonington. 
 
 Lent by the City of Nottingham Art Museum. 
 
66 
 
 Small Room 
 
 118 Stage-coach Passengers 
 By Bonington. 
 
 Lent by J. P. Heseltine, Esq. 
 
 ,ng Drawing of Haydon (1815) 
 y By Wilkie. 
 
 Lent by Fred. A. White, Esq. 
 
 120 Worthing 
 By Constable. 
 
 Lent by J. P. Heseltine, Esq. 
 
 121 Bologna 
 
 By Bonington. 
 
 Lent by J. P. Heseltine, Esq. 
 
 STAIRS. 
 
 [Bottom of Stairs.) 
 
 The West Family 
 
 By Facius, after West. 
 
 Lent by Lawson Thomson, Esq. 
 
 Wesley Preaching 
 
 Lent by the Wesley Chapel Trustees. 
 
 Prize Fight 
 
 By Grozer, after Einsle. 
 
 Lent by Fritz Reiss, Esq. 
 
 The Fortune Teller 
 
 By Turner, after Owen. 
 
 Lent by the Corporation of Brighton. 
 
 The Hon. J. H. Frere 
 
 By Burney, after Hoppner. 
 
 Lent by the Corporation of Brighton. 
 
 (Tof of Stairs.) 
 Various Photographs of Pictures by Zoffany 
 not included in the exhibition. 
 
 Domestic Differences 
 Attributed to Hogarth. 
 Lent by Edward Boyes, Esq. 
 
 Lady Charlotte Greville (coloured engraving) 
 
 By Young, after Hoppner. 
 
 Lent by A. T. Hollingworth, Esq. 
 
 UPPER GALLERY. 
 
 It is a singular thing that the rise and decline of what is 
 known more particularly as "The English School 55 should 
 coincide almost exactly with the Georgian Period. 
 
 Unlike other periods its best men came almost at the 
 beginning, gradually tapering off to men whose skill of 
 hand is in no way inferior to their predecessors, rather, if 
 anything, more skilful, but whose power of mind is lament- 
 ably inferior and whose work is, to the modern eye, little 
 short of vulgar. 
 
Upper Gallery 
 
 67 
 
 There seems to have been, even in those clays, a great 
 diversity of methods, though not varying quite so much as 
 in contemporary work. There were the painters who first 
 painted in a solid monochrome and coloured afterwards; 
 those who painted direct with a rich impasto mixed first on 
 the palette and applied to the canvass with a variety of 
 tools; others, again, who first painted the subject in a 
 transparent grisaille or wash grey, and while still wet 
 painted into it the live colouring that it was proposed to 
 leave in the finished work, letting the two fuse together in 
 the process. 
 
 Each method, where it has been well understood and prac- 
 tised, has proved itself lasting, and no hard and fast rule 
 can be established as to which method ought to be pursued 
 by modern painters, so that the choice is ultimately left to 
 each one ; and the method finally adopted by the differing 
 artists corresponds to their peculiar habits of mind and 
 temperaments 
 
 Hogarth apparently used the method t hat had been 
 handed down from Lely, of painting first in a solid impasto 
 of monochrome called "dead colouring" and by " scrum - 
 bling and glazing," afterwards reaching a point when he 
 added the finishing coat in a solid paste. 
 
 Reynolds, again, used every method known, and was 
 continuously experimenting with every kind of oil, varnish, 
 colour, and tool. There is a story of his painting one 
 picture with a wax medium, and of it afterwards, when on 
 the sunny wall of his client's house, melting and running 
 down the canvas, to the consternation of the owner, who, 
 however, simply turned it upside down and let it run back 
 again, and ever afterwards kept it in a cool place. 
 
 Wilson and Morland used exactly the same method of mix- 
 ing the tints on the palette and applying them with various 
 pencils, using a rich varnish medium, which gives the beau- 
 tiful translucent impasto. 
 
 Gainsborough, in his earlier manner, painted in a rather 
 thin opaque monochrome and coloured on the top, but after- 
 wards seems to have modified it to painting in transparent 
 grey on a highly primed white ground, and while still wet 
 to have added the colour just as he meant it to be ultimately 
 seen. 
 
 His method of work while in Bath has been described in 
 a rather amusing anecdote. It seems that anyone who had 
 an appointment with " Mr. Gainsborough 33 was shown into 
 his painting room which was illumined by but one ray of 
 light, and was there left alone while the servant went to 
 find him. The music room was his favourite place, and 
 it was only after great persuasion he could be got away. 
 When he came into his studio, he was at first very glum, 
 but after a time he set himself to amuse his sitter by stories, 
 and if the sitter responded, he continued, till they became at 
 their ease with him, and then seizing a favourable moment, 
 of expression, of action, he roared out in a loud voice, 
 <c As you are, Madam not a word," and fell to his painting 
 like one mad. 
 
68 
 
 Upper Gallery 
 
 Of the methods used by the later painters, Lawrence and 
 Hoppner, it is difficult to speak with precision, but they 
 seem to have painted the figure with only a slight rub of 
 colour on the background and to have finished the face 
 direct from life in a conventional colour which they con- 
 sidered flesh-tone, the background being afterwards com- 
 pleted at their leisure. 
 
 Romney used various methods, and seems at times to 
 have painted on a red ground ; his favourite method is of 
 applying the approximate colour direct, and afterwards 
 modifying it, of strengthening it, as he thought fit. 
 
 Unfortunately most of these methods have fallen into 
 disuse, the chief factor in their destruction being the rise 
 of the Pre-Raphaelite movement, the members of which, 
 seeing about them bad. pictures painted in the traditional 
 way, readily jumped to the conclusion that it was the way 
 that was wrong, and sc set about finding a new way, which 
 was, indeed, quite good, but which has only led to a quag- 
 mire of experimenting, " a dungeon to genius and a fetter 
 to Art." 
 
 F.D. 
 
 I Mrs. Billington 
 By Hoppner. 
 
 Lent by Mrs. BischofTsheim. 
 
 Portrait of Mrs. Billington, a famous opera singer 
 at the close of the 18th century. She was also 
 painted by Gainsborough 
 
 This picture was discovered in 1887 ^ n an * nn at 
 Huddersfield by the owner. 
 
 John Hoppner, several of whose works appear on the 
 walls of this exhibition, was born in Whitechapel on April 
 4, 1758, and was baptised at the Parish Church four days 
 later. There was considerable doubt about his birth which 
 has not yet been satisfactorily cleared up, but it is certain 
 that his mother was employed in some capacity in the Royal 
 household, and that he himself was brought up there as the 
 companion and playmate of the young princes. He 
 developed a fine voice and considerable musical ability, r.nc' 
 soon became one of the " Children of the Chapel Royal, 55 
 as the boys who sang in the choir of the Royal chapels were 
 called. When he was about fourteen something — it is not 
 clear what — occurred to give his fortunes a set-back ; pos- 
 sibly his mother and her children (for there is some reason 
 for supposing that he had a sister) were banished summarily 
 from the palace, and the boy thus thrown upon his own 
 resources, developed a fine gift for drawing, which was 
 brought to the notice of the King, who caused him to be 
 sent to the Royal Academy Schools at his (the King's) 
 expense. There his progress was rapid and distinguished, 
 and in 1782 he won the gold medal for the best historical 
 painting by a student. Meanwhile he had already sent 
 pictures to the exhibitions of 1780 and 1781. In 17S1 he 
 married Phoebe Wright, the daughter of a remarkable 
 American woman who had made her mark in London as a 
 modeller of wax portraits, and this, it seems, again dis- 
 pleased the King, and the young couple were placed m 
 
Upper Gallery 69 
 
 great difficulties. But in 1784 the Royal Princes and 
 others of Hoppner's friends combined to set him up in 
 the large house in Charles Street, St. James' Square, close 
 to Carlton House, the residence of the Prince of Wales, 
 where he lived prosperously for the rest of his life. 
 
 Hoppner may be described as the last of the great school 
 of English portrait painters, of whom Sir Joshua Reynolds 
 was the founder and perhaps the greatest, though some very 
 competent critics hold that his contemporary, Gainsborough, 
 was a greater artist. Next after these comes Romney, a 
 painter of wonderful grace and feeling, and a singular 
 power of rendering movement; and next, but not far 
 behind, Hoppner. At the same time Raeburn was holding 
 his own in Scotland, and his best work was equal to the 
 best of the English artists. Hoppner shared in the faults 
 of his generation, he was often careless in drawing and 
 poor in execution', but he shared with his greater contem- 
 poraries their divine gift of insight, he grasped the character 
 of his sitter, and brought out its essential lineaments so 
 clearly that the defects of technique passed unnoticed or 
 were felt to be almost immaterial. To understand how 
 this could be one has only to study the work of Haydon, 
 who felt so strongly about the need for correctness in tech- 
 nique that he disregarded the more serious matter of in- 
 sight, and the consequence is that with all their laboured 
 correctness his pictures are almost worthless and have no 
 message for their beholders, while those of the great 
 geniuses whom we have named impress, and will never 
 cease to impress, men with their life and character and 
 essential truthfulness. 
 
 Hoppner's especial strength lay in his rendering of 
 children, whom he understood and portrayed, as Sir Joshua, 
 with all his genius, never quite succeeded in doing, perhaps 
 because he was a bachelor and had no children of his own 
 about him. But Hoppner had also a rare gift for painting 
 pretty women, and for that matter women whose looks were 
 gone ; he understood perfectly what was meant by feminine 
 charm, and some of his most successful portraits were those 
 of middle-aged women, like the Countess of Dysart or 
 Mrs. Gwyn (whose portrait appears in this exhibition), who 
 retained their charm with the mellowing experiences of 
 years and trouble. His male portraits are not so invariably 
 good, but many of them, too, are very magnificent, and 
 those of Lord Nelson, William Pitt, and the Earl of St. 
 Vincent, could not easily be matched anywhere. 
 
 Hoppner also made some mark as a man of letters, and 
 was of great assistance to his friend William GifTord in 
 founding the Quarterly Review. He was welcomed in the 
 society of the greatest men and scholars of his day, he was 
 a ready and witty talker, and a fine musician, besides being 
 a clever writer on his own account. Like all men of 
 strongly marked character, he made enemies as well as 
 friends, but the enemies were comparatively few, and his 
 friends were deeply attached to him ; his family were 
 devoted to him and the memory of him as a good and 
 lovable man is still cherished by his descendants. His 
 health was never good, and he died on the 10th January, 
 1810. His work was strangely forgotten for a long time ; 
 
70 
 
 Upper Gallery 
 
 fashion underwent one of those inexplicable revulsions 
 during his later years, and Thomas Lawrence, a quite 
 inferior painter of shallow ideals and little insight, became 
 the idol of society and the Court. But of later years 
 Hoppner has again become appreciated, and the swing of 
 the pendulum is to be seen in the enormous prices which 
 are now paid for his work. Horace Skipton. 
 
 2 Portrait of Watson B. Braddyll 
 By Sir Joshua Reynolds 
 
 Lent by the Corporation Art Gallery of Leicester. 
 
 3 Landscape, with Gipsies and Dog 
 By J. C. Ibbetson. 
 
 Lent by M. H. Colnaghi, Esq. 
 
 4 The Huntsman 
 By G. Morland. 
 
 Lent by Mrs. Stephenson Clarke. 
 
 5 At Nine Elms 
 By Samuel Owen. 
 
 Lent by G. H. Shepherd, Esq. 
 
 6 Thomas Gainsborough, R.A. 
 By Gainsborough. 
 
 Lent by W. Arthur Sharpe, Esq. 
 
 7 Mistress Anne Penny (married Archdeacon 
 
 Jones, of Liverpool) 
 She was a friend of Dr. Johnson, and published 
 
 some poems. 
 
 By E. Penny, R.A. 
 
 Lent by the Rev. Fraser H. Penny. 
 
 A charming study of a young lady standing with- 
 out a fine stately mansion of the period as a back- 
 ground, and one of the stately formal gardens 
 popular before the dilettante craze for landscape- 
 gardening, so well satirized by Miss Austen in 
 " Mansfield Park," came in. 
 
 Edward Penny (1714^791) was born at Knutsford, 
 and was a pupil of Hudson, and later, at Rome, of 
 Marco Benefial. He returned to England in 
 1748, and became a foundation member of the 
 Royal Academy, and first professor of painting. 
 His lectures were much esteemed. His best works 
 are perhaps the " Death of Wolfe 55 and the cc Mar- 
 quis of Granby Relieving a Sick Soldier 55 in the 
 Oxford Gallery. He was an excellent painter, and 
 devoted himselt specially to historical and senti- 
 mental subjects. 
 
 8 Sketch for " Hudibras " 
 By Hogarth. 
 
 Lent by W. Rothenstein^ Esq. 
 
 9 Landscape 
 
 By Gainsborough. 
 • Lent by the Earl of Plymouth. 
 
Upper Gallery 
 
 7i 
 
 10 Lady Charlotte Cavendish Bentinck (after- 
 
 wards Lady Charlotte Greville) 
 By Hoppner. 
 
 Lent by A. T. Hollingsworth, Esq. 
 
 11 A Family Party — The Minuet 
 
 By ZOFFANY. 
 
 / Lent by the Corporation of Glasgow. 
 
 Johann Zoffany, or Zauffely, was born at Regens- 
 burg in 1733. He came of a Bohemian family. 
 When only 13 he went to Rome, and stayed in Italy 
 for 12 years. After a brief return to Germany, 
 where he made an unhappy marriage, he came to 
 England. A portrait of Lord Barrymore which he 
 painted led to Lord Bute introducing him to the 
 Court. About 1762 he began his interesting series 
 of portraits of actors with that of Garrick at " Abel 
 Drugger V in "The Alchemist," which is exhibited 
 here. He followed it with portaits of Foote as 
 "Dr. Last " and "Major Sturgeon." In 1769 he 
 painted the members of the newly-formed Royal 
 Academy. 
 
 With an inveterate taste for adventure he arranger! 
 to join Sir Joseph Banks on Captain Cook's second 
 voyage to the Pacific, but he found the accommoda- 
 tion offered too unattractive and gave the project up. 
 
 His commissions had fallen off in consequence of 
 his project, and he was in great poverty till George 
 III helped him to visit Italy again. He painted the 
 " Interior of the Florentine Gallery 93 for the Royal 
 Collection, and in 1778 went to Vienna with his por- 
 trait group of the Grand Ducal Family of Tuscany, 
 to present it to Maria Theresa, who made him a 
 Baron. No. 157 shows Italian influence. 
 
 He returned to England, but set off to India 
 in 1783, and made much money, providing the Anglo- 
 Indian Nabobs of the time with portraits. Some 
 of these still remain in India, but many were carried 
 back by their purchasers with their rare china and 
 curios to the country houses of England, where they 
 are still to be found In 1790, Zoffany, whose work 
 had deteriorated in India, returned to England and 
 settled at Strand-on-the-Green, painting a portrait of 
 himself as St. Peter in an altar-piece for St. George's 
 at Brentford (see photograph on the Stairs). He 
 died in 1810. His German extraction is marked in 
 his earlier pictures, and possibly in the love and 
 knowledge of music indicated by his constant intro- 
 duction of musical instruments into his pictures. 
 
 Zoffany is an interesting, able painter, very much 
 of his time, and, for that reason, all the more 
 interesting to students of Georgian days. His pic- 
 tures are over-elaborated in detail, and composition 
 does not seem to have been his strong point, but his 
 painting is often exquisite, as in the dress of the 
 
72 Upper Gallery 
 
 lady in No. 118. His style shows many variations, 
 as seen even in the present exhibition, varying from 
 the hot and rather inharmonious colour and detail 
 of No. 157, through the decreasing particulariaztion 
 of Nos. 148 and 31, to this delicate, almost 
 Whistlerian, treatment of objects. One must almost 
 suppose that the picture was never completed, in the 
 sense in which his other pictures indicate that he 
 understood completion. 
 
 Nothing more exquisite and atmospheric can be 
 imagined than the girl's dress in this picture with 
 its shimmer of pink seen through filmy white. 
 
 The special charm of Zoffany's pictures lies in the 
 absolute want of self -consciousness in the quaintly 
 dressed stiff persons who people his, at times, crowded 
 family parlours. In this picture there is an excep- 
 tional grace in the figures of the boy and girl treading 
 the stately measure with the touching, momentary 
 solemnity of youth, but Zoffanv's more character- 
 istic quality is shown in the veracious rendering of 
 the mother's expression. We feel convinced that 
 just so this 18th century mother with all her ideals 
 and hopes so different from ours, looked as she 
 gazed at her children learning this measure as a 
 prelude to the part they were to play in the great 
 world so shortly, when they had gone from her pro- 
 tecting care. 
 
 12 Jacob's Dream 
 By Stothard, R.A. 
 Lent by Lady Wantage. 
 
 13 Sketch for " Hudibras " 
 By Hogarth. 
 
 Lent by Lieut. -Gen. H. F. Davies. 
 
 14 Crossing the Ford 
 By Gainsborough. 
 
 Lent by Mrs. Martin H. Colnaghi. 
 
 1 5 Girls with Donkey 
 By Gainsborough. 
 
 Lent by Mrs. Stephenson Clarke. 
 
 16 Mrs. Gainsborough {nee Margaret Burr) Wife 
 
 of the Artist 
 By Gainsborough. 
 Lent by W. Arthur Sharpe, Esq. 
 
 17 Mistress Jane Penny (married Richard Daven- 
 
 port, Esq. ; died before 1776) 
 
 18 Calves Heads 
 
 By James Ward, R.A. 
 
 Lent by G. H. Shepherd, Esq. 
 
 i g Landscape 
 By Ibbetson. 
 
 Lent by Fred. A. White, Esq. 
 
Upper Gallery 
 
 73 
 
 20 Scene from the " Decameron " 
 By Stothard, R.A. 
 
 Lent by C. E. Newton Robinson, Esq. 
 
 Stothard excelled in graceful fancies of this kind. 
 He combined a simple domestic feeling with a love 
 of the pastorals of Watteau. His special talent lay 
 in a charming simple grace and a glowing jewel-like 
 colour. 
 
 21 Portrait of a Lady 
 By John Opie, R.A. 
 
 Lent by the Rev. J. Hector de Courcelles. 
 
 This portrait is believed to be that of Mrs. 
 Boscawen, widow of Admiral Boscawen, by whose 
 influence the painter was introduced to George III. 
 The picture was formerly in the possession of the 
 Giddy family, a member of which married Mary 
 Wolcot, sister of Dr. Wolcot (Peter Pindar), Opie's 
 early patron. The painting has Opie's characteristic 
 merits and defects, great breadth and power, but 
 somewhat heavy handling and dark shadows. It 
 was painted in his early manner, about 1780. 
 
 22 Pastel Portrait of Sir Joshua Reynolds 
 By Reynolds. 
 
 Lent by Fritz Reiss, Esq. 
 
 23 William Hunter lecturing on Anatomy at the 
 
 Royal Academy 
 
 By ZOFFANY. 
 
 Lent by the Royal College of Physicians. 
 
 This picture, though scarcely pictorial in subject 
 is of great interest as a historical document. The 
 learned doctor is discoursing on the play of the 
 muscles of a brawny model, while the correct 
 attendant maintains the pose. A skeleton on the 
 right and a lay figure on the left further illustrate 
 anatomy. The heads of the academicians arc 
 strongly painted and well differentiated, and the 
 artist has given real pictorial pleasure in the green 
 of the shaded lamp and walls. 
 
 24 Portrait of Peg Woffington 
 By Hogarth. 
 
 Lent by Ernest Gye, Esq. 
 
 25 A Night Encounter 
 By Hogarth. 
 
 Lent by M. H. Colnaghi, Esq. 
 
 A characteristic 18th century scene. Viscount 
 Boyne, who is figured as a quaint dandy in another 
 of Hogarth's canvasses in the exhibition, has here 
 surprised an unwelcome visitor, and belabours him, 
 while the ineffectual watchman tries to intervene. 
 The link boys, who supply the light for the scene, 
 see an opportunity for making off with a nobleman's 
 excellent hat. The pose of the coachman is full of 
 Hogarth's broad vigour. 
 
74 Upper Gallery 
 
 26 Study—" Rustic Courtship " 
 By George Moreland. 
 
 Lent by A. Kay, Esq. 
 
 27 Portrait of the Artist (aged 17) 
 By John Opie, R.A. 
 
 Lent by the Rev. J. Hector de Courcelles. 
 
 Born near Truro in 1761, he came to London in 
 1780; was elected A. R.A. in 1787, R.A. in 1788, and 
 Professor of Painting at the Academy in 1805. He 
 died in 1807. This portrait was formerly the property 
 of Lord Bateman. The dress is believed to be a fancy 
 one given to the painter during one of his visits 
 through the country, on a painting expedition, by 
 the family of the Prideauxs of Prideaux Place, 
 Padstow, Cornwall. 
 
 28 The Young Shepherd 
 By Barker. 
 
 Lent by A. Kay, Esq. 
 
 29 Lady Dover 
 
 By Sir Joshua Reynolds. 
 Lent by T. O. Lloyd, Esq. 
 
 This is a singularly lovely unfinished picture by 
 Reynolds. 
 
 30 Portrait of Earl Ferrers 
 By Hogarth. 
 
 Lent by Fred. M. Cutbush, Esq. 
 
 31 The Family of John Peyto, Fourteenth Baron 
 
 Willoughby de Broke 
 By Zoffany. 
 
 Lent by the Lord Willoughby de Broke. 
 
 In this picture Zoffany, with his veracious skill, 
 carries us straight back to the 18th century. The 
 simple stately room with its absence of crowding and 
 its fine architecture, with just oie sea-piece in a good 
 carved frame ; the porcelain is the delicate ware from 
 China, so much in fashion in the eighteenth century. 
 The Georgian silver urn stands handy on a delicate 
 piece of cabinet-maker's work. The painter even 
 shows us an eighteenth century toy. 
 
 32 Admiral Lord St. Vincent 
 By J. S. Copley, R.A. 
 
 Lent by G. H. Shepherd, Esq. 
 
 John Singleton Copley (1737-1815), of Irish 
 descent, and the ablest of the artists the American 
 Colonies sent to England in the 18th century. He 
 was already an accomplished painter when the success 
 of his " Boy with a Squirrel," sent over and exhibited 
 anonymously at the Royal Academy in 1774, led to 
 his coming over and settling here. He became an 
 R.A. in 1779, and his career was one long succession 
 of well-merited successes. He was well qualified 
 to paint with dignity the history Englishmen were 
 then living and making. With a presage of modern 
 realism, he actually visited Gibraltar to paint the 
 
Upper Gallery 
 
 75 
 
 detail with absolute truth m the great picture of the 
 siege of Gibraltar, which Elliott, its defender, after- 
 wards Lord Heathfield, commissioned with noble 
 bombast. His " Death of Chatham 55 and " Death of 
 Major Pierson 55 are in the National Gallery. 
 
 Spirited and able as Copley was, it is one more 
 testimony to the utter inability of each age to ' place 5 
 and reward its geniuses as they really should be 
 rewarded, that Copley readily made his ^1,000 or 
 even ^2,oco by selling and exhibiting many of 
 his pictures, while Hogarth failed to sell his paint- 
 ings at ;£ioo. 
 
 33 Lady Erne 
 By Murton. 
 
 Lent by Miss Mary Hervey. 
 
 34 Portrait of a Lady 
 By Gainsborough. 
 Lent by Mrs. Joseph. 
 
 If one looks for a moment from this portrait to 
 the other excellent portraits in this room, one 
 notices a difference. The others strike one as 
 paintings; this has some magical quality of life, 
 the secret of which the subtle genius of Gainsborough 
 alone knew. 
 
 The face is not exceptionally beautiful at first 
 sight, and it is unadorned, almost forbidding in its 
 rigid silhouette, but it is vital with some tense exist- 
 ence of its own. We see the individual personality 
 of this lady. There is no sense of a " sitter " here, 
 simply her own special unique personality looks out 
 at us for all ages with an almost uncanny vividness. 
 Her dress is a miracle of colour in paint. 
 
 35 Courting in Older Times 
 By Hogarth. 
 
 Lent by F. H. Fawkes ; Esq. 
 
 36 The Inn Yard 
 By Hogarth. 
 
 Lent by the Visitors of the University Galleries 
 Oxford. 
 
 Hogarth has here given us a scene very congenial 
 to his caustic mind. A slow stage is just setting off 
 to some village, the hostess is ringing wildly for 
 the maid, who is flirting behind the door, the host is 
 presenting his bill to a traveller. The dog in his 
 kennel is the most attractive animal in the picture. 
 Here as always Hogarth refuses to idealise life. 
 He takes it at its lowest and extracts the one good 
 that can be got from the scene with absolute honesty 
 and no mental optimism. He even exaggerates the 
 ugliness of figure and detail, with a certain savage 
 anger at the hideousness of things. 
 
 He makes a beautiful picture by means of the 
 exquisite play of light and the rich refined colour, 
 softened by the atmosphere. It is just in this that 
 Hogarth is so comforting for those who have a love 
 
76 Upper Gallery 
 
 of beauty in the modern world, where nearly all the 
 objects produced get more and more ugly. 
 
 Hogarth saw the , ugliness of his less ugly time, 
 accepted it, even exaggerated it, but remembered 
 that light could play on the ugly as well as on the 
 fair, so he wisely chose to make that beauty his 
 object in life which no hideousness of detail could 
 mar. How well he achieved it we see in many of 
 his works, but most of all in the ' Green Room 5 here 
 and in the ' Calais Gate 5 of the National Gallery. 
 
 57 Hon. Margaretta Walpole and Daughter 
 
 By Walton. (Frances Margaretta Walpole) 
 Lent by H. S. Vade Walpole, Esq. 
 
 This is a charming unfinished work by the fascin- 
 ating painter Walton, whose pictures are so rarely 
 seen. 
 
 On left, Hon- Margaretta Walpole, wife of Lambert 
 Theodore Walpole (killed in Irish rebellion), daughter 
 of great Lord Clive. Baby, Frances Margaretta 
 Walpole, her daughter, who lived to be 98. 
 
 38 A Girl (bust) 
 By Gainsborough. 
 
 Lent by A. Kay, Esq., F.S.A. 
 
 39 Lansdown Fair 
 By Barker. 
 
 Lent by the Victoria and Albert Museum. 
 
 The top of Lansdown Hill at Bath, with a vista 
 of the level top of the Cotswolds, very untypical of 
 that city of hills. The cool grey tone of the picture, 
 with its vivid whites, is very beautiful. The country- 
 men are playing quoits till the fun of the fair begins, 
 while the pedlar, with his curious wicker cage of 
 poultry, looks on. Two of the rather romantic 
 women's figures in the background might almost come 
 from one of Leighton's pictures. 
 
 40 Emily, Countess Cowper (Viscountess 
 
 Palmerston) 
 By Hoppner {finished by Jackson). 
 Lent by the Countess Cowper. 
 
 A beautiful portrait by Hoppner, rather in 
 Lawrence's manner, of Lady Palmerston, the beauti- 
 ful wife of the celebrated statesman. 
 
 41 Lady Phipps and Child (afterwards Lord 
 
 Mulgrave) 
 By Sir Joshua Reynolds. 
 Lent by Mrs. Josephs 
 
 A very beautiful early work of Sir Joshua 
 Reynolds. He quite justifiably treats the eternal 
 beauty of the relationship of mother and child in 
 the case of his English s : tter with a tender, almost 
 religious solemnity resembling that of the Italian 
 painters in their depiction of Christ and His mother. 
 
 41A Jack Astley 
 
 By Sir J, Reynolds. 
 Lent by A. Kay, Esq. 
 
pper Gallery 
 
 77 
 
 42 Itinerant Musician 
 By Hogarth. 
 
 Lent by Hugh P. Lane, Esq. 
 
 43 Portrait of a Young Man 
 By Hoppner 
 
 Lent by the Rev. A. J. Poynder. 
 
 44 Italian Landscape 
 By R. Wilson. 
 
 Lent by Lady Wantage. 
 
 Richard Wilson, to whom belongs the glory of 
 initiating the great school of English landscape 
 painting, came from the Welsh border country. 
 Born in Montgomeryshire in 1714, he came to London 
 in 1729, and began as a portrait painter. His capa- 
 city in this branch of painting is shown in his portrait 
 of himself in the Lower Gallery, and he obtained 
 some Royal patronage 
 
 By 1750 he had saved enough money to enable him 
 to realize the dream of his life and visit Italy. 
 Zuccarelli, at Venice, wisely advised Wilson to 
 devote himself to landscape, for which the world 
 owes a debt of gratitude to that painter of artificial 
 prettiness. 
 
 Wilson stayed at Rome 6 years, coming under Ver- 
 net's influence. His grand but Italianized rendering 
 of landscape unfortunately did not suit the national 
 taste, which preferred Zuccarelli's trivial prettiness. 
 Wilson was saved almost from starvation by being 
 appointed Librarian of the newly founded Academy 
 
 Wilson had, in later life, to bear the rivalry of the 
 equally great and le^s mannered landscape painting 
 of Gainsborough, and never achieved the success 
 during his life which his broad solid style and power 
 to render the luminous glow of atmosphere have won 
 for him in the estimation of later times. 
 
 45 Family Group (Lady Shelley, Mr. and Mrs. 
 
 Richard Shelley, Misses Fanny and 
 Martha Rose Shelley, Capt. the Hon. W. 
 FitzWilliam, Mr. Benyon, and Mrs. Beard) 
 By Hogarth. 
 
 Lent by Sir C. Russell, Bart. 
 
 The upper classes who travelled in France and Italy 
 were struck with the superior elegance of life in those 
 countries, and imposed on their rougher fellows at any rate 
 an outward pretence of an elaborate courtly behaviour, 
 utterly at variance with the instincts of the race. 
 
 Lord Chesterfield advised people to say, instead of 
 c 1 wish you joy,' ' Believe me, my dear sir, I have scarce 
 words to express the joy I feel upon your happy alliance 
 with such or such a family.' There is no doubt that 
 English ways and manners stood in need of improvement 
 at the beginning of the 18th century, but it is unfortunate 
 that, as usual, it was chiefly the superficial affectation of 
 elegance that had power to make its influence felt. 
 
78 Upper Gallery 
 
 46 Skating on the Serpentine 
 By J. C. Ibbetson. 
 
 Lent by Mrs. Morland Agnew. 
 
 47 Mrs. Gwyn 
 By Hoppner. 
 
 Lent by Sir C. Tennant, Bart. 
 
 48 Portrait of a Girl 
 By Gainsborough. 
 
 Lent by Hugh P. Lane, Esq. 
 
 An early work by the painter, probably of his 
 Ipswich period. Very possibly a portrait of his 
 daughter, Margaret, as a girl. 
 
 49 Portrait of Maria Walpole (afterwards Duchess 
 
 of Gloucester) 
 By Zoffany. 
 
 Lent by Mrs. Morland Agnew. 
 
 50 Garrick in the Green Room 
 By Hogarth. 
 
 Lent by J. E. Reiss, Esq. 
 
 51 The Artist as a young man 
 By Sir Joshua Reynolds. 
 Lent by the Earl of Crewe. 
 
 52 Landscape 
 By Wilson. 
 
 Lent by W. Barclay Squire, Esq. 
 
 53 Landscape 
 
 By Gainsborough. 
 
 Lent by Sir C. Tennant, Bart. 
 
 A beautiful work — serene and meditative, with some- 
 where in it the hint of melancholy which is never ab- 
 sent from this painter's works. 
 
 The sketch for this beautiful landscape on some 
 Suffolk river is in the Small Room. The> picture is 
 there double the width, and the composition perhaps 
 even finer. 
 
 54 Mahomet Summy 
 By I. Russell, R.A. 
 
 Lent by the Rev. C. P. Jones. 
 
 An Ambassador at the Court of George III. 
 Exhibited at the Royal Academy in 1787. 
 
 55 Mrs. Crewe and Mrs. Bouverie 
 By Sir Joshua Reynolds. 
 
 Lent by the Earl of Crewe. 
 
 56 Lavinia Gleaning, or " The Modern Ruth 
 
 and Boaz " 
 By E. Penny, R.A. 
 Lent by the Misses Lowndes. 
 
 57 Landscape 
 By Wilson, 
 
 Lent by Rev. A. Stopford Brooke. 
 
 It is delightful to see Wilson painting (for once) 
 the intimate beauties of England, which we know and 
 
Upper Gallery 79 
 
 can judge, instead of the romantic ' no-wheres ' of the 
 Campagna of Rome where our criticism has to allow 
 him a margin of good faith. Here he is painting 
 a scene not far from our doors, and he comes out as 
 triumphant as ever. He can paint the expanses of 
 the river meadows, and the mansion lurking in the 
 thick shade of an English park with as luminous a 
 quality of light as any villa on a peak of the 
 Apennines. 
 
 58 A Shepherd 
 
 By Barker (of Bath). 
 
 Lent by M. H. Colnaghi, Esq. 
 
 Thomas Barker (1769-1847) of Bath, as he is caDed, 
 with that pleasant 18th century feeling for localities 
 and centres of culture independent of the metropolis, 
 came from the Welsh border that has produced many 
 an artist, down to Burne-Jones. 
 
 This prolific artist, who was practically self-taught, 
 except for Gainsborough's guidance, exhibited 100 
 pictures at the Royal Academy duriug 50 years' asso- 
 ciation. His pictures have a curiously modern air 
 with their vigorous dark outlining, almost suggesting 
 comparison with some of Manet's works. He had a 
 fine feeling for landscape, and excelled in poetic 
 figures silhouetted against golden atmospheric effects. 
 The line of the girl's arms is worthy of Veronese in its 
 bow-like arch. 
 
 59 Portrait of a Lady in white dress and blue 
 
 shawl 
 By Highmore. 
 
 Lent by Mrs. Martin H. Colnaghi. 
 .60 Scene from " The Beggars' Opera " 
 By Hogarth. 
 
 Lent by John Murray, Esq. 
 
 Gay's " Beggar's Opera " was brought out by John 
 Rich at the Theatre in Lincoln's Inn Fields, on Jan- 
 uary 29, 1727-8. The picture represents Walker as 
 4 Macheath ' in the centre of the stage. 1 Lucy ' (Mrs. 
 Egleton) pleads for him, on the left, and ' Polly 5 
 (Miss Fenton) on the right. There are several per- 
 sons belonging to the audience on the stage. Among 
 these are Rich, the manager, Gay, the author, and 
 the Duke of Bolton, with his eyes fixed on ' Polly,' 
 whom he afterwards married. H.B.W. 
 
 6 1 The Leslie Boy 
 By Raeburn. 
 
 Lent by Sir C. Tennant, Bart. 
 
 Sir Henry Raeburn (1756-1823) from 1814 divided 
 the empire of portraiture in Britain with Lawrence. 
 Raeburn t0ok Scotland for his share and was, in 
 1822, appointed His Majesty's Limner in Scotland. 
 
 His life was one of well-earned, dignified pros- 
 perity and of prolific production. 
 
 With the national Scottish eye for colour, Raeburn 
 combined a masculine strength and dignity, and in 
 some portraits, such as that of ' Dr. Wardrop ' of 
 
Upper Gallery 
 
 Torbanhill, exhibited at the Scottish Exhibition in 
 this Gallery, he achieved a luminous mastery of 
 lighting in portraiture, scarcely inferior to that of 
 Rembrandt, but in many of his portraits, particularly 
 those of women, we notice a lack of invention, a 
 want of the interpreting eye for character, and a 
 note of provinciality that place him on a lower level 
 than Gainsborough and Reynolds.. 
 
 Raeburn was specially happy in depicting the shy 
 grace of boyhood. This picture is a less serious 
 effort than some of his boy portraits such as " The 
 Two Boys 55 belonging to Mr. Leopold Hirsch. 
 
 Edward, Fifth Earl of Darnley 
 By Hoppner. 
 
 Lent by the Earl of Darnley. 
 
 A very bright, charming rendering of the little 
 Earl of Darnley, with a background of Cobham 
 Park. 
 
 Lady working at tambour frame 
 
 By Angelica Kaufmann. 
 
 Lent by Lieut. -Col. Croft-Lyons. 
 
 A lady, in Turkish dxess, embroidering at a tam- 
 bour frame. This form of embroidery was popular 
 in the 18th century, and to it we owe the many 
 charming sprigged gowns and waistcoats. 
 
 The Artist in his Studio, and his man, Gibbs 
 By G. Morland. 
 
 Lent by the City of Nottingham Art Museum. 
 
 This is a glimpse into a Georgian Bohemia. The 
 artist is proud of his quaint kingdom — nothing is ex- 
 tenuated so it does not become the spectator to put 
 down " aught in malice." We are as close to the real 
 man as was "his man Gibbs." We feel Morland 
 must have been aloveable man, and a picture like this, 
 like a frank handshake, puts us at once on his side. 
 
 George Morland (1763-1804), was an extremely gifted 
 painter of landscapes and animals. More than any 
 other painter of the 18th century, he has preserved for 
 us a memorial of the rustic retreats of 18th century 
 England with its privy roadways and cottage life, 
 while his coast scenes rival those of the greatest Dutch 
 painters. This picture is not one of his masterpieces, 
 but it is interesting as a record of one phase of social 
 life. Morland was a Bohemian by nature, and an 
 overstrict upbringing led to a reaction that has been 
 perhaps too much dwelt upon, considering the extra- 
 ordinary output of pictures of fine quality he pro- 
 duced. 
 
 Margaret Gainsborough (daughter of the Artist) 
 By Gainsborough. 
 Lent by A. Beit, Esq. 
 
 Painted by Gainsborough as a wedding present for 
 his daughter, on her<marriage to his musical friend 
 Fischer, 
 
Upper Gallery 
 
 Si 
 
 66 Landscape 
 
 By J. C. Ibbetson. 
 
 Lent by C. T. D. Crews, Esq. 
 
 Julius Caesar Ibbetson (1759-1817), had a classic 
 name and a very Dutch manner. He came from 
 Masham, in Yorkshire, and visited China with Col. 
 Cathcart's Embassy in 1783. 
 
 This picture shows how well he deserved his title of 
 the " Berchem of En g Sand." 
 
 67 Portrait Group of Burkhardt Tschudi and 
 
 Family 
 By Highmore 07 Hogarth 
 Lent by Miss B. M. Broadwood. 
 
 Burkbardt Tschudi (or Shuci), (1702-1773), his 
 wife Catherine (nH Wild), both natives of Schwanden, 
 in the Canton of Glarus, Switzerland, and their sons. 
 
 Tschudi, of the very ancient Glares family to which 
 Aegidius Tschudi, called "The Swiss Herodotus" 
 belonged, (1505-72) came to England in 1718, and 
 after learning his trade under Tabe; a Fleming, became 
 the most famous hsrpsichord-maker of his tin e. His 
 daughter Barbara married John Broadwood, a young 
 Scot in his employment, who continued Tschudi's 
 business, and gave his own name to the present firm of 
 pianoforte-makers. 
 
 Burkhardt Tschudi, whose ancestors were personal 
 friends and arde nt supporters of the reformer Zwingli, 
 is here represented as tuning the harpsichord which he 
 presented to Frederick the Great of Prussia in 1744. 
 after the Battle of Prague, when Frederick' became the 
 Protestants' great hero. 
 
 68. The Marquess of Granby 
 By Sir Joshua Reynolds. • 
 Lent by the Right Hon. Lord Brassey, K.G.B. 
 A very fine early sketch for the larger versions. 
 
 69 The Green Man (Mr. Cope) 
 By F. Cotes, R.A. 
 
 Lent by W. C. Alexander, Esq. 
 
 Frances Cotes (1726-1770) was a pupil of Knapton 
 and worked in crayon, in which medium he instructed 
 Russell. Lord Orford compared him with Rosalba 
 Carriera, the Venetian pastclliste who had executed 
 his own portrait so ably. Cotes does not often attain 
 to such a high level as in this portrait of " The Green 
 Man," which is almost worthy of Gainsborough, whose 
 " Blue Boy " probably suggested the title and colour 
 scheme to a derivative artist like Cotes. 
 
 70 Green Room, Drury Lane 
 By Hogarth 
 
 Lent by Sir Charles Tennant, Bart. 
 
 A magnificent work unequalled for brilliance among 
 the painter's achievements. The grave lighting is 
 magical in its arresting power ; the way this light 
 seems to come and go, now discovering and now 
 obscuring the objects, means illumination profoundly 
 
82 
 
 Upper Gallery 
 
 understood, and the result is a picture inevitable and 
 
 mysterious as life itself. 
 
 Hogarth, coming at the time he did, will always remain 
 the inexplicable marvel that every great original artist must 
 be. We can, it is true, trace in his method of painting 
 the tradition of Lely, imbibed through Thornhill, Hogarth's 
 nominal master, but while all other painting of the time, 
 though accomplished, is unindividual and facile, Hogarth's 
 own work is, except in some perfunctory pot boilers, always 
 strongly individual and interesting. 
 
 Hogarth was endowed with a rich strong nature, keenly 
 alive and interested in all the play of light and character 
 that met his eye in the unideal, coarse life of his day. 
 
 Not possessing the customary careful training in draw- 
 ing from the model considered requisite, he set himself to 
 remedy this by training his eye to take sharp mental photo- 
 graphs, at the time, of just those essential interesting lights, 
 poses and lines in any scene that struck him. He could 
 thus reproduce just that sharp clear-cut version of a scene 
 that had caught his undaunted, caustic mind. All that is 
 unessential to this view is left out, but all that expresses 
 it is given with an enthusiastic, nervous interest utterly at 
 variance with the skilful but bored facility of Lely and 
 Thornhill. 
 
 Hogarth possessed the great gift of knowing what to 
 reject in the multitudinous details offered by the scenes 
 around him, and in some ways he surpassed the Dutch 
 painters whose work his resembles, such as that of Jean Steen 
 in his larger can.vasses. Steen was more skilful in laying 
 on his paint, but Hogarth knew better how to compose his 
 scene. Perhaps Hals is the painter with whom Hogarth 
 has most in common in his ideal of how paint should be 
 used, though Hogarth's pigments are inferior to those of 
 Hals, and the Englishman was guileless of the elaborate 
 pattern in his brushwork that distinguishes Hals. 
 
 Hogarth, however, did explore new fields and enlarged 
 the material of art by relating the contemporary life of 
 his day (the comparative failure of some of his attempts 
 demonstrate the difficulty of his task) to art, and giving much 
 that had previously been neglected, as outside the province 
 of art, a very spirited, able, artistic expression. Hogarth 
 selected strong types and treated his themes with bitter, 
 unflinching realism, but he is not essentially eccentric or 
 exaggerated, as Rowlandson or Daumier, with whose aims 
 and methods Hogarth'^ work has such close relation. 
 
 71 Thomas Pellet, Esq. (President of Royal Col- 
 
 lege of Physicians) 
 By Hogarth. 
 
 Lent by W. C, Alexander, Esq. 
 
 72 Portrait of Lord Boyne 
 By Hogarth. 
 
 Lent by M. H. Colnaghi, Esq. 
 
 73 
 
 Head 
 
 By Gainsborough. 
 
 Lent by C. T. D. Crews, Esq. 
 
Upper Gallery 83 
 
 74 Landscape, with cart and figures 
 By J. C. Ibbetson. 
 
 Lent by M. H. Colnaghi, Esq. 
 
 75 Kitty Fisher 
 
 By Sir Joshua Reynolds. 
 Lent by the Earl of Crewe. 
 
 A portrait of the lovely Kitty Fisher, exceptionally 
 charming, even for Reynolds. She is seated nursing 
 her doves. Notice the way the blue sash is put in 
 last to give value to the harmonies of the dress. 
 
 The rise of the unrivalled school of the 18th cen- 
 tury British portrait painting is as inexplicable as 
 the other astonishing developments of that age. 
 With the exception of Allan Ramsay, portrait paint- 
 ing was at a low level when Reynolds came from 
 Devonshire to be the pupil of Hudson. He learnt 
 little from this master, and soon set up for himself 
 in Plymouth, and Gandy exercised on him a more 
 beneficial influence, as his portrait of Lady Somers, 
 painted in the year 1748, shows. Admiral Keppel 
 took a fancy to the young painter and carried him 
 to Italy on the " Centurion," in 1750. Reynolds 
 remained three years in Italy. He came back an 
 accomplished painter. 
 
 Reynolds was, indeed, a born £ fine painter, 5 just 
 as Titian and Rubens were . With an abundant cul- 
 ture, and his brilliant abilities well under control, 
 he produced prolifically magnificent portraits for 
 nearly 40 years, till his death in 1792. Reynolds 
 had an instinct for colour rather than form, and we 
 look in vain in Reynolds for that revelation of the 
 unique personal soul that Gainsborough gives us with 
 such haunting grace, but all that exceptional talent — 
 the greatest respect for, and understanding of the very 
 best traditions — and fine genius for painting can give, 
 Reynolds gave with unfailing ease. 
 
 76 The Orrery 
 
 »/ By Joseph Wright. 
 
 Lent by the Corporation of Derby. 
 
 Wright, of Derby, made the rendering of effects of 
 artificial light his special aim. This picture is 
 similar to his other large, fine picture in the National 
 Gallery, "The Air Pump." 
 
 The Orrery was an instrument devised by Lord 
 Orrery, a distinguished scientist, for showing the 
 movement of the planets in relation to the Sun. We 
 see the children playing with Jupiter's four moons, 
 and in the centre is Saturn. 
 
 The light of the Sun is represented by the light 
 half-hidden by the boy's figure. 
 
 77 Portrait of Thomas Coombes (aged 108) of 
 
 Dorsetshire 
 By Hogarth. 
 
 Lent by F. M. Nicholls, Esq. 
 
 78 Portrait of Girl in mauve dress 
 By Gainsborough. 
 
 Lent by Lieut. -Col. Croft-Lyons. 
 
84 Upper Gallery 
 
 79 Portrait of Henry, Lord Holland 
 Lent by the Rt. Hon. the Earl of Ilchester. 
 
 This portrait represents Henry, First Lord Holland, 
 a distinguished statesman, paymaster of the forces, 
 and an indulgent father to his still more celebrated 
 son, Charles James Fox. 
 
 80 II Gardino del Lago — Villa Borghese, Roma 
 By William Marlow. 
 
 Lent by Fred. A. White, Esq. 
 
 81 Portrait of David Garrick 
 By Gainsborough. 
 
 Lent by H. P. Cunliffe, Esq. 
 
 Legitimate drama disappeared until Garrick began 
 to act Shakespeare at the Goodman's Fields Theatre. 
 Gay's tc Beggar's Opera," (see No. 60), had had a 
 success in 1728, Lavinia Fenton taking the part of 
 ' Polly.' She received only 30/- a week, but won 
 the Duke of Bolton as a husband. 
 
 Though Covent Garden Theatre was built in 1731, 
 the opera of the time was too artificial for the public. 
 Handel himself failed in making it a success, and 
 initiated the oratorio. 
 
 The drama suddenly awoke to an inexplicable 
 brilliance about 1770. Garrick did much towards 
 this, but Goldsmith's plays C£ She Stoops to Conquer," 
 and the <c Good Natured Man," and Sheridan's 
 " School for Scandal," " Critic," and " Rivals," 
 plays as charming as they are great, were a more im- 
 portant factor still in this revival. 
 
 82 Landscape — View of a Port 
 By J. C. Ibbetson. 
 
 Lent by A. Kay, Esq., F S.A. 
 
 82A Family Group 
 By Zoffany. 
 
 Lent by W. C. Alexander, Esq. 
 
 83 The Country Doctor (portrait of Dr. Villiere, 
 
 of Worplesden, Surrey) 
 By I. Russell, R.A. 
 Lent by the Rev. C. P. Jones. 
 
 This is a portrait of Samuel Villiere, doctor at the 
 village of Worplesdon, near Guildford, Surrey, of 
 which town Russell was a native. The doctor is 
 depicted in walking attire, holding a large bottle of 
 medicine in one hand with a label attached. 
 
 The prescription thereon vividly illustrates the 
 drastic "kill or cure " methods in vogue among the 
 disciples of iEsculapius at that time. Signed and 
 dated J. Russell, R.A. t 1793. 
 
 84 The Rivals 
 By R. Smtrke. 
 
 Lent by the Corporation of the City of London. 
 
 85 Horace Walpole 
 By Zoffany, 
 
 Lent by A. Kay, Esq .., F.S.A. 
 
Upper Gallery 85 
 
 86 Portrait of the Artist 
 By Hogarth. 
 
 Lent by Sir Charles Turner, K.C.I.E. 
 
 87 Figures and Cattle at a Stream 
 By B. West. 
 
 Lent by M. H. Colnaghi, Esq. 
 
 87A Moravian Woman playing Piano 
 Lent by Miss L. E. Broadwood. 
 
 88 Lord Clive receiving the Grant of Money which 
 
 was applied to establish " Lord Clive's 
 Fund 
 By E. Penny, R.A. 
 
 Lent by the Secretary of State for India. 
 
 Clive began life as a writer in the employ of the 
 East India Company. When Bourdonnais seized 
 Madras for the French in 1746 Clive took refuge at 
 Fort St. David. In the war against the schemes of 
 Dupleix Clive achieved renown by the capture and 
 defence of Arcot in 1751. Soon after ill health drove 
 him home, but in 1756, when Surajad Daulah com- 
 mitted the outrage of the Black Hole, Clive was back 
 again at Madras and promptly sailed to Calcutta to 
 exact compensation. Clive soon after, quarrelling 
 with Surajad Daulah, owing to an attack made on 
 the French, which Surajad Daulah resented, with 
 3,000 troops defeated the Bengal army of 50 000 at 
 Plassey and laid the foundation of British rule in India 
 just 100 years before The Mutiny. Clive imitated 
 Dupleix in playing off one candidate against another 
 for the Indian principalities, and obtained large grants 
 of land from Mir Jafar, Surajad Daulah's rival. In 
 1758 Clive was made the first Governor of Bengal and 
 soon after defeated both the future Mogul Emperor 
 and the Dutch. In 1765 Clive returned to India after 
 four years at home, as Governor of Bengal for the 
 second time, determined to purify the Company's 
 service by granting reasonable salaries and prohibiting 
 illicit gains, and to secure the reality of territorial 
 power while admitting the nominal power of the 
 Mogul Emperor, he carried out his plans in spite of 
 opposition. Thus, before leaving India for the last 
 time in 1767, Clive established British rule in India on 
 a sure foundation. 
 
 89 Sketch for Nero 
 By Haydon. 
 
 Lent by H. Fairclough, Esq. 
 
 The spirited sketch of Nero playing while Rome 
 burned, is by another Devonshire man, whose erratic 
 genius hardly justified the opinion the painter held 
 of it. Disappointed in his efforts to secure support 
 and patronage for his too ambitious schemes, he 
 finally committed suicide. That Haydon had very 
 genuine talent is beyond doubt, but it was rather as 
 a personality than as an artist. 
 
86 
 
 Upper Gallery 
 
 89A Comtesse de Lally-Tollendal (nee Halkett) 
 
 (1785) 
 
 By J. Brown. 
 
 Lent by Miss Halkett. 
 
 go Lord Heathfield 
 By Reynolds. 
 
 Lent by the Corporation of the City of London. 
 
 Lord Heathfield is represented holding the key of 
 the fortress he defended so well. 
 
 In the memorable siege of Gibraltar by the Spaniards 
 1779 — 83, when the defence was conducted by Gen. 
 Elliot, afterwards Lord Heathfield, relief was carried 
 to the place by Admiral George Darby in April, 1781, 
 and not again until Lord Howe, in the face of a strong 
 force of the enemy, succeeding in reaching the harbour 
 with a year's supplies in October, 1872, thus render- 
 ing the greatest service to his country. 
 
 91 Handel 
 
 By Hudson. 
 
 Lent by The Bodleian Library, Oxford. 
 
 Handel (1685) was the son of a surgeon at Halle, in 
 Saxony. After instruction from Lachan, organist at Halle 
 Cathedral, he visited Italy and found Italian music in 
 consonance with his own ideals. His success was due to 
 his happy combination of German and Italian music. 
 
 In 1709 he became Court Musician to the Elector at 
 Hanover, and visited England in 1710. Italian opera per- 
 formed by travelling companies had reached England in 
 1706 when " Arsinoe 5} was performed at Drury Lane. 
 Handel wrote " Rinaldo 55 foi the Haymarket in fourteen 
 days, and achieved a popular success, and he decided to 
 settle in England where music had practically died out 
 owing to the effects of the Civil War and the Puritan move- 
 ment. 
 
 In 1721 Handel was appointed Conductor of a new 
 Italian opera instituted by some of the nobility, and com- 
 posed many operas on the artificial Italian model. Private 
 quarrels brought this attempt to grief in 1738. Handel 
 then took the King's Theatre with Heidegger, and com- 
 posed more operas. Later he took Covent Garden, having 
 quarrelled with the popular singer Senesino. All his 
 schemes failed, and in 1737 he fled to Aix-la-Chapelle, a 
 bankrupt. Handel then devoted himself to oratorio sacred 
 music, not for church use, but for performance in a theatre. 
 He at once achieved a success, and between 1739 and 1751, 
 produced " Saul, 35 " The Messiah," " Samson," and many 
 others. His success was remarkable considering the noble 
 seriousness of his art, but his influence through his oratorios 
 has raised British taste in music far above the level it has 
 ever reached in art. 
 
 91 a Portrait of William Hunter 
 By Zoffany. 
 
 Lent by the Royal College of Physicians. 
 
Upper Gallery 87 
 
 92 Rough Water — shipping boats in foreground 
 
 and men-of-war in middle distance 
 
 \/ By Jock Wilson. 
 
 Lent by M. H. Colnaghi, Esq. 
 
 93 Portraits of Dibdin, his second wife, and 
 
 daughter 
 
 By ZOFFANY. 
 
 Lent by Sir H. Bulwer, G.C.M.G. 
 
 The popular song writer, with his second wife. 
 The instrument is a spinet. The only representation 
 of a spinet in the collection. Dibdin appears, in an 
 old playbill of the " Beggar's Opera " (May 16, 
 1767), to have accompanied Miss Brickler on a new 
 instrument. 
 
 94 John Smoaker (Bathing-man to George IV) 
 By John Russel. 
 
 Lent by the Rev. C. P. Jones. 
 
 Old Smoaker was a well-known character at Brighton 
 during the latter half of the eighteenth century, and 
 was employed to superintend the bathing operations 
 and to teach the art of swimming to the Prince of 
 Wales (afterwards George IV.) during his residence 
 at the Pavilion in that town. The Prince took a 
 great fancy to his instructor, and commissioned 
 Russell to paint a portrait of him as well as of his 
 female companion Martha Gunn, who assisted him 
 in the management of his business. These pictures 
 are now in the Royal Collection at Buckingham 
 Palace, and of one of these the picture now exhibited 
 is a replica. Besides their portraits the couple are 
 remembered in the verse of an old Brighton song 
 which ran — 
 
 ** There are plenty of dippers and jokers 
 
 And salt water rips for your fun ; 
 The King of them all is Old Smoaker, 
 
 The Queen of them dear Martha Gunn." 
 
 95 Amphitrite 
 
 By Thomas, after Stothard. 
 Lent by Mrs. Martin H. Colnaghi. 
 
 Amphitrite was one of the Nereids or sea-nymphs 
 whom Poseidon, the God of the Sea, espoused. She 
 became the mother of the Tritons, whom we see 
 sporting around her. 
 
 96 Lady at Spinet 
 By Highmore. 
 
 Lent by R. A. Pfungst, Esq. 
 
 Joseph Highmore (1692-1780) was the nephew of 
 Thomas Highmore, Sergeant-Painter to William III., 
 and later the master of Thornhill. 
 
 He studied in Kneller's class and painted historical 
 subjects and portraits with a certain slightly wooden 
 vivacity and predilection for the flat broad forehead 
 that Holbein noted in Mary Tudor. His Duke of 
 
88 
 
 Upper Gallery 
 
 Richmond with three Esquires,' is at Goodwood, and 
 his ■ Hagar and Ishmael 1 at the Foundling Hospital. 
 In 1761 he retired and took to literature. 
 The instrument is, strictly speaking, a harpsichord. 
 The number of musical instruments which appear in 
 these eighteenth century pictures is a fair index of 
 the large part music played in the life of the time. 
 
 97 The Scandal 
 
 By R. Smirke, R.A. 
 
 Lent by the City of Nottingham Art Museum. 
 
 j 98 Cicero at his Villa 
 By R. Wilson. 
 
 Lent by W. G. Rawlinson, Esq. 
 
 99 Portrait of the Princess Amelia 
 By Reynolds. 
 
 Lent by Messrs. P. & D. Colnaghi. 
 
 100 Scene from " Much Ado About Nothing " 
 By Rev. W. Peters. 
 
 Lent by Max Michaelis, Esq. 
 
 ^ The Rev. Wm, Peters painted with a spirited vi- 
 vacity rather surprising in a divine, even of the 18th 
 century. The scene from ( Much Ado About Nothing ' 
 shows how little the Georgians thought of accuracy 
 in dress in plays of other days. 
 
 101 Peasant Girl 
 By Barker. 
 
 Lent by A. Kay, Esq., F.S.A. 
 
 102 Windsor Castle 
 By S. Reynolds. 
 
 Lent by Fred. A. White, Esq. 
 
 This beautiful landscape of Windsor Castle is by 
 Samuel Reynolds, whose work as an engraver is 
 better known to us than his oil paintings. 
 
 103 Lady Wheatley (wife of Maj.-Gen. Sir Henry 
 
 Wheatley, C.B., G.C.H.) 
 By Sir T. Lawrence. 
 Lent by Col. M. J. Wheatley, C.B. 
 
 A very - beautiful and brilliant portrait in 
 Lawrence's characteristic style. 
 
 Thomas Lawrence (1769-1830) was a born painter, 
 but he seems to have lacked the mind and the taste to 
 govern his art. Lawrence and Hoppner both show 
 degeneration from their great predecessors, but in 
 curiously different ways. Hoppner was always 
 refined. In early life he caught up the mantle of Sir 
 Joshua Reynolds so skilfully that he was almost a 
 second Sir Joshua in some of his best portraits, like 
 that of c Mrs. Gwyn,' but he had not a dominant, first 
 hand genius of his own, and when Sir Joshua died, 
 Hoppner vacillated somewhat between an unconscious 
 assumption of Lawrence's clever, rather flashy effects 
 and his own predilection for something, he scarcely 
 
Upper Gallery 89 
 
 knew what, poetic and picturesque. Hoppner is 
 indeed the originator of a not wholly healthy influ- 
 ence in 19th century art. 
 
 Lawrence was a stronger, abler man, with a won- 
 derful gift for paint and a trick for catching like- 
 nesses, though his satins are almost too satiny, his 
 smiles too artificially vivacious, the hair of his sitters 
 too glossy. 
 
 Both painters knew how to draw when they liked, 
 but both drew badly of set purpose on occasion. 
 
 104 Too little Care or " The Profligate 
 
 * Punished " 
 By E. Penny, R.A. 
 Lent by the Misses Lowndes. 
 
 Penny delighted in these subjects of domestic 
 1 genre. 3 The gouty sick man, who has wrecked his 
 own health by his evil courses, meets with little 
 attention from the careless servants who have 
 no affection for him. The one is drinking his wine 
 behind his back, the other scalds his leg while she 
 ' carries on 5 with the groom, and even the boy is seek- 
 ing to steal his purse. 
 
 105 Sir Robert Peel 
 By Sir T. Lawrence. 
 
 Lent by the Right. Hon. Lord Brassey, K.C.B. 
 
 This portrait of Sir Robert Peel as a young man, 
 shows the great talent of Lawrence at his very best. 
 
 Sir Robert Peel, the institutor of the police, be- 
 came the organiser of the modern Conservative party 
 in William IV. 's reign, and later the repealer of the 
 Corn Laws. 
 
 106 John Farr (pastel) 
 . By Vispre. 
 
 V Lent by the Lord Aldenham. 
 
 107 Portrait of Sir Thomas Reid 
 By Raeburn. 
 
 Lent by Mark Bannatyne, Esq. 
 
 108 Sketch of the Egremont Family Picture at. 
 
 Petworth 
 By George Romney. 
 Lent by Mrs. Bischoffsheim. 
 
 This picture is thought to be the sketch by 
 Romney for his portrait group of the Egremont 
 family. The reclining figure is the mother of the 
 four children. Her name was Miss Ayling. The 
 boy in red became, later, Lord Leconfield ; the 
 second boy, General Wyndham ; the elder girl, Mrs. 
 King ; and the baby, Lady Burrell. 
 
 This picture was in the possession of Mr. Sockett, 
 the Rector of Petworth, and at his son's death it 
 was sold for ^5. 
 
 In this sketch Miss Ayling is represented with a 
 face like Lady Hamilton's. In the finished picture 
 at Petworth the face is an actual portrait of Miss 
 
go Upper Gallery 
 
 Ayling, and she is represented lying full length on 
 the carpet. These differences from the picture here, 
 and the fact that the canvas here is joined, point to 
 the picture here being a sketch for the Petworth pic- 
 ture rather than a copy of it. 
 
 109 Portrait of a Lady . 
 
 By Maria Cecilia Cosway. 
 Lent by A. Kay, Esq., F.S.A. 
 
 110 Portrait of Mrs. De La Vaux 
 
 By ZOFFANY. 
 
 Lent by the Rev. G. M. Livett, F.S.A. 
 
 in Small Full-length Study 
 
 By Raeburn 
 
 Lent by A. Kay, Esq., F.S.A. 
 
 112 Two Sisters — Mary and Louisa Harris 
 By Rev. W. Peters. 
 
 Lent by Max Michaelis, Esq. 
 
 113 Sir Peter Halkett 
 By Allan Ramsay. 
 
 Lent by Miss Katharine Halkett. 
 
 This portrait shows us what an excellent painter 
 Allan Ramsay (1713-1784) could be when he chose. 
 This commercial turner-out of ' Georges ' and ' Char- 
 lottes ' at £10 each had a fine gift for painting, and 
 ought to have felt some shame at not displa3 ; ing it* 
 more frequently. Ramsay was successful as a Court 
 painter, and seems to have been a man of intelligence 
 and culture. Dr. Johnson said of him — "You will 
 not find a man in whose conversation there is more 
 instruction, more information or more elegance. 
 
 114 Portraits of William Macartney, M.P., his wife, 
 
 and daughter 
 Zoffany. 
 
 Lent by the Right Hon. Wm. Ellison Macartney. 
 
 1 1 5 Henry Kirk White 
 By Hoppner. 
 
 Lent by the City of Nottingham Art Museum. 
 
 /1 1 6 Landscape 
 
 By R. Wilson. 
 
 Lent by W. Barclay Squire, Esq. 
 
 117 Portrait of Miss Ramus 
 By George Romney. 
 
 Lent by the Hon. W. F. D. Smith, M.P. 
 
 118 Family Group 
 By Zoffany. 
 
 Lent by William Asch, Esq 
 
 The painting of the lady's shot-silk dress is perfect. 
 Zoffany excelled in such rendering of textures. His 
 favourite black boy, who appears even in his picture 
 of " Christ and the Disciples,' 5 at Brentford, is here 
 introduced. The' sloping grouping Zoffany affected 
 is here well illustrated. 
 
Upper Gallery 
 
 9i 
 
 119 Anne, daughter of Robert Hucks 
 
 By Hudson. 
 
 Lent by the Lord Aldenham. 
 
 A portrait by Hudson, the master of Reynolds, 
 showing the stiff, limited style prevailing in England 
 before the great era of portraiture. 
 
 Thomas Hudson (1701-1779), was born in Devon- 
 shire, the native county of Reynolds and Haydon, in 
 1701. He was a pupil and son-in-law of Jonathan 
 Richardson, and became the master of his fellow 
 countryman, Reynolds. He represents the tradition 
 of English portraiture before the great period, and his 
 fame was eclipsed by that of his pupil even before he 
 retired to collect drawings at Twickenham. 
 
 120 Farmyard interior, with peasants and animals 
 By J. C. Ibbetson. 
 
 Lent by M. H. Colnaghi, Esq. 
 
 121 Mary, Lady Holland 
 
 By Sir Joshua Reynolds. 
 
 Lent by the Rt. Hon. the Earl of Ilchester. 
 
 A very fine portrait of Mary, Lady Holland, a 
 distinguished personality in the 18th century. The 
 beautiful pink tones of the dress harmonize well with 
 the brown tone of the picture. 
 
 122 Boy 
 
 By Russell. 
 
 Lent by A. Kay, Esq., F.S.A. 
 
 123 Scene from "Tom Jones " 
 By Stothard, R.A. 
 
 Lent by H. B. Wheatley, Esq. 
 
 124 Portrait of a Lady 
 (Romney School). 
 
 Lent by Edgar Speyer, Esq. 
 
 125 Landscape — Italian River Scene 
 Jf By R. Wilson. 
 
 Lent by Fred. A. White, Esq. 
 
 126 Portrait of Gifford 
 By. Hoppner. 
 
 Lent by John Murray, Esq. 
 
 William Gifford, the distinguished literary critic 
 of the later part of the 18th century was the personal 
 friend of Hoppner, who painted him twice. 
 
 127 The Harlot's Progress 
 By Hogarth. 
 
 Lent by the Earl of Rosebery, K.G. 
 
 In these two scenes from the Harlot's Progress 
 (the others were burnt in the fire which destroyed 
 Beckford's possessions at Fonthill), we have Hogarth 
 at his very best as a painter. Though they perhaps 
 lack the breadth of the " Green Room 51 or " Calais 
 Gate," they are glowing in colour and perfect in con- 
 dition. 
 
92 Upper Gallery 
 
 Hogarth (1697-1764) was born in Bartholomew 
 Close, the son of a literary hack of Westmoreland 
 extraction. He was apprenticed to a silver-plate 
 engraver, and engraved his own business plate in 
 1720. From business cards and crest engraving he 
 set himself to provide the public with the satirical 
 prints it bought so freely in those days, and in 1724 
 published his " Taste of the Town, 55 ridiculing Kent, 
 the fashionable universal artistic genius of the day. 
 He followed this with the illustrations to Hudibras. 
 Thornhill, who hated Kent, took Hogarth into his 
 studio and taught him the method of oil painting of 
 Lely. 
 
 Hogarth had insufficient training, as he himself 
 admitted, and his own generation, which revelled in 
 the vigour of Copley, and the vapid prettiness of 
 West, never appreciated his great and original gift 
 in painting. Fortunately for Hogarth he could rely 
 on the popularity of his engravings from his own 
 pictures, and the engravings from the various ' Pro- 
 gresses' 5 provided him with an income in spite of 
 his difficulty in selling the original pictures. 
 
 128 Portrait of a Lady 
 attributed to Hogarth. 
 
 Lent by W. C. Alexander, Esq. 
 
 129 The Marriage of Stephen Beckingham to 
 
 his first wife, Mary Cox of Kidderminster 
 By Hogarth. 
 
 Lent by William Deedes, Esq. 
 
 He married secondly Catherine Corbet, who was 
 an ancestress of the Deedes, hence the reason of 
 their possession of the picture. 
 
 Hogarth is here somewhat perfunctory. A fashion- 
 able wedding in a Georgian Church did not particu- 
 larly interest him. The head of the officiating clergy- 
 man, and those of the parents, have his customary 
 vigour. He introduces the quaint conceit of cupids 
 discharging a cornucopia of fruit and flowers on the 
 happy pair. 
 
 130 Wesley Preaching on a Green 
 
 By LOUTHERBOURG. 
 
 Lent by Col. Tipping. 
 
 A most effective and racy composition, a picture 
 brilliant in technical ability and yet a work cold 
 and lacking as this painter's works are apt to be. 
 There is a story that the great Turner tried once 
 to pry into De Loutherbourg's technical secrets — 
 looking at a picture so able and yet so cold as this 
 one finds oneself wishing that clever De Loutherbourg 
 had spent some time prying into the emotional secrets 
 of his incomparably greater brother artist, for our 
 mind carries away scant food for thought from what 
 our eyes have he^e seen. 
 
Upper Gallery 
 
 93 
 
 131 The Harlot's Progress 
 By Hogarth 
 
 Lent by the Rt. Hon. the Earl of Rosebery. 
 
 The lady has tired of her admirer, and in a fit of 
 ill-temper pushes over his table with the costly china 
 and silver, to the horror of the bedizened ape and 
 the black attendant. 
 
 132 Portrait of Sarah Malcolm 
 By Hogarth. 
 
 Lent by Sir Frederick Cook, Bart. 
 
 Sarah Malcolm was executed for murder on March 
 7> I 732. 
 
 For all his strong humours Hogarth, like all great 
 artists, was quite humble and unbiassed in the pre- 
 sence of a sufficiently interesting model, and no 
 portrait could have a more sincere unaffected look 
 than this. 
 
 133 Miss Stevens, Actress 
 
 /jT By ZOFFANY. 
 
 V Lent by Sir Charles Tennant, Bart. 
 
 134 Coast Scene 
 
 By George Morland. 
 Lent by F. Dodd, Esq. 
 
 135 The Artist's Wife 
 By George Romney. 
 
 Lent by G. H. Shepherd, Esq. 
 
 A very charming, if slightly stiff, early portrait, by 
 Romney, of the wife to whom he paid so little atten- 
 tion. 
 
 136 Cattle and Sheep 
 By Ward. 
 
 Lent by A. Kay, Esq., 
 
 137 Sir Caesar Hawkins, Bart., Sergeant-Surgeon 
 
 to George II, Master of the Corporation 
 of Surgeons (b. 17 11, d. 1786) 
 By Hogarth. 
 
 Lent by the Royal College of Surgeons. 
 
 138 Portrait of a Lady 
 
 By ZOFFANY. 
 
 Lent by Edgar Speyer, Esq. 
 
 139 Mrs. Jordan as Hippolyta in " She Would and 
 
 She Would Not " 
 By Hoppner. 
 
 Lent by Sir Edward Stern. 
 
 A spirited portrait of the celebrated actress, Mrs. 
 Jordan, in her part of ' Hippolyta.' She was born 
 near Waterford in 1762. 
 
 140 Children of the Fourth Duke of Devonshire 
 
 By Hogarth. 
 
 Lent by the Duke of Devonshire. 
 
 This picture seems to have more of Zoffany than of 
 Hogarth in its soft, rounded outlines, and sloping 
 grouping. The flat hat lying on the ground is the 
 counterpart of those in the case downstairs. 
 
94 Upper Gallery 
 
 141 The Duchess of Rutland 
 By the Rev. W. Peters. 
 Lent by the Duke of Rutland. 
 
 142 The Enraged Musician 
 By Hogarth. 
 
 Lent by the Visitors of the University Galleries, 
 Oxford. 
 
 A monochrome for the " Enraged Musician." The 
 details and figures are, in a few cases, the same as 
 those in the ' Itinerant Musician,' by Hogarth, on 
 the opposite wall, but by no means all, and the posi- 
 tion is inverted in the opposite picture. 
 
 143 Portrait of Miss Benedetta Ramus 
 By George Romney. 
 
 Lent by the Hon. W. F. D. Smith, M.P. 
 
 144 William, Fifth Son of the Right Hon. Sir John 
 
 Sinclair (afterwards Rector of Pulborough 
 and Prebendary of Chichester) 
 By Raeburn. 
 
 Lent by the Archdeacon of London. 
 
 William Sinclair, 5th son of the Rt. Hon. Sir John 
 Sinclair, by the Hon. Diana Macdonald. Born 1804 ; 
 died 187S. Afterwards Captain in the Madras Cav- 
 alry ; President of the Oxford Union Society ; Vicar 
 of St. George's, Leeds ; Rector of Pulborough (Sussex), 
 and Prebendary of Chichester Cathedral. 
 
 145 Portrait of Mrs. Little, wife of Colonel Little 
 By Mercier. 
 
 Lent by the Corporation of York. 
 
 146 Supper Party 
 By M. Laroon. 
 
 Lent by Mrs. Martin H. Colnaghi. 
 
 147 Portrait of Mrs. Reynolds (the Engraver's 
 
 wife) 
 By Hoppner. 
 
 Lent by Wm. A. Coats, Esq., 
 
 148 The Sharp Family on a Yacht on the Thames 
 
 at Fulham 
 By Zoffany. 
 
 Lent by G. E. Lloyd Baker, Esq. 
 
 This picture is a curious commentary on gloomy 
 theories of the awful state of society in the 18th 
 century. A pleasanter, more admirable family 
 group could not sit on the deck of the Calais steamer 
 on their way to acquire fresh vigour and admire 
 nature in Switzerland at the beginning of our superior 
 20th century. 
 
 Every member looks ju«t what they ought to be, 
 and in some cases the dress is strangely like our 
 modern dress. The much abused Church of Georgian 
 days makes a good plea for itself in the person of 
 the worthy and venerable Dr. John Sharpe. The 
 musical instruments are of great interest- The harp- 
 
Upper Gallery 95 
 
 sichord, the serpent, the oboe, the double flageolet, 
 held by the lady on the right, and the Paduan 
 Theorbo. Zoffany, never strong at composing, 
 has obviously given up the attempt with such a large 
 family all resolved to get into his canvas. 
 
 The church is said to be Fulham, but if it is Fulham 
 and not Twickenham or Chiswick, the appearance of 
 the riverside and buildings must have greatly changed. 
 
 No. i. — Dr. John Sharpe; born about 1693; Pre- 
 bendary of Durham ; Archdeacon of Northuberland ; 
 restored and furnished Bamborough Castle for the 
 use of the Trustees of Lord Crewe's Charity; 
 Hebraist ; author of theological, antiquarian, and 
 other works; died 1758. 
 
 No. 2. — His wife Mary, daughter of Dr. Dering, 
 Dean of Ripon. 
 
 No. 3. — Anna Jemima, their only child (in green 
 and pink). 
 
 No. 4. — William Sharpe (steering), for whom the 
 picture was painted ; Surgeon ; eminent for his skill 
 and for his resistance to the performance of unneces- 
 sary operations; declined a baronetcy offered him by 
 George III for his successful attendance on the 
 Princess Amelia. 
 
 No. 5. — His wife, daughter of Thomas Barwick, 
 Esq. (blue habit). 
 
 No. 6. — Mary, his only child (with a kitten). 
 
 No. 7. — James Sharp (with a serpent — a musical 
 instrument) ; a skilful engineer. 
 
 No. 8. — His wife, daughter of John Lodge, Esq. 
 (in lilac). 
 
 No. 9. — Catherine, their only surviving child (pink 
 and black feather). 
 
 No. 10. — Mrs. Prowse, widow of George Prowse, 
 Esq., of Wichen Park, Northamptonshire (at the 
 harpsichord). 
 
 No. 11. — Judith Sharp, her sister (with a lute). 
 
 No. 12. — Frances Sharp, her youngest sister (in 
 blue). 
 
 No. 13. — Granville Sharp (a double flageolet in 
 his right hand). 
 
 A boatmaster, cabin boy, and Zoffany's favourite 
 dog. 
 
 149 Mrs. Mills, of Diss 
 By R. Morton Page. 
 Lent by Mrs. BischofTsneim. 
 
 This portrait of Mrs. Mills, of Diss, in Norfolk, 
 painted by Page, is supposed to be the only painting 
 of a Quakeress in existence, the society disapproving 
 of the art. 
 
 150 A Supper Party 
 By Laroon. 
 
 Lent by Martin H. Colnaghi, Esq. 
 
Upper Gallery 
 
 Portrait of Ann Hogarth 
 
 By Hogarth. 
 Lent by Miss Reid. 
 
 Too Much Care 
 
 Here we have Penny's lesson of the evils of too 
 much care and attention on the part of the relatives 
 of the sick lady, who crowd and stifle her with their 
 attentions. The canopied four-post bed, with its 
 inevitable stuffiness, alone would account for the poor 
 lady's condition. 
 
 Portrait of the Artist 
 By Wright (of Derby). 
 Lent by Sir C. Turner, K.C.I.E. 
 
 Interior 
 By T. S. Good. 
 Lent by C. T. D. Crews, Esq. 
 
 James St. Aubyn, of St. Michael's Mount, 
 
 Cornwall 
 By Edridge (1820). 
 
 Lent by the Rev. J. Hector de Courcelles. 
 
 Lady Redesdale 
 By Hoppner. 
 
 Lent by H. S. Vade Walpole, Esq. 
 Portraits of Earl Cowper, Countess Cowper, 
 Mr. & Mrs. Gore and the two Misses Gore 
 By Zoffany. 
 
 Lent by the Countess Cowper. • 
 
 Case I.— RELICS. 
 Lent by Mrs. Peake and Miss Halkett. 
 
 Case II.— MINIATURES. 
 
 Lent by the Lord Aldenham, Miss Mary Hervey and 
 J. R. Richmond, Esq. 
 
 MUSICAL INSTRUMENTS. 
 
 159 (1) Clavichord 
 
 Lent by G. Morley, Esq. 
 
 (2) Harp 
 
 Lent by G. Morley, Esq. 
 
 (3) Harpsichord 
 
 Lent by H. Vivian Hamilton, Esq. 
 
 (4 & 5) Harpsichord and two early Pianos 
 
 Lent by Messrs. Broadwood. 
 
 (6) Piano 
 
 (Paintings by Angelica Kauffmann). » 
 Lent by Sir Walter Gilbey, Bart. 
 
 The Grand Pianoforte for the Concerts has been 
 generously lent by Messrs. Broadwood. 
 
 96 
 
 152 
 
 153 
 *54 
 155 
 
 156 
 
 PRINTED BY PENNY AND HULL, LEMAN STREET, E. 
 
/fa****,, Lr^ 
 
 ^AaTIjlv i^udX J<£ l6, 9t>. 
 
 ?<?, Pi- ?/, f^-j 
 
/^^, ^7v. 
 
 fr*™~»*s$, "hf^'ft? 'ft), <?b 
 
<f /ut^AV, t pt- *t. 
 
 , &6fa*uuhJti*K <M>, v *a 
 ^ r 
 
 '^O, ?6 . 
 
FREE LECTURES 
 ONCERTS OP 18th D CENTURy MUSIC 
 
 AT #.'P M. 
 
 r il 2 , Monday— 1 1 British Art in the 1 8th Cen t ur y . ' ' 
 
 y ; . " : / "Francis Dodd, Esq. 
 
 nil 4, Wednesday — "Mezzotints " (Lantern Illustrations). 
 
 Cyril Davenport, Esq , V D., F.S.A 
 
 jril 6, Friday, at 8.30 — Harpsicliord Recital with 18th Cen- 
 tury Songs. Vocalist *, Miss Paget. ?. 
 
 J, A. Fuller Ma it land, Esq., F.S.A. 
 Admission by Ticket to be ©btairfe&by application to the Director,- 
 n il 8, Sunday — Concert arranged by Miss Ruth Sandham 
 ' ' - and friends. , ^>J» •>> •• , ■/. V£$8HB 
 
 in-i'i 9, Monday — " Engl xsn Porcelain." / ^ r £? 
 
 - ' ' 1 V -R. L. Kobson, Esq. 
 
 pril 1 1 , Wednesday^-" Th^Eyo hi l ion of the Pianoforte with 
 Musical Illustrations on the Harpsichord" (Lan- 
 tern Illustrations) . ; ' George Rose, Esq. 
 Artistes: Mile. Olga'Laniszka ; Mrs-. George Cathie 
 and Mr. Ernest Kiver. ¥ ^M^Wfm 
 
 pril 18, Wednesday T^'^ftowstoft Porcelain" (Lantern 
 Illustrations). W. W. R. Sp^lman, Esq, 
 
 pril 20, Friday--jjB§^i^^ 1 \ •••i^^El^K^ 
 
 Frank Thistleton, Esq,, and Miss Sunderland. 
 
 pril 2>, Monday—Concert -Arranged by Miss Lucy Broad- , 
 wood. Violin/ Mr. Edwaid Chetham Strode; 
 Vocalist, Miss Vf Sal Yin ; Pianist, Miss Lucy 
 Broadwood. V*,*' ^f^%Wr^^ 
 
 pril 24/Tucsday-^ M *B'ookplat€s and their History.** 
 
 -4 iS^i^^m^tSBi George CV Peachlv. 
 
 pril 25, Wednesday— "Ptajtfng Cards " (Lantern Itlustriv 
 tiorisK '"; ^ , ; ' Alfred Whitman, Esq. 
 
 pril 25, Thursday — "Anson, the Circumnavigator" (Lan- 
 tern 11 Ins traiions). John Masrfield, Esq. 
 
 pril 27, Friday-—" Popular Mnsic of the Georgian Era " 
 »s^P?v (with iHtts^rfitidhs on the Serie^t/ Pipe an4„ 
 Tabor) The Rev. F. W. G.alpin. 
 Vocalist, Mrs. F. W. Gaipin. '^f^W^^ 
 londay — HisiQricarHarpsichord and Pianoforte 
 lecital. Herr J/H. Bcnav/itp:, (Pianist to H.R.H, 
 ess Fred-erica of Hanover). ;," 
 
 ay— " Hoppner," Horace Skipton, Esq. 
 y— "English Music of the 1 8th Centufy" 
 Concert by the ^Eoljan Ladies' , Orchestra, 
 Conductor, Miss Rosabel Watson. ' '^^-V';. 
 
 Sunday— Concert "h \ I . . * "; ': : ^^^SM 
 
 Frank ThistLeton, Eiq:, and Miss Sunderland. 
 
 Monday—" The Georg}*n Street." u / " 
 
 '"'(Mj^p;;^' ~4\. y. James. Bone, Esq. 
 
 Wednesday— 11 Staffordshire Pottery." 
 
 W^^mW^M^^^^S^^ - ^••Harland, Esq, 
 
The present Exhibitionwill be followed by Exhibiti 
 f ^Jewish Antiquities," 'Animals in Art,": and 
 Muhamniadan Art," during 1906 and 1907. Offers of 
 oans and assistance are earnestly solicited. Communi- 
 ations should be made to the Director at the Gallery 
 
 More - guides " for helping in taking small parties of j 
 
 hildren round the Exhibition in the morning hours 
 
 0-12— before the public are admitted, are much needed. 
 
 are those given by the lenders. 
 
 Contribu i^ns towards the expenses 
 which are necessarily heavy, are earn*