» %\)t iiopal 6allerp of Hampton Court 3|Uustrateti. Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/royalgalleryofhaOOIawe Cbe opal liaUerp Of ampton 3IUu0tratrt : QJ^cmg at) ©ieftmeaf Cafofogae of ff)e Cpicftttce nj ff) c Ciuccn’e Coffecfiot) at $at epaCace jDeecripfitfe, Q§»ogtap0tcaP anb CnficaP Wofce, (Ketfieeb ainted for the King. His daughter Artemisia, who excelled him in portraits, was treated with equal con- sideration. The visitor will not fail to observe the spirited portrait of her- self at her easel, painted for Charles I. It will be unnecessary to notice in detail all the other foreign artists who enjoyed the royal patronage. We may instance, however, some eight pieces by Poelemberg, “the sweet painter of little landscapes and figures," and one in particular of the children of the King and Queen of Bohemia, “as if they came from hunting," painted at Rhcnan, their hunting-box near the Hague; five or six architectural interiors by Stecnwyck ; two little land- scapes by Wouters ; several copies and adaptations by Van Bclchamp ; and the curious picture of Charles and his queen Henrietta Maria, and their little son Prince Charles, and the similar one of his sister Elizabeth, dining in public, by Van Hasscn, as pictures not to be passed over in a survey of the royal gallery at Hampton Court. But Charles, while thus generous to alien artists, was never backward in recognizing native talent when forthcoming. William Dobson, the excellent imitator and prottfg^ of Vandyck, who with characteristic generosity recom- mended him to the King, and whom he succeeded in the office of serjeant- painter to his majesty, had an ample patronage extended to him. His portrait with his wife’s, by his own hand, is over the door in the Public Dining Room. Another of King Charles’s English painters was Francis Barlow, whose signature may be found on two pieces of birds and fish hitherto ascribed to Bogdanc. And Peter Oliver, the miniature-painter, is a third native artist who is also represented here, not indeed by any of his own exquisite miniatures, but in an admirable portrait of him by Hanneman, another of the King’s painters, and an imitator of Vandyck. Introduction. xxix Of the painters who flourished abroad during Charles’s reign, but whom he did not succeed in attracting to England, there are in this collection some interesting specimens, of which a few are noteworthy on account of their rarity in England. Thus of Labrador, the Spanish painter of still-life, we have two or three pieces, though they have been heretofore incorrectly assigned to other painters ; of the Jesuit Seghers there are two flower-pieces of great merit; of “Velvet” Breughel and of Paul Brill, several delicate little landscapes ; of De Heem, some good still-life pieces ; of Roelandt Savery, two characteristic little landscapes ; of Mierevelt, among others, a charming portrait of “ Prince Rupert as a boy ; ” and of Snyders, a vigorous “Hunt of the Wild Boar,” “Dead Game and Fruit,” “Dogs on the Scent,” etc. It was not only, however, by favouring contemporary painters that King Charles showed his love for the fine arts : he was bent above all on gathering together a series of the works of the great Italian masters, which, besides shedding a lustre on his reign, should serve to direct the style and refine the taste of the artistic spirit, then nascent among the denizens of his beclouded kingdom. With this object, he not only made several minor purchases, but became at one bold stroke the proud possessor of one of the finest collections of paintings in the world. This was the acquisition, in 1628, of the magnificent gallery of the Dukes of Mantua. The history of that transaction is now so well known, by the publication, in Sainsbury’s Original Papers , of the letters of Daniel Nys, the King’s agent in Italy, who negotiated the purchase, that a brief reference to it will suffice. Nys, it seems, first suggested the sale to the Duke, who was involved in war and in want of money ; and knowing that he could count on the King’s regarding the contract with no niggardly commercial eye, made such an offer that the Duke at once closed with it. The exact amount agreed on has not been ascertained, but we may gather from Nys’s letters that it cannot have been much less than ^80,000 — the enormous (considering the relative value of money), but still inadequate sum, usually stated to have been paid. In this estimate we should probably include Mantegna’s “Triumph” and the marbles, which formed the subject of a separate purchase afterwards for ^10,500. (See page 274, where a detailed account of that acquisition is given.) Great was the astonishment and indignation of all the Princes of Europe, when they heard of what had been done, and how the invaluable treasures, which might have been theirs, were being shipped to England ; and so clamorous did the people of Mantua become, that the young Duke Vincenzio, who had in the meanwhile succeeded to the ducal throne, would gladly have bought them back again at any price. XXX Introduction. To refer in detail to what were the contents of that celebrated gallery would be foreign to the scope of these remarks ; but this will be a convenient place to give a brief survey of some of the best Italian pictures at Hampton Court, which were nearly all Mantua pieces, and which are among the few that were saved from the depredations of the Roundheads. First among these, the pictures of the Venetian school, in which this collection is particularly rich, claim our attention. The series may be appropriately begun with Giorgione’s beautiful “Shepherd with a Pipe,” the only genuine work of this supreme master in England — though it must be admitted that many of the best critics impugn its authenticity. Next, we may refer to Titian’s superb “ Portrait of a Man,” of his early Giorgionesque period, known about fifty years ago as “Aretine,” engraved two hundred and sixty years ago as “ Boccaccio,” and now called erroneously “Alessandro de’ Medici ; ” and to Lorenzo Lotto’s magnificent “ Andrea Odoni,” than which two portraits there are none finer to be seen in this country. Further, we should notice Palma Vecchio’s “ Portrait of a Young Woman,” in his third or “blonde” manner, his exquisite little “Holy Family with Saints,” a work of his middle or transition period, probably the best, and certainly the most characteristic example of this delightful master, whose works are so rare in England ; the elder Bonifazio’s fine “ Shepherds’ Offering,” and his “ Diana and Actaeon,” a representative work of his earlier style ; Tintoretto’s striking “ Portrait of a Knight of Malta,” his “ Esther before Ahasuerus,” and his grandiose composition of “The Nine Muses in Olympus,” the finest and most important work of the great Venetian in any of our public galleries ; an interesting specimen of that too often overlooked but excellent master of the Veneto-Brescian school — Savoldo ; and a characteristic little piece of refined genre from the brush of that charming late Venetian, Pietro Longhi. The important school of Ferrara-Bologna, also, is represented by several valuable examples, among others, one of Lorenzo Costa’s extremely rare portraits ; by Francia’s beautiful “ Baptism of Christ ; ” by Correggio’s sweet little “ Holy Family with St. James,” noticeable as a representative work of his early time, and particularly by three masterly portraits of that fascinating painter, Dosso Dossi, of whom Hampton Court can boast more fine and genuine examples than any other public gallery north of the Alps, with the exception of Dresden. Other Italian pictures worthy of special observation are, first of all, of course, Mantegna’s famous nine pieces of the “Triumph of Julius Caesar;” Marco d’Oggionno’s excellent little “Christ and St. John ;” Giampietrino’s “ St. Catherine,” and many others. Introdtiction. XXXI Such are a few specimens, whence an inadequate idea may be formed of that splendid collection of masterpieces which shone on the walls of King Charles’s palaces, at Whitehall, St, James’s, Somerset House, Greenwich, Nonsuch, Wimbledon, Oatlands, and Hampton Court. Scarcely, however, had they been arranged and catalogued, when the head of the royal virtuoso rolled on the scaffold at Whitehall. Having thus got rid of the monarchy, the Roundheads next set to work to dispose of the royal treasures. An inventory was accordingly made by order of the Parliament, with the appraisement of every possession of the murdered Sovereign ; not only the matchless paintings and sculptures, the costly tapestries and superb jewels, but even the furniture, the curtains from the windows, and the coverlets off the beds were to be included in the sale. Everything that had belonged to the late Charles Stuart, or recalled the splendours of his court ; everything that bore the impress of art, or be- tokened the influence of refinement, was to be brought to the hammer to gratify the spite of the coarse and sour fanatics. To them the paintings of Raphael and Titian, the marbles of the antique world, and the tapestries of Flanders ; the glorious gothic cathedrals, the baronial castles, and Tudor manor-houses were but works of worldly luxury and superstitious profane- ness. And being totally destitute of that philosophic tolerance, which enables people to admire aesthetically what is repugnant to their religious and moral prejudices, they hastened to sweep it all away. Besides selling Charles’s gallery, they gave orders that Hampton Court should be pulled down, and the ground sold in lots by auction ; and we hear of a man being hired at half-a-crown a day to break the painted glass in church windows ! Similar zeal was displayed here, for we find a news- paper of the time recording, with evident glee, how “ the superstitious images that were in the glass windows in the chapel ” of this palace “ were demolished according to the ordinance of Parliament, and order given for the new glazing them with plain glass,” — an order which, in spite of High Church revivals, remained scrupulously obeyed until a few years ago. Another order, of a like nature, that “all such pictures as have the representation of the Second Person of the Trinity, or of the Virgin Mary upon them, shall be burnt” was afterwards cancelled, in order that they might be sold to Popish Sovereigns — the cupidity that in- variably attends upon hypocrisy thus interposing to save to the world some of the noblest creations of human genius. The sale lasted on and off from 1648 to 1653, the pictures realizing alto- gether ,£38,000, those at Hampton Court, which were 382 in number, XXX11 Introduction. going for ^4,675 i6j\ Among these last are to be reckoned Mantegna’s “Triumph of Julius Caesar,” which, though valued at ^1,000, was saved by the interposition of Cromwell. Several minor pieces also, though nomi- nally sold to officers and servants of the household, to defray their wages, never left the walls of the palace, and have remained here ever since. Thus was dispersed a collection which was perhaps the finest in the world. The chief purchasers were the Sovereigns of Europe ; and the English tourist may now behold its spoils scattered through the galleries of the Louvre, of the Belvedere, of Dresden, and Madrid. A few pictures afterwards made their way back to the Royal Collection, and several have, after many vicissitudes, found a permanent resting-place in the National Gallery; but the great bulk of those masterpieces left these shores. never to return. While such were the dispositions of those in power, it is not surprising that an artist should hardly dare to show his head. But as the disorders of the Civil War became composed, and the Protector gathered round him something like a Court, a few portrait-painters found employment among the Parliamentary leaders, who, though they abominated art in general, were not free from the vanity of wishing to see themselves on canvas. Chief among these painters was Robert Walker, well known especially for his admirable likenesses of Cromwell. A very good portrait of himself is in the Public Dining Room. Lely, so successful afterwards in another line, also drew a portrait of Cromwell. With the return of the Stuarts (in illustration of which event the visitor may observe the curious Dutch painting of Charles II. embarking from Holland), the prospects of art showed some sensible improvement. But the times were not favourable for any decided revival. The traditions of the followers of Vandyck, from whom a genuine English school seemed at one time about to arise, had been lost in the gloom of Puritanism ; and the incipient native taste for the refined and the beautiful, which the unhappy Charles had laboured so assiduously to foster, had fled with the exiled cavaliers, who, when they returned to their native land, brought back instead the vulgar extravagances and meretricious trivialities of the French style. Nevertheless, some efforts were made by Charles II. to gather together the scattered remnants of his father’s artistic treasures. For this purpose com- missioners were appointed, who succeeded in recovering by purchase or compulsion a few good pictures, though most of the best had gone far beyond their reach. At the same time, the States of Holland paid the re- stored monarch a graceful compliment, by purchasing and presenting to him Introduction. xxxm the collection of a Dutch virtuoso, Van Reynst, who had been a large purchaser at Charles I.’s sale. Several of the finest pictures now at Hampton Court formed part of the “ Dutch Gift ” as it was called. But in truth the merry monarch and his courtiers cared little for the fine arts, except so far as they would minister to their frivolous and licentious fancies. Their aspirations were confined to securing a painter who should faithfully portray the society in which they lived. Such a painter they found in Lely, who readily turned from drawing the harsh features of the sturdy Commonwealth men and depicting the warts on Cromwell’s nose, to the more congenial occupation of transferring to glowing canvas the sensuous contours, and the languorous expressions of the frail but beautiful nymphs, of that voluptuous Court. One of his first performances in that line, was the painting of his famous series of “ Beauties,” whom we can now see all together here, as they must often have been assembled in old days in the Presence Chamber. The imperious Lady Castlemaine, with her dis- dainful lips, her dark flashing eyes, her rich black hair ; the transcendently beautiful Miss Stewart, with her figure of ineffable grace, and her face of entrancing loveliness ; Mrs. Hyde, with her half-closed eyes melting in a dreamy tenderness ; Lady Falmouth, with her cheeks purpling with the blushes that suffused her lovely face at the slightest word. Here, too, we can see the famous Mrs. Middleton, the great “ professional beauty ” of those days, whose picture was painted over and over again by all the fashionable artists, whose engraved portraits, in every attitude and under every guise, were sold all over the town ; who was followed by a crowd whenever she walked in the park, who drew every eye upon her when she went to the play, and who even created a flutter of excitement when she came to church, as honest Pepys faithfully records. Here also are the two Miss Brookes — “ toutes deux faites pour donner de l’amour et pour en prendre ” — one afterwards Lady Whitmore, and the other the unfortunate Lady Denham ; and above all we can gaze on Lely’s masterpiece of por- traiture, the picture of the matchless Comtesse de Grammont, “ La Belle Hamilton,” whose delicately-moulded features, beautiful neck, dear little mouth, and brilliantly-expressive eyes will be celebrated through all time in the charming pages of De Grammont. Besides one or two more portraits by Lely, among which should be ob- served that of Anne Hyde, Duchess of York, there are a few beauties by other painters : the Duchess of Portsmouth, with “ her childish simple baby face,” as Evelyn observes, by Varelst, and the modest and gentle Mrs. Knott, that “ soft, believing, inexperienced maid,” Miss Lawson, and the beautiful Duchess of Somerset, by Wissing. The visitor will also take par- e 34 Royal Gallery of Pictures. James II.’s catalogue, No. 515, “ A man’s picture with a red girdle, his hand upon his breast,” it is attributed to Giorgione. “ Superb in force and grasp of character. There is something, however, especially in the landscape background, suggesting less a true Venetian than a Northern hand schooled to paint in the Venetian style.” ( Claude Phillips .) Part of the left side of the canvas appears to be new, and to be painted by a different hand from the rest of the picture. 93 The Vision of St. Francis (95) Carlo Maratti. The Madonna seated in clouds, and attended by angels, has appeared to the saint in a vision. He holds the Infant Jesus in his arms, and bends over Him reverentially. 94 Head of an Old Man (378) Bassano. He is seen to the elbows, and w'ears a furred coat and small plaited linen ruff. Perhaps this is a portrait of Bassano, and the one mentioned in James II.’s cata- logue, No. 125 : “ Bassan’s picture, in a ruff and fur gown, done by himself.” This is attributed to Jacopo Bassano, the father, but in “Mary Logan’s ” opinion it is really by his son Leandro, and “ one of the strongest portraits he ever painted. It is full of life and vigour, and almost equal to Velasquez in strength and mastery of conception. The paint is hard, but beautifully clear and forcible.” 95 The Good Samaritan (363) Jacopo Bassano. The Samaritan is bandaging the leg of the man, who lies on his back. Behind them is a donkey, and to the right the Levite engaged in sanctimonious prayer, and a dog looking at them. On canvas, 2 ft. 1 in. high by 2 ft. 9 m. wide. Behind is a label : “ Bassan appointed by his Maj tie for y e Cabinett-Rooine at St. James's. Thys 18 daye of May e 1630.” The following entry in the inventory of Charles I.’s effects doubtless refers to this picture : “ Hampton Court. The Samaritane, by Old Bassanoe. Sold to Mr. Turbridge, 30th April, 1650, for £ 22 .” It is afterwards found in James II.’s catalogue, No. 121. This subject was often repeated by Bassano — one of the best versions is that in the National Gallery. 96 Portrait of a Venetian Gentleman (416) Tintoretto? Bust, in black, with a small collar. He has black hair, moustache, and beard. Here again “ Mary Logan ” sees the hand of Leandro Bassano. 97 A Holy Family (131) Dosso Dossi. This was in Charles I.’s collection and is described in his catalogue, page 138, as : “A great piece of Our Lady and Christ playing with a Cock in his arms ; Joseph and another saint standing by, in a landscape. A Mantua piece. Done by Dosso.” And it is doubtless identical with a picture entered in the catalogue of the Duke of Mantua’s pictures made in 1627 : “Uno quaaro grande con la Madonna, il puttino che scherza con un gallo, et SS. Pietro et Paolo” — which was valued at 360 lire. We find it also in the Commonwealth inventory, folio 203 : HOLY FAMILY. BY DOSSO DOSSI. From a photograph by Spooner a) id Co. XXXVI Introduction . we say of those of Queen Anne, George I., and George II., when art touched the lowest depths of degradation? An idea of the taste of that time may be formed by glancing a moment at some of the flaring and hideous canvases in the back rooms of the apartments, that seem hung up as warnings of all that a picture ought not to be. Of real interest there is scarcely anything belonging to this period. We may mention, however, the portrait, No. 521, of George I. by Kneller, as the one that inspired Addison to write his glowing eulogium on the painter ; and “ The Family of Frederick Prince of Wales,” by Knapton, as having some historical value. An excellent little sea-piece by that good marine painter, Monamy ; “ The Colosseum,” by Canaletti ; and two charming little pictures by that excellent late Venetian painter Pietro Longhi, should not be passed over in a survey of the art of this epoch. The influence exerted by George III. on art was of a very ambiguous kind. He seems to have been sincerely anxious to further its cause, and to encourage and reward merit when he thought he perceived it ; but he was totally incapable of distinguishing the good from the worthless. Thus it was, that while he lavished a most generous patronage on Benjamin West, Gainsborough and Reynolds were almost ignored. His contributions to the collection here are therefore more numerous than edifying. For an account of West and his vapid and uninteresting paintings, both portraits and historical subjects, which are now placed all together in Queen Anne’s Drawing Room, the reader is referred to page 116. Another of his favourite painters was Sir William Beechey, whose masterpiece, such as it is, of the King with the Prince of Wales and the Duke of York reviewing the Tenth Hussars, is now here. To George III. we are also indebted, among others, for a fair portrait of Lord Hutchinson, by Philips, and a very good one of Gentz, the famous Austrian publicist, and several “ Sea-Fights ” by Paton, Pocock, and the two Serres. Gainsborough was occasionally employed at Court to paint portraits. Of those he executed for the King we have two of Hurd, Bishop of Worcester, in the Public Dining Room. But his best works here are the two admirable portraits in the same room of Fischer the Composer and of Colonel St. Leger, which rank among his masterpieces. In the first we see all the thought and soul of the man of genius ; in the other, the supercilious inanity of the languid dandy. With the death of George III., the list of additions made to the Hampton Introduction . XXXVll Court collection may be said to close : for though many pictures have been removed here since that event, they had all been acquired by the Crown at a date anterior to the accession of George IV. At that time the pictures were pretty much as they had been left by William III., who had about 200 pieces in these rooms ; and they had remained undisturbed since the Court finally left Hampton Court in 1763, on the accession of George III. The public were then admitted in batches, and walked round the rooms attended by the housekeeper, who pointed out the pictures with a long stick, calling out, at the same time, the roll of names in a loud voice, to the awe-stricken visitors. They seem to have been pretty equally divided between Raphael, Giorgione, Titian, and Holbein. But in the reign of William IV. considerable changes were made, and a great many pictures from Kensington Palace, Carlton House, Buckingham House, and Windsor Castle, some of them of great beauty and interest, but many of them little better than rubbish, were sent to swell the contents of Wren’s Palace. At first, scarcely any attempt was made to arrange or classify them, so that when Her Gracious Majesty the Queen, in the first years of Her reign, gave orders for the free admittance of all Her subjects, without any restriction, to Hampton Court, the thirty-two rooms of the state apart- ments exhibited a strange heterogeneous conglomeration of a thousand pictures of every value, of every period, and of every school, hung up any- how and anywhere, just as they came. Since then, it need not be said, some improvements have been made ; and something like a systematic arrangement adopted and partially carried out. It is necessary, however, to bear in mind that the rooms in which the pictures are now crowded — for there are many too many for the space available — were not built as art galleries ; and it would be a task of some difficulty to arrange every picture according to its period and school, and at the same time in an appropriate position. Nevertheless, in spite of certain obvious drawbacks, there are very few collections of pictures which can be inspected with such ease and freedom as this ; and there is no question that the facilities afforded, since the Palace was opened free, have been most amply appreciated by Her Majesty’s subjects. The highest records of visitors have been in the Exhibition years : 350,800 in 1851, and 370,000 in 1862. In 1889 the numbers were 226,000, and in 1890, 239,000, and this is about the present average. Altogether it is reckoned that no less than twelve million persons have passed through the State Rooms during the sixty years of the reign of the Queen ! XXXV111 Introduction. Who shall estimate the amount of instruction and refining influence thus diffused, or gauge the pleasure and happiness afforded to these vast multitudes ? Truly during these sixty years this Palace and its priceless contents have been as an emblem and monument of English history, consecrated by antiquity, and combining the picturesque and romantic elements of an ancient monarchy, with the orderly development of popular freedom ; linking together the honour and prosperity of the Royal House, with the progress and happiness of the toiling multitude ; standing, too, as a symbol, palpable and tangible, of that tender attachment between Queen and people, which has distinguished the reign of Victoria among those of all other sovereigns of England; and which inspired the gracious act of freely opening to all her subjects the beautiful Home of Her ancestors at Hampton Court. oftce. HE State Apartments are open to the Public every day in the week, except Fridays, throughout the year; the hours being from io in the morning until 6 in the evening, from the ist of April to the 30th of September, both days inclusive ; and from 10 until 4 during the winter months. They are closed on Christmas Day. N.B. — They are open on Sundays , but not until 2 o’clock. Every picture in the Hampton Court collection has two numbers attached to it — one a consecutive number, which is indicated by a label according as the pictures are for the time being arranged ; the other a permanent registered number, which is painted on the picture itself, and which cor- responds with that in the royal inventory. In the following catalogue the current number is prefixed to the title of the picture, while the registered one comes after it, and is printed in italic numerals enclosed in brackets. TEB PUBLIC OR GREAT FOUNTAIN GARDENS. P.afW’.HP.otw*, Ofwrtn g ^Pmenee Room jBciiimtior Q.treEN anne'si BED ROOK! Q^Etra AUDIENCE CM AMBER of W'e Stairs Queen'd Private | Chapelt | TOueenBRlnf'e Pp|»»te!P't.*»»< —WILLIAM m P STATE BED" KING'S Si CHAMBER QUEEN'S CHAPEL FOUNTAIN COURT M ja Jll • /'.w.v.UHvav QUEEN'S TOE HAUNTED GALLERY iWILLUUMifc . PRESENCE CHAMBER ^lan of tf)e State Ivooms. PRIVY GARDENS. Icing’s reat leataircase. HIS staircase, which is the principal approach to William III.’s State Rooms, was designed by Sir Christopher Wren, and finished about the year 1700. Its decoration — so meretriciously magnificent — is a good specimen of that gaudy French taste/ which was first imported into England by Charles II. and his courtiers, and finally triumphed in the reign of William and Mary over our less pre- tentious, but purer and more picturesque, native style. It is 43 feet long, by 35 feet wide, and about 40 feet high. faulting of the walls and ceiling was executed by Verrio, who at first refused to serve William of Orange at all, on account of his politics and religion, but at length condescended to work for him here ; though he painted this staircase “ as ill,” says Walpole, “as if he had spoilt it out of principle.” Perhaps the King thought so too, for we find Verrio complain- ing to Queen Anne that, though he had promised him ^1,800 for this ceiling and one in the little bedchamber, he had only received ^600, and that he was reduced to great extremity. But Verrio, though always most handsomely paid for what he did, receiving from Charles II. as much as ^8,000 for his painting at Windsor alone, seems to have been usually hard up. On one occasion in the Presence Chamber at this Palace, when he could not approach the King, he called out loudly to him for more money. Charles smiled, and said he had but lately ordered him ^1,000. “Yes, Sir,” replied he, “but that was soon paid away, and I have no gold left.” “ At that rate,” said the King, “ you would spend more than I do to maintain my family.” “ True,” answered Verrio, “but does your majesty keep an open table as I do?” B 2 Royal Gallery of Pictures. His performances were in his day held in very high estimation. Evelyn thought “his design and colouring and exuberance of invention are com- parable to the greatest old master, or what they do in France ; ” while others grew so enthusiastic that they gave vent to their feelings in verse : — . . . “ Great Verrio’s hand hath drawn The Gods in dwellings brighter than their own. ” His fame, however, was short-lived, and Pope’s couplet : — “ On painted ceilings you devoutly stare, Where sprawl the saints of Verrio and Laguerre,” has given the cue to all criticism since. This staircase displays in a startling degree the tasteless exuberance of his pencil : Gods and Goddesses, Nymphs and Satyrs, Muses and Baccha- nalians, Virtues and Attributes, Zephyrs and Cupids, Hilneas and the twelve Caesars, Julian the Apostate with Mercury as his secretary, Juno and her peacock, Romulus and the wolf, Ganymede and the eagle, Hercules with his club, all jostle one another in amazing confusion, in inconceivable atti- tudes and wonderful attire, floating on clouds, sailing between columns, and reclining beneath canopies of rainbows, flowers, and Zephyrs’ heads. Glty ISTOftj) ETATIS LIX. D. MYTENS. fee. As he was created Duke of Richmond on May 17th, 1623, and died on February 1 2th following, this picture must have been painted between these dates. It has been for some years attributed to Vansomer, but the facts — that it is entered in Charles I.’s catalogue in the terms given above, that it is signed by Mytens, that “ The Duke of Richmond at length, by Mytens,” appears in the Commonwealth inventory, page 148, and that Vansomer, as the register of St. Martin’s-in-the- Fields shows, died in January, 1621, — demonstrate conclusively that this is an error. It probably arose from the replica at Petworth being incorrectly engraved in Lodge’s Portraits as a Vansomer. There is a similar picture at Longford Castle, also ascribed to Vansomer. 62 Royal Gallery of Pictures. The Duke’s death occurred very suddenly on the morning Parliament was to open, his body being found by his wife dead in his bed when the king, who, “ as it were, wanted one of his limbs to support the grandeur of majesty,” sent her to find him. 156 Goat and Cupid (156) Polidoro da Caravaggio. This, which is on wood, 1 ft. high by 3 ft. 10 in. wide, is one of six similar pieces in Charles I.’s collection. (See note to No. 32.) Behind is the King’s cypher, C. R. and the crown, and a slip of paper with the following note in Van- derdoort’s handwriting : “ Joen Wary the 4th, 1637. Was bought by the King of Mr. Freisley’s collection of 27 Italian pictures, of which this is No. 9. Done by Polidore.” 157 Glorification of a Saint (157) Giacopo Bassano? St. Catherine on the right, with her palm and wheel, is bowing down ; opposite is a man pointing to her, and in the centre, on a pedestal, is a boy, perhaps Our Saviour, with a palm-branch in his right hand, and his left on a box. Above are angels holding a wreath. Figures less than life. On canvas, 6 ft. high by 3 ft. 7 in. wide. 158 A Venetian represented as a Saint (905) Labelled Giorgione , but of the School of Paris Bordone? Full-length, entirely in black, standing near a column, with his left foot on its base ; in his left hand, which he rests on the pillar, he holds a palm-leaf and a wreath ; his right hand is on his hip. Round his head, which is bare, is a nimbus. On the ground near his right foot is a quiver. On canvas, 6 ft. 3 in. high by 3 ft. 8 in. wide. On the column was formerly inscribed : “ GIORGIO barbarelli a. d. mdii. et SVA2 xx.” This proved to be a forgery, and when the picture was cleaned it altogether disappeared. 1 59 Christ at the Pool of Bethesda ( 1087 ) Bassano. This is the “ Large piece, where Christ is curing the maimed, by Bassan,” No. 875 in James I I.’s catalogue. Christ, with other figures, is on the right ; in the middle is a man lifting one of the sick off a horse ; on the left and behind are many invalids lying about, or being carried. The background is a portico, and in front are seen the steps to the pool. Figures less than life. On canvas, 6 ft. in. high by 5^ ft. 4 in. wide. 160 The Deluge (471) Giacopo Bassano. On the left is a house from which people are hurrying ; in the centre the water is seen advancing ; and all around is a confusion of men, women, children, animals, pots, pans, boxes, etc. On canvas, 6 ft. 5 in. high by 8 ft. 6 in. wide. The history of this picture is curious. We find it first in the catalogue of the Duke of Mantua’s collection, compiled in 1627, and there called “ Uno quadro dipinto di mano di Bassano con il diluvio,” and valued at ninety lire (see page 159 of D’Arco’s Notizie). In 1628 it passed into Charles I.’s collection with the rest of From a photograph Ly Spoon tr amt Co. Hampton Court Palace. 63 the Mantuan pictures, and was placed at St. James’s, where it was sold, 2ist May, 1650, by order of the Commonwealth, under the title of “A great piece of the Deluge, by Bassano,” toMr. Emmery, for ^60. At the Restoration it was found in his possession, and he stated to the Committee appointed to recover the King’s pictures, that it and others had been “received in part payment of a great debt due to him for work and materials in repairing his late Majesty’s houses. (See 7 th Report of the Historical Commission, 1879, p. 88.) It afterwards appears in James II. ’s catalogue, No. 160, as : “A large piece of Noah’s flood, by Bassan.” Sanderson, in his Graphice, page 74, writing about 1656, makes this apt remark on it : “The naturall Bassano, an old and excellent master ; yet so affected to Pots and Dripping-panes, to blew cotes and Doggs, that his History of the Deluge sometimes in the gallery at St. James’s by Whitehall, seemes to be rather a disordered and confused kitchin, than Noah’s floud.” 1 6 1 Mary Magdalen (552) Labelled Titian , but a copy. This is perhaps the picture entered at page 102 of Charles I.’s catalogue, as : “A Mary Magdalene, with folded hands, turning her head towards the right shoulder; half a figure, so big as the life, in an old all over gilded frame. Done by Titian.” Her long hair falls over her shoulders and between her arms; her right hand is on her bosom, her left holds up her dress. On canvas, 4 ft. high by 3 ft. 3 in. wide. This was formerly smaller in size, but the strange taste of the last century dis figured it by adding canvas all round to make it fit a frame of a size to act as a pendant to Spagnoletto’s “St. John,” No. 166, close by. It is an old copy of the “ Magdalen ” in the Pitti Palace at Florence, which was painted for Francesco Maria, Duke of Urbino, in 1531, and which itself was a replica made at his request by Titian from the original, painted for Davalos del Vasto. Other versions are at St. Petersburg and Naples. 162 Madonna and Child with St. John ( 117 ) C. Cignani. She is seen at half-length ; the children at full length facing each other. This and many other pieces here by this master were acquired by George III. with the rest of Consul Smith’s collection. See notes to Nos. 9 and no. Carlo Cignani was a painter of the late Bolognese School, who flourished at the end of the seventeenth and the beginning of the eighteenth centuries. His greatest work was the painting of the frescoes in the Ducal Palace at Parma, the original cartoons for which are now' in this Palace, in Henry VIII. ’s Great Watching Chamber. 163 The Shepherds’ Offering (467) Labelled Palma Vecchio , but by Giacopo Bassano. The Madonna is seated under some broken columns on the left ; and is lifting a veil to show the Infant Jesus, who is on her knees. Behind her is St. Joseph sitting on the ground, and resting his head on his left hand, and looking up at her. Be- hind him are a donkey and a cow’s head. In front of the mother and child are three shepherds ; one on his knees holding a sheep, another taking off his hat and bend- ing forward, and another advancing behind him with his hat on. In the distance is a landscape with a town. On canvas, 4 ft. 6 in. high by 7 ft. 1 in. wide. This picture seems to accord with “The Birth of Christ, whereby four shepherds, 6 4 Royal Gallery of Pictures. and an ox, and an ass, in a landscape ” in Charles I. ’s catalogue, page 1 39, and at- tributed to “old Tintoret,” which was one of Frosley’s Italian collection of pictures. It has hitherto been ascribed to Palma Vecchio, but is now universally considered to be a very fine specimen of II Bassano’s earliest style. Reference may be made, among others, to “The Adoration of the Magi” formerly at Burghley House, to “The Epiphany” in the National Gallery of Scotland, and to this and a similar subject in the Ambrosiana at Milan, as showing how he adopted Pordenone’s manner. “ By looking at these pieces in succession, we see the gradual expansion of Jacopo da Ponte’s style before he entered into the later and better known phase of his art.” (Crowe and Cavalcaselle, Painting in North Italy , ii. 291, 486.) The germs of his later style, and his native predilection for genre are plainly dis- cernible in the attention here paid to the landscape, and in the care with which the animals and the clothes of the shepherds are painted. Compare Nos. 142 and 153, etc. It also clearly betrays the influence of Palma Vecchio, under whom he worked. See notes to Nos. 136 and 146. 164 Venus Recumbent (569) after Titian. She is lying at full-length on a couch covered with white drapery ; her left leg crossed over her right. Her right arm rests on a cushion, whilst her hand plays with some flowers. Behind is a green curtain. In the background are two women, one in green standing up, the other in white on her knees looking into a trunk. On canvas, 3 ft. 6 in. high by 5 ft. 4 in. wide. In James II. ’s catalogue : “A naked Venus, with a woman looking into a trunk.” This is an old Venetian version, probably from Titian’s studio, of his famous “Venus” now in the Uffizi, which was painted in 1537 for the Duke Francesco Maria of Urbino. The head is a portrait of Eleonora Gonzaga, his wife. “ Certes, le due n’etait pas a plaindre, s’il avait aupres de lui de tels modeles et s’il croyait pouvoir placer dans leurs portraits le petit chien, symbole de fidelite.” — Marcotti, Guide de Florence. The dog curled up at her feet does not, however, appear in this version ; while the drapery which is shown in her left hand here, is absent in the original. The similar picture at Darmstadt is now generally admitted to be a seventeenth century copy. 165 The Annunciation {j8) ( Withdrawn ) P. Veronese. 166 St. John with a Lamb ( 559) Spagnoletto? This is probably No. 909 of James II.’s catalogue : “ St. John naked to the waist, with one hand upon a lamb.” His right hand is on the lamb. Nearly full- length. He looks a little to the left. On canvas, 4 ft. high by 3 ft. 3 in. wide. “ Hampton Court,” says M. Viardot, “ a de Spagnoletto un tres beau Saint Jean, sottement place trop haut.” ( M-usees de I Europe.) 167 The Madonna teaching Our Lord to read (123) . . . C. Cignani. He is standing, seen at full-length, with a book ; she, seen at half-length, looks over his right shoulder and touches the book. 168 Wise Men’s Offering (161) . . . after P. Veronese by C. Cagliari? The Madonna and Child are on the left ; behind them St. Joseph leans on the base of some columns, and near him is a man with dogs, and a cow. In front of them are two kings in rich mantles, prostrating themselves, and another advancing VENUS RECUMBENT. BY A SCHOLAR OF TITIAN. Hampton Court Palace . 65 with a gift. They each have an attendant youth, and in the background are men on horseback, with some camels. Altogether seventeen figures less than life. On canvas, 5 ft. 9 in. high by 8 ft. wide. This was engraved by Gribelin in 1712, with the name of Paul Veronese. It is, however, a copy by Paul Veronese’s son Carletto Cagliari (one of his most pro- mising pupils, who unfortunately died in 1596 at the age of twenty-six) of a portion of the original now in the National Gallery. 169 Christ in the House of the Pharisee (75) . Giacopo Bassano. In the middle is a table, at which Christ, His right arm raised, is seated with the Pharisee ; attendants and others are around. Altogether eleven figures, a little less than life. On canvas, 5 ft. 6 in. high by 7 ft. 8 in. wide. “ Very dignified in composition and expression for this master ; and warm, clear, and harmonious in colouring.” (IVaagen.) It is, in fact, an example different both from his early style as seen in No. 163, “ The Shepherd’s Offering,” and from his ordinary manner, as shown iu such biblical subjects as No. 142, “Jacob’s Journey,” and No. 153, “ Boaz and Ruth,” etc. 170 The Woman of Samaria (144) S. Ricci. ( Withdrawn .) 1 7 1 Madonna and Child {Q 7 S) Labelled Tintoretto , but ? She is in the clouds, standing on the crescent moon, and holding up the Infant Jesus in her left arm. They both look down towards the earth. On canvas, 2 ft. 11 in. high by 2 ft. 6 in. wide. “ Mary and the Child in the clouds — by a Venetian hand ” was sold, 23rd October, 1651, to Captain Stone for £5. See No. 448 for an enlarged copy. 172 The Annunciation {701) Bassano. She is on the right beneath some columns, kneeling at a prie-dieu, on which is a book ; the angel kneeling on clouds is entering on the left. On canvas, 2 ft. 6 in. high by 2 ft. wide. 173 A Gentleman and a Lady with a Flute (773) Labelled Giorgione, but l Half-length, life-size figures. He, who is somewhat in the background, and in armour, has long reddish hair and beard, and holds his gloves in his left hand. She holds the fingers of both hands on the stops of the flute. On canvas, 3 ft. 2 in. high by 2 ft. 10 in. wide. “A soldier in armour, with his wench; done by Giorgione,” was sold by the Commonwealth for ^10. In James II. ’s catalogue it is entered. No. 295, as: “ A man in armour to the waist, and a woman with a pipe in her hand.” “This is a modern imitation after the manner of Honthorst.” (Crowe and Cavalcaselle’s Painting in North Italy , ii., 168, and see note to No. 383.) 174 An Italian Lady with an Orrery and Do g(sss) Parmigiano? Half-length, seated in an armchair, in a brown dress, with black braid. In her left hand she holds a book. Beside her on a stand is an orrery, and on her lap a K 66 Royal Gallery of Pictures, little dog. She wears a cap embroidered with gold and silver. Behind is a green curtain. On canvas, 3 ft. 4 in. high by 2 ft. 7 in. wide. Though not to be traced in Charles I.’s collection, this picture appears in James II. ’s catalogue, No. 154: “A Dutch woman, half-length, with a globe by her, and a book in one hand ” — without any painter’s name. It may, perhaps, have been in Van Reynst’s collection, and formed part of the “ Dutch Gift.” It was considered by Waagen to be a genuine picture by Parmigiano ; though other competent critics have doubted its authenticity. The orrery and the book might aid in discovering the identity of this lady. Duke Francesco Maria, of Urbino, adopted as the device upon his money the sphere with the earth in the middle, and the motto : “ Ponderibus librata suis,” ‘‘poised by its own weight.” (See Mrs. Palliser’s Historic Devices .) 175 The Judgment of Midas (470) Schiavone. On the left Apollo is playing on a violin, near him is Marsyas with his flute on the ground. Midas, who has been punished with ass’s ears for having preferred the music of his pipes to Apollo’s divine strain, is seated in front, his back turned, looking up at the god. On the right, Minerva, whose flute Marsyas had picked up, is sitting under a tree, with a man by her. On canvas, 5 ft. 6 in. high by 6 ft. 6 in. wide. This was in James II. ’s catalogue, No. 764. It was engraved by Gribelin in 1712. It is a very good example of this master, who was distinguished for his succulent richness of colouring, and the life and action shown in his compositions — rivalling in these respects the great masters Bonifazio and Titian, whom he chiefly imitated. 176 The Assumption of the Blessed Virgin (575) Giacopo Bassano. “A piece being the Ascension of our Lady. By Bassan,” was No. 542 in James II. ’s catalogue — doubtless this picture. Our Lady is in the sky surrounded by illuminated clouds ; below is a crowd of spectators looking up. 177 St. Roche Curing the Plague {641) . . . Labelled Tintoretto , but? The saint is in the middle, healing one of those stricken with the plague ; around are others lying down, or being brought forward to be cured. Altogether, some twelve small figures. On canvas, 5^ ft. 4 in. high by 4 ft. 5^ in. wide. 178 Marriage of St. Catherine (p6) Paul Veronese? The Infant Jesus is on His mother’s knee, and held by St. Catherine. In front, St. John is coming forward, with a ring, Behind, on the left, is St. Joseph look- ing over them ; and on the right in the background two angels are playing musical instruments. The Madonna has a closed book in her left hand. On canvas, 5 ft. high by 6 ft. 7 in. wide. 179 The Woman of Faith (135) S. Ricci. Christ in the centre, turned towards the left, is looking round at the woman, who is on her knees, touching the hem of his garment. Around are some six men looking on. Figures less than life. ST. WILLIAM. BY DOSSO DOSSI. From a photograph by Spooner and Co. Hampton Court Palace, 67 180 Portrait of a Venetian {438) Leandro Bassano. Half-length, dressed in black ; his hands in front of him, clasped, and holding his gloves. He wears a black cap, and a small collar. He has a small trimmed beard, and is seen nearly full face, looking slightly to the left. On canvas, 3 ft. high by 2 ft. I in. wide. He appears about fifty years of age. “Has had the background painted over an inscription which seems to read thus : E. p. H. bolognatvs tarvssivs CATHARINE /KMILI ARI/E * pater.” {Royal Catalogue .) 181 St. George and Princess Cleodolinda ($ 74 ) .... Tintoretto. The saint in armour has just dismounted, and is bowing to the rescued princess, who rests on the body of the dragon ; standing by is a bishop in a mitre and with his crozier. On canvas, 2 ft. 5 in. high by 1 ft. 10 in. wide. This is perhaps a sketch for a large picture. It shows a different incident from that of the same subject in the National Gallery. 182 Portrait of an Italian Lawyer ( 32 ) . . . . P. Bordone? This is No. 292 of James II. ’s catalogue : “A man’s picture to the waist, with a parchment writing. By Paris Bordone.” In front of him is a green table, or ledge, on which he leans. In the comer of the parchment which he holds in both hands, is a seal, and beside him a table and on it a letter. He wears a black habit trimmed with light brown fur, and a black cap. He has a small beard and mous- tache, and brown hair. The seal represents the Madonna and Child, with the legend : “ Sanct us Andreas .” On canvas, 3 ft. high by 2 ft. 9 in. wide. 183 St. William taking off his Armour or Charles Audax, Duke of Burgundy ? ( 38 ) . . Labelled Giorgione, but by Dosso Dossi. Half-length, facing to the right, looking upwards. He stands in front of a table on which he rests his right hand ; his left hand is on his helmet, which is placed on the table. Round his head is a nimbus. On canvas pasted on wood, 2 ft. 9 in. high by 2 ft. 5 in. wide. This belonged to Charles I., for “C.R.” with a crown above, is branded on the wood behind. In his catalogue, page 103, we find : “ The picture of Charles Audax, the last Duke of Burgundy, in a black armour, with his right hand on part of a table, the other hand upon his head-piece ; half a figure, so big as the life ; said to be by Michael Coxie.” Coxiyen or Coxis was an Italianized Fleming, who lived many years in Italy in the middle of the sixteenth century, imitating the outward form of Raphael’s work. It is possible that this entry relates to the picture before us ; though more likely to some Flemish copy of this original. Among the “Goods viewed and appraised at Hampton Court, 5th October, 1649,” were “The Duke of Burgundy, by Giorgione,” and a “ Ffellow in Armour, by Giorgione,” the latter of which was sold on the 18th of November, 1651, to Mr. De Critz for £20. One of these is evidently this picture, which being restored to the Royal Collection is again to be traced in James II. ’s catalogue, No. 631, “The Duke of Burgundy to the waist in armour, with one hand upon his helmet lying before him,” correctly stated to be by Dosso Dossi. Soon afterwards it was re-attributed to Giorgione, with whose name it is still labelled. As to the copy by Michael Coxis, which had belonged to Charles I., it was 68 Royal Gallery of Pictures. probably sold out of the country never to return. “ In the Vienna Gallery there exist two Flemish copies of the St. William with varied backgrounds, of which the better is there attributed to Jan van Hemessen. In the Staedel Institut at Frankfort there is a much finer repetition, which professes to be the original, and many other versions of the painting by Dosso might be pointed out.” (Claude Phillips. ) One is at Dijon. The version before us, however, is admitted on all hands to be superior to any of the others, of which it is undoubtedly the original and prototype. It is, indeed, a most characteristic work of the great Ferrarese master, splendidly painted, with all his peculiar force and originality, and his rich and brilliant colouring. It has been remarked that this picture cannot be a portrait of Charles Audax, Duke of Burgundy, because of the halo that surrounds the man’s head ; but men, as well as women, were frequently painted in the character of saints, especially of their patrons. A more serious objection, however, is that it bears no resemblance at all to the authentic pictures cf him, and that he died in 1477, whereas this picture obviously dates from the early part of the sixteenth century. St. William was the patron saint of Ferrara ; it may, therefore, represent some member of the Ducal family of that state. For further notes on Dosso Dossi see Nos. 60, 80, and 97. 1 83* Judith with the Head of Holophernes (830) Labelled C. Allori , but ? Half-length, looking up to the right, and holding the head in her left hand ; her sword in her right hand is turned downwards. A woman on her left is looking at her. On canvas. In James II. ’s catalogue, No. 783. tlltam ttt.’s oom. B IR CHRISTOPHER WREN specially designed the decoration of this room, as appears from the original estimate in his own handwriting, preserved in the Record Office. Its dimensions are 33 feet 9 inches long, by 23 feet 7 inches broad; and its height is 30 feet, and includes the half-story. The ceiling, which is one of Verrio’s best efforts, and is appropriately painted with designs emblematic of Sleep, shows, in one part, Endymion reposing in the lap of Morpheus, while Diana, in her crescent, admires him as he slumbers; and, in the other part, a fine figure of Somnus with his attendants. The border has four small landscapes, and boys with baskets, intermixed with poppies. The fietl is not William III.’s, but the state bed of Queen Charlotte, George III.’s Queen. The embroidery, on lilac satin, is said to have been worked by the Clergy Orphan School, and is an exceedingly fine specimen of English needlework. William III.’s bed, which used to be here, is now in a room further on, called the Private Dining-Room. Near the bed is an olft ClOCfc, made by the celebrated Daniel Quare, which goes for one year ; it is still in good repair, but no longer wound up. It has been in this room in its present position nearly 200 years. On its face are two small dials, which tell the day of the month, &c. In the corners of this room are also two old barometers, one made by Tompion. Between the windows is a fine ptet-glaSS, which dates from William’s time ; it is ornamented with a border of cut blue glass, and the edges are bevelled. In the centre is the monogram W.R. surmounted by the crown, 70 Royal Gallery of Pictures, in blue and white glass. Over the fireplace is a similar looking-glass, and some oak shelves, with pieces of Queen Mary’s collection of china. The carb trigs are more elaborate than in the other rooms, especially the fine border of fruits, flowers, and birds, by the hand of Gibbons. The walls were formerly hung with tapestry, representing the history of Joshua; and there were eight silver sconces chased with the “Judgment of Solomon ” on them. The fireplace with its old cast-iron fire-back, the oak mantelpiece and shelves, and the Gibbons carving, deserve notice. X3eautt'es( of CDjacUss ti.’ss Goa it. But the chief attraction of this room is the famous collection of pictures, by Sir Peter Lely, of Charles II. ’s beauties, formerly known as the “Windsor Beauties,” because they hung in the Queen’s bedchamber at Windsor Castle, whence they were removed early in this century to this room. No more appropriate place could have been selected. It is a real delight to sit in the window-sill here, before the tramping crowds have invaded the quiet, and contemplate these charming portraits with Pepys’s Diary or Grammont’s Memoirs in one’s hand ; or, better still, Mrs. Jameson’s Beauties of Charles II. One can imagine one’s self for a moment trans- ported into that mixed society of frail, but lovely and interesting women — “ the professional beauties ” of the time. “ La Duchesse d’York,” says Hamilton in his Memoires de Grammont , “ voulut avoir les portraits des plus belles personnes de la Cour. Lely les peignit ; il emploia tout son art dans l’execution. II ne pouvait travailler a de plus beaux sujets. Chaque portrait parut etre un chef-d’oeuvre.” It must be confessed that he has succeeded in giving that voluptuous ex- pression of blended drowsiness and sweetness, and that air of tender lan- guishment which are so much in harmony with the characters of these beautiful and charming creatures. Their “ night-gowns fastened with a single pin,” and the “ sleepy eye that spoke the melting soul,” would have sufficiently told us their history if the memoir writers had failed to supply it. The original set of “ Beauties ” painted by Lely were, as we find from James II.’s catalogue, eleven in number, their names being: — “The Duchess of Cleveland, The Duchess of Richmond, Mrs. Middleton, Lady Northumberland, Lady Sunderland, Lady Falmouth, Lady Denham, Lady Denham’s sister, Lady Rochester, Lady Grammont, and Madame de Or- leans.” All these can be now identified in this room, except Lady Falmouth and Madame d’Orleans, one of whom, probably Madame d’Orleans, ap- LADY BELLASYS. BY LELY. From a photograph by Spooner and Co. Hampton Court Palace. 7 1 pears to be missing altogether ; while Lady Falmouth can most likely be recognized in the picture, No. 203, long called “The Countess of Ossory,” and more recently “ The Duchess of Somerset.” Some confusion has been caused by the including, about 150 years ago, among the “ Beauties,” of several pictures which did not originally belong to the series, such as No. 185, Lady Bellasys, and two portraits, Nos. 19 1 and 200, by Wissing, which, though signed by him, are attributed to Varelst, and which, though evidently painted in imitation of Lely, are very inferior to him ; and in more recent times, still further confusion has been caused by the intrusion into this originally select society, of several ladies who have no claim to belong to it : such as Miss Jane Kelleway as Diana, wrongly called “ Princess Mary ; ” a lady, probably Marie Beatrix D’Este, wrongly called “ Nell Gwynne ; ” and the Duchess of Portsmouth, wrongly attributed to Gascar. The last two were brought from Buckingham Palace in 1830, and the portrait of Anne Hyde, Duchess of York, which did not belong to the original series, was brought from Windsor about the same time. With regard to the style of Lely’s “ Beauties,” all of them are represented in three-quarters lengths, in landscapes, or, as Walpole expresses it, “trailing fringes and embroidery through meadows and purling streams.” Their draperies are disposed with a sort of graceful negligence, which, though affected, is not unpleasing ; and the free exposure of their busts gave the painter full scope for depicting that delicate softness of the flesh in which he chiefly excelled. Their sleeves are short, and turned up with white above the elbows. They are bareheaded, with their hair arranged in little coquettish curls on the forehead, and sometimes ornamented with pearls. As each picture conforms to this type, it is not surprising that they are all too much alike ; a fault, perhaps, inevitable in painting a series of this sort. The ten genuine beauties are 4 ft. 1 in. high, by 3 ft. 4 in. wide. 184 Flower-piece, Lilies and Poppies, in panel over the door ( 169 ) Baptiste. This is one of many similar pieces in these rooms, painted for William III. by John Baptiste Monnoyer, “one of the greatest masters who has appeared for paint- ing flowers.” (See George II.’s Private Chamber.) 185 Lady Bellasys ( 170 ) Lely. The lady is represented in the character of St. Catherine, seated, and turned to the left. Her left hand rests on the wheel, and holds a palm ; her right hand 72 Royal Gallery of Pictures . seems to veil with the folds of her crimson mantle an already amply revealed bosom. From above, and somewhat in the background, are two cherubim descending to crown her with a wreath of myrtle, and she turns her large dark eyes towards them with “an expression of rapturous devotion.” Her rich black hair falls in ringlets from a coronet of gems on her shoulders and neck. Below on the right is an open book. On canvas, 5 ft. 2 \ in. high, by 4 ft. 2\ in. wide. Engraved by Wright. On a critical examination of the features, “we are obliged to allow the absence of beauty ; the contour of the face is not perfect, and the nose and mouth are rather irregular in form; but then, as a certain French Cardinal said of his mistress, ‘c’est au moins la plus belle irregularite du monde;’ and the eyes and the brow are splendid.” There has been much dispute, during the last 130 years or so, as to whom this picture, which is the most striking in this room, really represents : — “At Windsor it was traditionally known as Elinor, Lady Byron ; but, on the authority of Horace Walpole, Granger, and Sir William Musgrave, all three well versed in the biography of our peerage, as well as in the pictorial and domestic antiquities, it is generally supposed to represent Susan Anne, the widow of Sir Henry Bellasys, and mistress of the Duke of York.” This opinion is confirmed by the recent discovery, in an old manuscript catalogue at Windsor, of the following entry: — “Lady Bellasis, in the manner of St. Catherine; by Lely” — then “hanging in Mr. Chif- finch, his lodgings.” Besides, if the picture is of Lady Byron, it would have been painted by Huysman or Lely, abroad, or after the Restoration — both improbable circumstances. Lady Byron was Charles II. ’s seventeenth mistress when in exile, and extorted from him at that time ,£15,000 : she was at the Restoration given up for Lady Castlemaine, and died two years after. No portrait of her is mentioned in James II. ’s catalogue. On the death of Anne Hyde, the Duke wished to marry Lady Bellasys, but was dissuaded from doing so by the King, who told him, “ at his age it was intolerable that he should think to play the fool again.” She afterwards married a gentleman of the name of Fortrey, whom she survived, dying in 1713. Walpole attributed this portrait decidedly to Huysman. (See Mrs. Jameson’s Beauties of the Court of Charles II. — a delightful book, with very fine engravings of these pictures, and full of amusing and piquant anecdotes. ) 186 Jane Kellewayas Diana, misnamed Princess Mary (777) Lely. A charming picture of a girl when about twelve years old. Three-quarters length, turned to the left, but facing nearly full in front. She holds a bow in her left hand, and is stretching the string with her right, in which she has an arrow, with the point directed downwards. Her dress is light blue with a yellow underskirt, and a purplish scarf floats behind over her shoulder. She has a necklace of pearls ; and on her head, in front, a silver crescent. Her hair, which is curled, is very light. Behind her is a dog’s head ; and in the back- ground a landscape. On canvas, 3 ft. 1 1 in. high, by 3 ft. 2 in. wide. That this picture is not Princess Mary, as it has been called for the last hundred years or so, is evident from the contemporary mezzotint engraving after it by A. Browne, which is inscribed : — “ Madam Jane Kelleway , P. Lely Eques Pinxitf and therefore dates from 1680 to 1683 (see J. Chaloner Smith’s Brit. Mezzotint Portraits , i., 106, 1 13) ; and besides, bears no resemblance to other likenesses of her at this time. There is nothing whereby we might fix the period when it received its spurious title. Most likely it was bought about the time of PRINCESS MARY. BY LELY. From a photograph by Spooner and Co. Hampton Court Palace. 73 George II. ; al any rate it is not in the older catalogues, under either its false or genuine name. 187 Dorothy Sidney, first Countess of Sunderland (60s) • A. Russell. The celebrated “ Sacharissa ” of Waller; this name is painted on the picture. It is a bad copy from a portrait by Vandyck. 188 The second Lord and Lady Clarendon (608) . Copy by A. Russell. The original of this, by Sir 1 *. Lely, is at “ The Grove.” (See Lady Theresa Lewis’s Clarendon Gallery .) 1 89 Copies of Ladies’ Portraits, by Vandyck and Lely (172-179) A. Russell. These are eight small very indifferent copies, heads only, by a painter who lived in George II. ’s reign. They are painted on oak, those after Vandyck being 15^ in. high, by I2| in. wide, or io| in. high, by 12J in. wide ; those after Lely 9 in. high, by 7 in. wide. They have hitherto been described as “unknown,” but most of the originals are in great English houses, and they might easily be identified. Some names, mostly lrom suggestions in the Royal Catalogue, are annexed below to each registered number : — Penelope Norton, Countess of Chesterfield. Vandyck (172) Mrs. Jane Middleton. Lely, at Althorp. [See No. 199.] ( 1 73) Anne Villiers, Countess of Morton, died 1646. Vandyck (174) Barbara, Duchess of Cleveland. [See No. 205.] Lely ( 1 75) Diana Russell, Countess of Bradford, 1622-1695 (176) Anne Carr, Countess of Bedford ? But “ Miss Jennings” is written behind. (177) Mary Fairfax, Duchess of Buckingham (178) Mary, daughter of James II. ? ( 1 79 ) 190 Anne Hyde, Duchess of York (180) Lely. Full-length, seated, turned to the left, but looking in front. Iler right elbow rests on the arm of the chair, her hand playing with her hair ; her left is on her lap. She is dressed in rich amber-coloured satin. The background is a purple curtain, and a column. On canvas, 6 ft. 8 in. high, by 4 ft. 2 in. wide. This is apparently the picture of which Pepys speaks in the following extract from his Diary : — “I walked to Lilly’s, the painter, where I saw among other rare things, the Dutchess of York, her whole body sitting in state in a chair in white satin.” We find it in James II. ’s catalogue, No. 1071 : — “The first Duchess of York ; by Lely ” — among “ His Majesty’s pictures, that were not the late King’s, at Windsor Castle,” where it remained till about fifty years ago, when it was moved here. There is a somewhat similar picture at “ The Grove.” She was the daughter of the great Earl of Clarendon, and was privately married at Brussels, in 1659, to the Duke of York, who acknowledged the marriage in spite of much opposition. The strange way he made the announcement is told with his usual vivacity by Hamilton, who tells us that she put forward her hand to be kissed “avec autant de majeste que si de sa vie, elle n’eut fait autre chose.” Elsewhere he says : — “ Cette Princess avoit l’air grand, la taille assez belle, peu de beaute, mais beaucoup d’esprit. . . . un air de grandeur dans toutes ses manieres, la faisait considerer comme nee dans un rang qui la mettoit si pres du trone.” It was she who first began this collection of “Beauties ” by commanding Lely to paint for her the most lovely women of the day. L i y-r Jr 1 74 Royal Gallery of Pictures . 191 Mrs. Knott ( 181 ) Wissing. Seated, looking in front. Her left elbow rests on a pedestal, her left hand holding her veil ; her right hand holds a book on her lap. On canvas, 4 ft. 1 in. high, by 3 ft. 3 in. wide. Engraved by Thompson. This portrait is attributed to Varelst ; but in the lower right-hand corner is the signature : — “ W m Wissing fecit,” and in Queen Anne’s Kensington catalogue was: “Mrs. Knott at half-length, by Wissing.” It is evidently a companion-piece to No. 198, “The Duchess of Somerset,” and No. 200, “ Mrs. Lawson,” and per- haps No. 196. These portraits are all of the same style, and in dress and taste later, and more decorous than Lely’s “ Beauties,” in imitation of which they seem to have been painted, possibly during his lifetime, and at any rate soon after his death, when Wissing succeeded to his position of the “ Ladies’ Painter,” and at- tained much popularity by his flattering likenesses. “When any lady came to sit to him whose complexion was any ways pale, he would commonly take her by the hand and dance her about the room till she became warmer, by which means he heightened her natural beauty.” She is supposed to have been one of the few virtuous ladies of Charles’s court, and the book in her hand, the vase of flowers on the table, the village church in the distance, and the modesty of her attire — a crimson tunic and a white veil — suggest at least that she was a person of domestic tastes, and assumed a virtue if she had it not. She was a Stanley, of Kent, and married a Mr. Knott. 192 William, Duke of Gloucester ( 389 ) Kneller. Full-length, walking into the picture ; his face turned round to the spectator. He is pointing, with his left hand, to the background, and has a stick over his right shoulder. A dog lies on the ground, and looks up at him. He is bare- headed, and dressed in blue and yellow drapery. This picture is labelled “Lely but if it be a portrait of William, Duke of Gloucester, Queen Anne’s son, as it was formerly supposed to be (and as it pro- bably is, to judge from the costume, &c.), and not Henry, Charles I.’s son, it must be by Kneller, and not Lely, who was dead eight years before the young duke was born. Mrs. Jameson says it is engraved by J. Smith, but this appears to be an error, though there is a mezzotint by him somewhat similar to it. 1 93 Copies of Ladies’ Portraits, by Vandyck and Lely (zcS’j-z^) A. Russell. (Similar to No. 189.) Lucy Percy, Countess of Carlisle. Vandyck , at Petworth? ( 1 S3) Lady’s head, covered with pearls, to the right. Vandyck (184) Countess of Northumberland ? Lely (185) Lady Venetia Digby. Vandyck (186) Portrait of Lady. Vandyck (187) 194 Duchess of Portsmouth, as Flora ( 188 ) .... Varelst. She is here represented as Flora, seated, facing full in front. She rests her right arm on a crimson pillow, her left holds up a wreath of flowers. She wears an amber-coloured dress, with a green mantle and drapeiy. Her hair is long and curled. There are flowers on her bosom and in her hair. In the background is a curtain. Louise Renee de Penencovet de Queroualle came from a good family of im- poverished means, and had been maid of honour to Charles’s sister, the Duchess THE DUCHESS OF PORTSMOUTH. BY VARELST. From a photograph ly Spooner and Co. Hampton Court Palace. 75 * *s • of Orleans. On her death, by the joint intrigue of the French King and the Duke of Buckingham, she was sent over to England to become the mistress of Charles II., with the double object of binding him to the dtsgraceful French alliance, and of displacing Barbara, Duchess of*C leveled, an enemy of the Duke’s. Soon after her arrival Evelyn notes in his Diary : — “ I now saw that famous beauty, the new French Maid of Honour, but in my opinion she is of a childish, simple and baby face.” She duly succeeded to the position of “ maitresse en titre, and in 1672 had a son by Charles, who was created Duke of Richmond, and is the ancestor of the present house of Lennox. She was made a duchess both by Charles and Louis XIV., acquired immense influence over the King, and lived in more than regal splendour at Whitehall. “ Following his Majesty this morning through the gallery,” writes Evelyn, “ I went with the few, who attended him, into the Duchess of Portsmouth’s dressing-room within her bedchamber, where she was in her morning loose garment, her maids combing her, newly out of her bed, his Majesty and the gallants standing about her ; but that which engaged my curiosity was the rich and splendid furniture of this woman’s apartment, now twice or thrice pulled down and rebuilt to satisfy her prodigality and expensive pleasures.” The memoirs and diaries of the day are full of scandal and anecdote about “ Madam Carwell,” as she was called. She survived the King many years, dying in France in 1 734, at the age of 88. This portrait is wrongly ascribed to Gascar, a painter whom the Duchess brought with her from France, and patronized. It is really by Varelst, being found in James II. ’s catalogue, No. 272 : — “The Duchess of Portsmouth, half-length, in a red garment, by Simon Verelst,” and in the Kensington catalogue of 1778 : — “The Duchess of Portsmouth, with a garland of flowers in her left hand, by Varelst.” Simon Varelst was a Dutch painter of flowers, who came to England in Charles II. ’s reign, and when here took to painting portraits, which he crowded so with flowers — as he has this one — that the King is said to have taken one for a flower- piece ! He was most inordinately vain, and called himself “ The King of Painting,” and “ The God of Flowers.” 195 Frances Stewart, Duchess of Richmond (189) . . Lely. Turned to the right, but looking in front. She has a bow in her left hand, and is slightly lifting and holding back her dress, which is of straw-coloured satin, with the other. Engraved in mezzotint by Watson and by Freeman. This picture, which is, perhaps, the most charming of the whole series, seems to be referred to by Pepys, where he says : — “To Whitehall ; where staying in one of the galleries, there comes out of the chayre-roome Mrs. Stewart, in a most lovely form, with her hair all about her ears, having her picture taking there. There was the King and twenty more, I think, standing by all the while, and a lovely creature she in the dress seemed to be.” At another time he says : — “ Mrs. Stewart, with her sweet eye, little Roman nose, and excellent taille> is now the greatest beauty, I ever saw, I think, in my life.” She was the daughter of Captain Walter Stewart, son of Lord Blantyre, and, by all accounts, the most lovely woman of the Court. Everyone, from the king down- wards, was passionately in love with her, including Hamilton, the author of Grammont’ s Memoirs. She managed to play them all with great dexterity, even Charles himself, who never ceased to solicit her favour ; and it is certain that, if the Queen had been so obliging as to die, he would immediately have married her. At last, however, being betrayed into certain imprudences with the Duke of Rich- 7 6 Royal Gallery of Pictures, mond, and afterwards marrying him, she lost her influence at Court. She died in 1702, and, leaving legacies to her cats, suggested Pope’s line, “Die and endow a college or a cat.” Of the consummate loveliness of Miss Stewart there seems to have been but one opinion. “ Her features were faultless and regular, her complexion dazzling, her hair fair and luxuriant. Her figure, which rose above the common height, was well- proportioned, though slender ; she danced, walked, dressed, with perfect elegance, and sat her horse with peculiar grace.” To her Parisian education she owed that “ air de parure,” which excited Hamilton’s admiration as being so truly French. Of her childish disposition, which perhaps added to her charms, numerous anecdotes are related ; and “ she was never known to speak ill of any one.” Miss Steward’s beauty has been perpetuated in a more enduring, or, at any rate, more popular, monument, than Lely’s canvas or the rhapsodies of her lovers ; for she sat, by express direction of the king, for the emblematic figure of Britannia on our pennies — “on the reverse our Beauty’s prida.” 196 Marie d’Este ? misnamed Nell Gwyrme (190) Lely ? Seated, facing in front, her left hand held to her bosom, her right on the head of a lamb. Pier dress is yellow, with an ermine-lined cloak over it. Her hair is dark. In the background to the right is a column, and, to the left, Windsor Castle. This picture has, since it came here, about fifty years ago, from Buckingham Palace, been misnamed “Nell Gwynne.” It is certainly not her, to whom it bears no sort of resemblance, her face being round, while this lady’s is long ; her hair being light auburn, while this lady’s is very dark. Nor is it even pretty. Besides, it is more than improbable that Nell Gwynne should have been painted with an ermine cloak, and with Windsor Castle in the background. Only one picture of her is mentioned in James II.’s catalogue : — “Mrs. Gwynne naked, with a Cupid ; by Lely.” It is extraordinary that anyone should have had the audacity to label a picture with such a glaring falsehood, and that such an outrageous calumny on the beauty of “ pretty little Nelly,” should have been tolerated so long. It is attributed to Lely ; but the dress is of a later fashion than in most of his portraits, and the style resembles Wissing’s rather than his. From the regal em- blems it must represent some royal personage, probably Marie Beatrix d’Este, queen of James II. The face is very like another portrait of her here (see No. 65) ; and the colour of her hair is similar, and even the same curl falls on her left shoulder ; it also resembles the engraved portraits of her. Perhaps, therefore, it is : — “The Queen’s picture, at half length ; by Wissing,” No. 1090 in James II.’s catalogue. 197 Henrietta Boyle, Countess of Rochester (191) . . Lely. Turned to the left, facing nearly in front. Her left elbow is on a pedestal, her left hand holding a grey scarf ; her right hand is plucking a rose. She is attired in a pale blue dress. Engraved by Watson and by Thompson. She was the youngest daughter of Richard, Earl of Cork and Burlington, and married, in 1663, Lawrence Plyde, second son of Lord Chancellor Clarendon, who afterwards became Earl of Rochester. She was a gentle, ladylike woman, and mixed but little in the intrigues of the Court. She is to be distinguished from the wife of the witty Lord Rochester. There is a head from this picture, by Lely, at the Grove. THE DUCHESS OF RICHMOND. BY LELY. From a photograph by Spooner and Co. MRS. MIDDLETON. BY LELY. ■F rom a photograph by Spooner and Co. Hampto 7 i Court Palace . 77 “ Elleetoit d’une taille mediocre ; elle avoit la peau d’une blancheur ^blouissante ; les mains jolies, et le pied surprenant, en Angleterre meme. Une longue habitude avoit tellement attendri ses regards, que ses yeux s’ouvroient qu’a la Chinoise ; et quand elle lorgnoit, on eut dit qu’elle faisoit quelque chose de plus.” — ( Memoires de Grammoni.) 198 Duchess of Somerset (192) Wissing. Seated, facing in front. She is dressed in a crimson bodice, and has a brownish veil. Her right arm rests on a flower-vase, her left is on her lap. Her features and the expression of her face are delicate and beautiful. In the background is a country house. Engraved by Scriven ? This picture is evidently by Wissing, being exactly in the style of Nos. 191 and 200. When at Windsor, it was traditionally known as “ The Duchess of Somerset,” and is so labelled now. Mrs. Jameson thought it was “ Emile de Nassau, Countess of Ossory but she must have been over forty at the time, about 1683, at which this picture, to judge from costume, style, &c., was painted, while the lady repre- sented does not appear to be more than twenty-five. It might, however, possibly be Anne, Lady Ossory, daughter of Lawrence Hyde, who died at the age of eighteen ; but it is far more likely that the tradition is correct, and that it is a Duchess of Somerset. If so, it would be Elizabeth Percy, who married “the proud Duke,” “the beautiful Duchess,” whom Lely was painting when he died suddenly in 1680. 199 Mrs. Middleton (193) Lely. Standing, directed to the left, but turned round to the front. She is carrying in her two hands, on her left side, a basket of corn and fruit. Her dress, which is sufficiently “ decolletee,” is of pale amber turned up with white satin. Her hair is fair ; her age about twenty. Engraved by Watson and Wright. Mrs. Jane Middleton was the daughter of Sir Roger Needham, and became, after her marriage, one of the most renowned beauties of the day. Wherever she went she was the centre of observation and admiration, whether in the Park, at Court, at balls, or at the play ; and Pepys even confesses his “ great delight to have the fair Mrs. Middleton at our church, who is indeed a very beautiful lady.” De Grammont was one of her admirers and made desperate love to her. “ La Middleton,” says Hamilton, “ fut la premiere qu’il attaqua. C’etoit une des plus belles femmes de la ville, peu connue encore a la cour ; assez coquette pour ne rebuter personne ; assez magnifique pour vouloir aller de pair avec celles qui l'etoient le plus ; mais trop mal avec la fortune pour pouvoir en soutenir la depense.” “ Elle etait bien faite, blonde et blanche, et avoit dans les manieres et le discours quelque chose de precieuse et d’affecte. L’indolente langueur dont elle se paroit, n’etoit pas du gout de tout le monde. On s’endormoit aux sentimens de delicatesse qu’elle vouloit expliquer sans les comprendre.” At one time he showered presents on her ; but “II s’apper^ut que la belle prenait volontiers, mais qu’elle ne donnait que peu, ” so he left her to her numerous other lovers, who were more easily grati- fied, or more fortunate. Of Mr. Middleton no notice was ever taken, nor any mention made ; he is known to us only as “ the great beauty’s husband.” In the days of her mature age 73 Royal Gallery of Pictures. and charms she devoted herself to gambling. She died between 1685 and 1690, and was lamented by St. Evremond in a graceful little epitaph, beginning : — “ Ici git Middleton, illustre entres les belles, Qui de notre commerce a fait les agremens. Elle avait des vertus pour les amis fideles, Et des charmes pour les amants.” This picture is engraved in mezzotint, with the incorrect title, “ Lady Middleton.” 200 Mrs. Lawson ( 194 ) Wissing. She is seated, facing in front ; her left hand is on her lap. Her dress is red satin, fastened with a jewelled clasp, and a brownish skirt underneath. A brown veil falls from her head on to her shoulders. Background, a country residence. This picture is ascribed to Varelst, but is really by Wissing, whose signature is in the lower left-hand corner. Engraved by Holl. Compare No. 191 and 198. This is probably a daughter of Sir John Lawson of Brough ; and if so, she is the lady who was introduced to court by her aunt the Duchess of Richmond, to become Charles’s mistress, and supplant the ascendency of the Duchess of Portsmouth. Her considerate relative so far succeeded in her design as to make her the object of his admiration and attention ; but the young lady seems to have offered a con- siderable and unusual resistance to his advances ; or at any rate if she succumbed, it does not seem to have brought her much influence. There are some contempo- rary verses in which she is addressed as “ a soft, believing, inexperienced maid,” and warned of her danger from the king’s admiration. The title “Mrs.” is, according to its modern significance, a misnomer when applied to this lady, as at any rate she was never married ; unmarried ladies were in those days designated as “Mistress so-and-so the modern appellation, “a Miss,” implying then what we now designate as “a Mistress.” 201 Frances Brooke, afterwards Lady Whitmore ( 195 ) . Lely. Seated, facing in front ; her head on one side. She leans her left arm on a rock, her hand holding up her slate-coloured drapery to her breast; her right hand is on a rock by her side. This picture is traditionally known as “Lady Whitmore,” Lady Denham’s sister, under which title it was engraved in mezzotint about one hundred years ago by Thomas Watson ; and it is to be traced in James I I.’s catalogue, No. 1118, among the original Beauties: — “Lady Denham’s Sister.” Nevertheless, it was called by Mrs. Jameson, “Anne, Countess of Southesk,” on the authority of an old duplicate, although she admitted that “the whole picture strangely belies the character of the Countess.” This Miss Brooke was the younger of the two daughters of Sir William Brooke, who were nieces of Digby, Earl of Bristol. When they were respectively sixteen and seventeen years old, their uncle, who was anxious to ingratiate himself with Charles, introduced them at Court to captivate that amorous monarch. With this object in view, he used to give little supper parties, at which his young and beau- tiful nieces, — “qui etoient toutes deux faites pour donner de l’amour et pour en prendre ” — were sedulously brought under the notice of the king. “ Le luxe et la delicatesse regnoient dans ces repas nocturnes, qui font l’enchainement des autres voluptes : ” and all was in good train, when the affair was discovered, and at once LADY WHITMORE. BY LELY. From a photograph by Spooner and Co. THE COUNTESS OF FALMOUTH. BY LELY. From a photograph by Spooner and Co. 79 Hampton Court Palace. put a stop to, by Lady Castlemaine. After this we hear no more of the younger Miss Brooke, who eventually married Sir Thomas Whitmore, K.B., ancestor of the Whitmores of Shropshire. 202 Elizabeth, Countess of Northumberland (196) . . Lely. Standing, turned to the left, looking to the front. Her left hand hangs by her side, and holds back her purplish robe ; her right is held up, pointing to the background of woodland scene with waterfalls. Engraved by Watson and by Deane. Lady Elizabeth Wriothesley was the youngest daughter of Thomas, fourth Earl of Southampton, the Lord Treasurer, and sister of Lady Russell. She was married in 1662 at the age of fifteen, to Joscelin, Lord Percy, aged eighteen. He died in 1670, and she next married, in 1673, Ralph, Lord Montague, afterwards Earl and Duke of Montague, who had made love to her with admirable patience and perse- verance, though for a long time there appeared “ quelque chose de tra vers dans l’esprit de la nymphe.” After her marriage she kept her title of Countess of N orthumberland. 203 Countess of Falmouth, ?nis?ia??ied Countess of Ossory (197) Lely. Three-quarters length, standing, facing in front. She leans her right arm on a pedestal, while her right hand holds up her blue dress, which is also supported by a string of pearls, across from her right shoulder and under her left arm. In her left hand she holds a wand. Her loose blue drapery, we are told, on the authority of a lady (Mrs. Jameson), “is so arranged that, on the least movement, it must inevitably fall from the lovely form it conceals. The bust is much exposed, but nothing can exceed the delicacy of the tints and pencillings in the neck and bosom, and the sweet and tender manner in which the whole picture is executed.” The painter seems, too, in this picture, to have almost attained the very ideal of that soft, dreamy, languorous expression of the eyes which he always aimed at. Unfortunately there has been some mistake about the identity of this picture. About a hundred years ago it was engraved in mezzotint by T. Watson as “The Countess of Ossory,” a name with which it is still labelled ; though Mrs. Jameson believed this to be an error, and called it “The Duchess of Somerset.” It is probably, however, neither one nor the other of these ladies. There was no Duchess of Somerset whose age would tally with that of the lady represented in this picture, and the period when it was painted ; nor does it resemble the engravings after other portraits of Lady Ossory ; nor was either lady in the original set of “ Beauties,” of which this is decidedly one. There can be little doubt that it is really the portrait of Elizabeth Bagot, Lady Fal- mouth, who is the only one of Lely’s “Beauties ” not identified in this room (except Madame d’Orleans, who seems to be missing altogether). That this is so will appear still more probable, if we refer to the description of her in the Memoires de Grammont : — “ Elle avoit ce teint rembruni, qui plait tant, quand il plait. 11 plaisait beau- coup en Angleterre, par ce qu’il y etoit rare. Elle rougissait de tout, sans rien faire dont elle eut a rougir.” The complexion of the lady before us is certainly the darkest in this room ; and the painter has very happily indicated her tendency to blush by the incipient crimson, which seems about to suffuse her neck and cheeks. 8o Royal Gallery of Pictures . Elizabeth Bagot was the daughter of Colonel Hervey Bagot, third son of Sir Hervey Bagot, Bart., an ancestor of the present Lord Bagot. Her marriage with her first husband, Lord Falmouth, took place about 1663, soon after this picture of her was painted. He was killed in the great naval victory of June, 1665 ; and she afterwards married the celebrated Lord Dorset, and died in 1685. 204 Elizabeth Brooke, Lady Denham ( 198 ) Lely. She is sitting, turned to the front, facing slightly to the right, but her eyes are directed to the left. She has a basket of flowers in her lap. Her dress is a deep yellow satin. She was the eldest daughter of Sir William Brooke, and niece of Digby, Earl of Bristol, who, as we have seen, introduced her and her sister at court to captivate Charles. The Duke of Y ork, however, took to her instead, and this not serving the aim of her relations, she was married off at eighteen to old Sir John Denham the poet, a widower of seventy-nine, and described as “ancient and limping.” This state of things brought the Duke of York again to the fore, and Lady Denham not only compliantly admitted him as her lover, but had the somewhat unusual effrontery to insist upon being publicly avowed by him as his mistress. This James complied with, and he was about to compel his duchess to appoint her one of her ladies of the bedchamber, when she suddenly fell ill and died a month or two after- wards. She was supposed, but on inadequate grounds, to have been poisoned by “ce vieux scelerat Denham.” 205 Barbara, Duchess of Cleveland, as Minerva ( 199 ) . Lely. Standing, turned to the left, looking in front. Her left hand grasps a spear ; her right is on a shield, on which is Medusa’s head. She wears a golden helmet with red and white plumes, and a stone-coloured dress with a light blue scarf. The back- ground is a sky. The daughter and heiress of William Villiers, Viscount Grandison, the most profligate of this profligate lot. She married at eighteen Roger Palmer, who was a loyal adherent of the Stuarts, and, when in Holland, they came across the merry monarch, who rewarded Mr. Palmer’s loyalty by seducing his wife. At the restora- tion the liaison continued, and Palmer, for his compatibility — about which, however, he had little choice — was rewarded by being made Earl of Castlemaine. When Catherine of Braganza came to England, she had firmly resolved not to receive Lady Castlemaine. No sooner, however, did Charles and his new queen come to this palace to spend their honeymoon, than Lady Castlemaine established herself here also, and within two days of her arrival forced herself into the queen’s pre- sence. Her majesty was so overcome at this indignity, that she burst into tears, and was carried fainting from the room. Afterwards she was constrained to make her one of her ladies of the bedchamber, and treat her with the greatest deference. Her history and the dishonour she brought on Charles by her powerful influence, are too well known to need recapitulation. Pepys’s Diary is full of anecdotes about her ; and in the following extract he appears to refer to this picture : — “I went to Mr. Lilly’s, the great painter, and here, among other pictures, saw the so-much-desired-by-me picture of my Lady Castlemaine, which is a most blessed picture.” She died old and neglected, but not impoverished, in 1709. Her imperious and arrogant character is well expressed in this picture, where she is re- LADY DENHAM BY LELY. From a photograph by Spooner and Co. THE DUCHESS OF CLEVELAND. BY LELY. Front a photograph by Spooner and Co. Hampton Court Palace. 81 presented under the character of Pallas. ‘ ‘ The face is perfectly beautiful ; the rich red lips are curled with arrogance and womanish disdain ; and the eyes look from under their drooping lips with a certain fierceness of expression.” 206 Anne, Countess of Sunderland ( 200 ) Lely. Seated ; figure turned slightly to the right, her face to the left, but her eyes to the front. Her left arm leans on a pedestal, her right is on her lap. She is dressed in yellow, with crimson drapery. She was the youngest daughter of George Digby, Earl of Bristol ; and married in 1663, at the age of twenty-one, Robert Spencer, Earl of Sunderland, the well- known politician of that time, and was at Court, but appears to have preserved her character less sullied than was usual at that time. The Princess, afterwards Queen Anne, however, writes the following remarks on her : — “ Lady Sunderland plays the hypocrite more than ever ; for she is at church half an hour before other people come, and half an hour after everybody is gone, at her private devotions. She runs from church to church after the famousest preachers, and keeps such a clatter with her devotion, that it really turns one’s stomach. Sure there never was a couple so well matched as she and her good husband ; for as she is the greatest jade that ever was, so is he the subtillest workingest villain that is on the face of the earth.” She is seen, however, in her true light in Evelyn’s Diary , who had the highest admiration for her high character, her good heart, and her refined tastes. 207 Miss Hamilton, Countess de Grammont ( 201 ) . . Lely. Seated ; turned towards the left, but facing in front. She is represented as St. Catherine ; dressed in red, holding a small palm branch in her left hand ; her right holds a scarf of gold brocade to her bosom. Her complexion is fair ; her hair light chestnut. In the background on the left is a pillar and St. Catherine’s wheel. Engraved by Watson and by Thompson. This picture is the finest and most interesting of the whole series, and we are told in Grammont ’s Memoires that Lely bestowed all his art on it, and confessed he had taken a special delight in painting it. It is the only one which bears his signa- ture : “ P. L.” in the upper right-hand comer. At Court it made a great sensation, and the Duke of Y ork, who had before paid assiduous attention to Miss Hamil- ton, “en eut a la regarder, et se mit a lorgner tout de nouveaux l’original” — much to the alarm of Le Chevalier de Grammont, who had just made her acquaintance, and was already her ardent lover. His charming account of her at this time exactly corresponds with the impression conveyed by this picture : — “II la vit done pour la premiere fois de pres, et s’appergut qu’il n’avait rien vu dans la cour avant ce moment. II l’entreteint ; elle lui parla. Tant qu’elle dansa, ses yeux furent sur elle, et des ce moment, plus de ressentiment contre la Midleton. Elle etait dans cet heureux age, ou les charmes du beau sexe commence a s’epanoiiir. Elle avoit la plus belle taille, la plus belle gorge, et les plus beau bras du monde. Elle etoit grande et gracieuse jusques dans le moindre de ses mouvemens. C’etoit 1’ original, que toutes les femmes copioient pour le gout de habits, et l’air de la coeffure. Elle avoit le front ouvert, blanc et uni : les cheveux bien plantes, et dociles pour cet arrangement naturel, qui coute tant a trouver. Une certaine frai- cheur, que les couleurs empruntees ne sauroient imiter, formoit son teint. Ses yeux n’etoient pas grands : mais ils etoient vifs, et les regards signifioient tout ce quelle vouloit. Sa bouche etoit pleine d’agremens, et le tour de son visage etoit parfait. M 82 Royal Gallery of Pictures. Un petit nez delicat et retrousse n’etoit pas le moindre omement d’un visage tout aimable. Enfin, a son air, a son port, a toutes les graces repandues sur sa personne entiere, le Chevalier de Grammont ne douta point qu’il n’y eut de quoi former des prejuges avanta^eux sur tout le reste. “ Son esprit etoit a peu pres comme sa figure. Ce n’etoit point par ces vivacites importunes, dont les saillies ne font qu’etourdir, quelle cherchoit a briller dans la conversation. Elle evitoit encore plus cette lenteur affectee dans le discours, dont la pesanteur assoupit : mais sans se presser de parler, elle disoit ce qu’il falloit, et pas davantage. Elle avoit tout le discemement imaginable pour le solide et le faux brillant ; et sans se parer a tout propos des lumieres de son esprit, elle etoit reservee, mais tres juste dans ses decisions. Ses sentimens etoient pleins de noblesse ; fiers a outrance, quand il en etoit question. ” Nevertheless De Grammont seems to have been of so volatile a nature, that he was leaving England hastily, without performing his engagements to Miss Hamilton, when he was pursued and met by her two brothers in an inn at Dover. “ Chevalier de Grammont,” cried they aloud, “ n’avez vous rien oublie aLondres? ” “ Pardonnez moi, messieurs,” replied he, “j’ai oublie d’epouser votre soeur.” He accordingly returned, and about December, 1663, “ pour le prix d’une Constance qu’il n’avoit jamais connue auparavant, et qu’il n’a jamais pratiquee depuis, il se vit en fin possesseur de Mademoiselle d’Hamilton.” They appear to have left England about 1664. In France, where she resided the rest of her life, she was appointed “ Dame du Palais ; ” but she was not popular, at least with the ladies, who designate her as “affected and haughty,” “plus agreable qu’aimable,” and “ Anglaise insupport- able.” 208 Flower-piece, in panel ( 202 ) Baptiste. COMTESSE DE GRAMMONT. BY LELY. From a photograph ly Spooner and Co. Is tng’s raressmg Moom. (ROBABLY this room was not quite finished till Queen Anne’s time, as the ornamental brass-work on the door bears the initials A. R. The half-story begins above this room, which accounts for its being only 20^ feet high. Its length is about 24 feet ; its width 14^ feet. (Veiling. This, which is another of Verrio’s, represents Mars reposing in the lap of Venus, while Cupids steal his shield, armour, spear, sword, and helmet, and entwine his arms and legs with wreaths of roses. The border is decorated with orange trees in ornamental pots or vases, with jasmine and other trees, and with parrots and other birds. In a memorial addressed by Verrio, on the 28th July, 1702, to the Lord High Treasurer, he says that he had contracted with his late Majesty William III. to paint this room, which he calls “ the little bed-chamber,” at a rate certain ; that he had only been paid a small part of what was due to him for this and other work ; that he was still owed a sum of .£1,190, and that “ his necessi- ties were very pressing for money, and without speedy assistance he was like to be reduced to great extremity.” He was given .£600. The flock-paper is modem ; till the beginning of this century the walls were hung with straw-coloured Indian damask, and the chairs and stools, &c., were covered with the same material. The comet fireplace, — with its marble chimney-piece, its antique cast-iron fire-back, showing Neptune and attendant nymphs (date about 1702), and the curious oak mantel- piece, with diminishing shelves rising one above another, and decorated with lime-wood carving, — is characteristic of old times. Here are placed some more pieces of Queen Mary’s china. The barometer in the corner was considered a curiosity even in 1741. 84 Royal Gallery of Pictures . 210 Men in Armour, fighting with Bears (741) Bassano. Four or five figures less than life, with daggers ; the bears on their hind legs. On the left is a lioness reclining. 21 1 The Continence of Scipio (256) S. Ricci. He is seated under some columns, with his soldiers round him ; the girl is on her knees in front of him. Figures less than life. “ A showy decorative picture, worth looking at as marking the fashion of a day gone by.” — (Thorne’s Environs of London.) 212 Robbers in a Cave dividing their Spoil {670) . . S. Rosa. Eight small figures ; some on horseback, others rifling boxes, others casting lots on a drum. On canvas, 4 ft. 5 in. high, by 5 ft. 4 in. wide. This is a good picture in the favourite style of the master, who was fond of wild, desolate scenes, such as gloomy defiles, rocky precipices, lonely mountains. Into these he introduced the robbers and banditti with whom he is said to have been associated in his youth. 213 A Holy Family (696) Perugino? St. John is presenting a cup ; St. Joseph and St. Elizabeth stand by. On wood, 2 ft. high, by 2 ft. 6 in. wide. 214 A Holy Family (66) Francesco Vanni. St. Joseph stands by ; St. John sits in front. Two angels adoring, and the Holy Ghost descending in the form of a dove. “Although Vanni appears to have generally adopted the style of Baroccio for his model, his design is usually more correct, his touch more animated and facile. .... The airs of his heads are dignified and expressive, and his colouring is tender and harmonious. He died in 1610.” — (Bryan’s Diet, of Painters.) 215 Nymphs and Cupids sporting in Clouds {571) Chiari. Giuseppe Chiari was a scholar of Carlo Maratti. The visitor will probably not care to hear any more of him, when he has inspected the specimens of his art in this room. On canvas, 3 ft. 10 in. high, by 3 ft. 10 in. wide. 216 Cupid Shaving his Bow {511) after Parmigiano. This copy was in James II. ’s collection, No. 757. The original is in the Belve- dere at Vienna. The copy in the Orleans Gallery was bought by the Duke of Bridgwater in 1792 for ^700 ; it is now in the possession of Lord Ellesmere. It has been frequently engraved. 217 Christ in the House of Martha and Mary {684) . Giacomo Bassano. Christ is entering with his disciples on the left ; on the right is a fireplace, in front of which is Martha on her knees attending to the dinner. Rows of pots and pans are ranged over the chimney-piece and dresser, and various kitchen uten- sils are about the room. In the background is a landscape. On canvas, 2 ft. 11 in. high, by 3 ft. 10 in. wide. 218 Judas betraying Christ {564) On canvas, 2 ft. 3 in. high, by 2 ft. 9^ in. wide. PORDENONE ? Hampton Court Palace. 85 219 Salome with the Head of John the Baptist (672) . . . unnamed. This appears to be : — “The picture of Herodias with St. John’s head in a platter, looking towards her left shoulder to another old woman standing by, with her hand on her breast : a Mantua piece.” She is turned to the right ; her arms and bosom are bare. On canvas, 3 ft. 2 in. high, by 2 ft. 9^ in. wide. 220 Two Nymphs Kissing (561) [See No. 215] Chiari. 221 Head of Christ, in a small oval ( 214 ) unnamed. 222 Head of the Madonna, in a small oval ( 216 ) unnamed. 223 The Tribute Money ( 702 ) P. Veronese? Ten small figures. Certainly not by the master. 224 The Marriage of Joseph and Mary (574) Girolamo da Treviso? A curious little picture, carefully painted, of three figures ; the centre one in a mitre performing the ceremony. In the background is an altar, with Hebrew de- vices and signs ; and also several figures. On wood, 2 ft. 2 in. high, by 2 ft. 10 in. wide. This, which had been long unnamed, is now attributed, though I do not know on whose authority or on what grounds, to Girolamo da Treviso. No signature is to be detected, but if it is really by him, it is of considerable interest, for he was one of the painters invited to England, and patronized by Henry VIII. ; and his works be- sides are exceedingly scarce. He was the son and pupil of Piermaria Pennacchi, and was born in 1497 at Trevigi. He became an imitator of Raphael. It is not certain when he came to England ; probably about 1530. Henry gave him a salary, and employed him as architect and engineer. He was killed by a cannon-ball in 1544 near Boulogne, while engaged in some siege works. The only authenticated example of him in England is in the National Gallery. (See Wornum’s Holbein , page 273 ; and The Catalogue of the National Gallery. See also Dellaway’s notes to Walpole’s Anecdotes, and Mr. Scharf’s paper on Holbein's Contemporaries in Archceologia , xxxix. , 54.) There appears no picture corresponding to this in Plenry VIII. ’s catalogue, nor in Charles I.’s. Besides, being on panel, it should have his brand behind — CR, with a crown above ; but there is no trace of anything of the sort. But it is pro- bably the “ Small Piece of the Marriage of Joseph and Mary, Italian” — found at the Restoration, in the custody of Emmanuel de Critz ; and afterwards in James II.’s catalogue, No. 963 : — “A Bishop marrying a man and woman.” 225 “A piece with a Doe, a Stork, and a Brass Pan in it” {246) . Kalf. So described in James II.’s catalogue, No. 800. William Kalf was a Dutch painter of still-life, who excelled especially in composi- tions like the above, where the kitchen utensils of a boor’s establishment are ren- dered with surprising truth. There is a similar piece in the Louvre. He flourished at Amsterdam in the middle of the seventeenth century, and died there in 1673. a PPOSITE the windows in this little room is a door in the wain- scot, leading to a private staircase, at the bottom of which is a private way into the garden, so that the King could go out unobserved. The bannisters are formed of most beautifully wrought iron, unequalled for delicate workmanship in England. The looking-glass over the chimney-piece is so arranged as to afford a view in vista of all the rooms on the south side of the state apartments. The hangings were formerly of pea-green damask. This room is 24 feet long by 17 feet broad. 225° Flowers in a Brass Vase — a panel-piece ( 222 ) . . James Bogdani. This and similar still-life pieces by this artist were painted expressly for the panels in these rooms, by order of Queen Anne. He came over to this country in her reign, and lived here between forty and fifty years, known at first only by the name of “ The Hungarian.” Other specimens of his pencil, such as birds, poultry, &c., will be found further on (see No. 455, &c.). 226 Artemisia Gentileschi at her Easel, painting (?pi) By herself. Half-length, seen in profile to the left, with her paint-brush in her right hand, her easel in front of her. She has long black hair. Below is the signature : “ A. G. F. ” On canvas, 3 ft. 2 in. high, by 2 ft. 5 in. wide. This is a fine and spirited portrait of a very remarkable woman. She was the daughter of Orazio Gentileschi, a celebrated Italian painter, who was invited to ARTEMISIA GENTILESCHI.] BY HERSELF. From a photograph by Spooner and Co. Hampton Court Palace. 87 England by Charles I., and whose whole family was patronized by him. (See next picture.) This portrait was probably painted by her expressly for the King ; for we find it in the inventory of his goods made by order of the Commonwealth : “A Picture of Painting, by Arthemesia. Sold to Mr. Jackson 28th Nov. 1651 for .£10.” She came over to England with her father, but did not remain long ; though while here “ she drew some of the Royal Family and many of the nobility.” Mr. Thome remarks, that “ probably many portraits in great English houses, attributed to more eminent names, are from her pencil.” Indeed she excelled her father in portraiture. Nor was her popularity confined to England. Lanzi speaks of her as “famed throughout Europe,” and her master, Guido, held her in high esteem. She passed most of her life at Naples, where, if we are to believe the gossips, she was “as celebrated for her amours as her painting.” She certainly does not seem to have cared much about her husband, for we find her asking in one of her letters with the most perfect indifference, whether he is still alive or dead ! She died in 1642. There is another Dortrait of her by herself at Althorp. (See Walpole’s Anecdotes , and Sainsbury's Original Papers relating to Rubens and his Con- temporaries, p. 310, and authorities there quoted.) 227 A Sibyl {218) Orazio Gentileschi. Half-length ; holding in front of her a tablet, on which are some mystical caba- listic symbols. Her face, which is in profile to the right, is upturned, as if seeking inspiration. Her left hand holds the edge of the tablet. On canvas, 1 ft. 1 1 in. high, by 2 ft. 2\ in. wide. This picture was in Charles I.’s collection, for we find his cypher painted at the back of the canvas, and it is doubtless the “Woman’s Head by Gentilescoe, sold to Mr. Houghton, 16th Jan. 1651 for £ 6 ,” by order of the Commonwealth. And it appears in James II. s catalogue, No. 276 : — “A woman to the waist, holding a table with characters. By Gentileschi.” Mr. Thorne would therefore appear to be right in attributing it to Orazio the father, instead of to Artemisia his daughter, as has been usually done. He was a native of Pisa and a disciple of his half-brother, Aurelio Lomi. The very considerable reputation he had earned abroad, induced Charles I. to invite him to London in 1626, and treat him with the greatest liberality. He gave him an annuity of ^100 a year (equal to at least ^600 in these days), bore the whole expense of the education and travelling of his sons in Italy, employed him in paint- ing ceilings at Greenwich, paid very large sums for his pictures, and furnished him a house from top to toe at a cost of more than ^4000 ! Such favours naturally excited envy. Gerbier, a rival artist, had to draw up a paper of * * the sums of monies Gentilesco hath received : ” he did so in a ludicrously bitter tone. Some of the items are : “Got for to buy collars, being a new plot to put upon the King — £ 150!. . . Afore the Duke went to Re, the Duke told me that Gentiles ‘ squised out of his purs ’ — ^400 ! . . . After the son came back again from Italy, made believe he had been robbed at sea and got another sum ! ” (See authorities cited above.) There were many of his pictures in the royal collection in Charles I.’s time : the two here are all that now remain, the others being dis- persed. He died in London in 1647, aged eighty -four. 228 Colossal Head of a Warrior (2 if) Guercino. He has a helmet on, and looks to the right. He rests his head on his left hand. On canvas pasted on wood, 2 ft. 9 in. high, by 2 ft. 3 in. wide. 88 Royal Gallery of Pictures. This is in Guercino’s first and least known manner, which “ seems to be an imitation of Caravaggio, full of deep shades and strong lights ; flesh of a yellow tinge, and a general colour that was far from being harmonious.” (Pilkington’s Diet.) See also No. 231. 229 Joseph and Potiphar’s Wife (165) . . Orazio Gentileschi. She is stretching across a couch, and holds his coat in her hand ; he is lifting a red curtain, and going out of a door on the right, his head turned round. The costumes are of the painter’s own time. On canvas, 6 ft. 9 in. high, by 8 ft. 6 in. wide. This was painted for Charles I. At the Revolution it was sold for ^5° ; at the Restoration it was found in the possession of Thomas Osborne, and it appears in James II. ’s catalogue, No. 161, as “A large piece of Joseph and his Mistress.” It is well painted, but has suffered from over-cleaning, which gives it a hard and patchy appearance. The style of the artist and his school being realistic in its tendency, the accessories are in the taste of the time of Charles I. This picture has been denounced as of immoral tendency, because “the licentious pencil of the artist ” is supposed to aim rather at exciting us to wonder and laugh at, than to “admire the noble virtue of the youth.” 230 Venus and Youth at a Brook (640) unnamed. She is on the left, under a tree, watching the boy getting into the water. On wood, 1 ft. 8 in. high, by 2 ft. 1 \ in. wide. 231 Portrait of Guercino holding his palette (98) .... By himself. Bust, in brown, with a large collar. In his right hand he holds his palette, in his left his brushes. On canvas, 2 ft. \ in. high, by 1 ft. 8 in. wide. This was brought here from Frogmore in 1829. There is a similar picture at Cobham Hall. The real name of this painter was Giovanni Francesco Barbieri, the appellation Guercino, by which he is now known, having been given to him on account of his having lost the sight of his right eye. He died in 1666. 232 St. Roch curing the Plague (797) unnamed. Some twelve small figures. St. Roch in front of a table, healing a man. On canvas, 1 ft. 7 in. high, by 2 ft. I5 in. wide. He is the patron saint of people smitten with the plague, and is supposed to have been endowed with miraculous powers of healing. He has always been a favourite subject with artists. 233 Head of a Young Man ( 861 ) C. Cignani. Bust, with red drapery, looking to the right. (F or Carlo Cignani, see Cartoons in Henry VIII.’s Presence Chamber.) 234 Cleopatra dying from the bite of an Asp (981) . . . L. Caracci ? She is seen to the knees, reclining against a cushion and nude, with green drapery. Her right arm is by her side, the asp is coiled round her left arm, which is bent to support her head. A girl on the left is looking at her. Figures less than life. On wood, 3 ft. 1 in. high, by 2 ft. 4 in. wide. Charles I.’s cypher is behind ; and it was in James II.’s catalogue, No. 940. Hampton Court Palace . 89 235 Lucretia with the dagger, and Tarquin (i°s) . . . P. Bordone? His head is just seen in the gloom behind over her right shoulder ; and he has hold of her left arm. She is holding the dagger in her right, with the point directed to her bosom. She is in a white night-dress, over which is green drapery winding round her sleeve and waist. On wood, 2 ft. 6 in. high, by 2 ft. 1 in. wide. This may possibly be the picture in the Long Gallery at Hampton Court in Henry VIII. ’s time, and described in his catalogue as, “ A table containing a man embracing a woman, she having a dagger in her hand ; with a curtain of green and yellow sarcenet.” And it corresponds in dimensions with the “Lucretia done by Titian, having a dagger in her right hand, and a man’s face behind, being Tarquin ; half a figure so big as the life ; done upon a board ” — in Charles I. ’s catalogue, which was sold by the Commonwealth to Remee van Leemput for ,£75. This is a smeared old copy, sometimes ascribed to Paris Bordone, of a very fine picture by Palma Vecchio in the Imperial Gallery at Vienna. Another copy of the same by Varotari (II Padovanini) is in the Uffizi. (Crowe and Cavalcaselle’s Painting in North Italy , ii., 475.) 236 Augustus consulting the Sibyl (33) .... Pietro da Cortona. A large composition of some eleven life-size figures. On the right is Augustus in a red toga, gazing with astonishment at the representation of the Madonna and Child in the clouds, to which the Sibyl, who stands in the middle in grey, is pointing. On the left is an altar with a sacrifice, and a youth kneeling with a casket in his hand, and several other figures around. Beneath a colonnade behind Augustus are two men reading either the Sibylline Books, or perhaps Virgil’s Eclogue to Pollio. On canvas, 8 ft. 10 in. high, by 8 ft. 8 in. wide. The alleged prophecy by the Sibyl of the advent of Christ is supposed to be re- ferred to in Virgil’s Eclogue to Pollio , where he announces the return of the golden age. The prophetic references in the Sibylline Books to the coming of Christ are now known to have been forgeries by the early Christians. (See a most inte- resting article on the Sibylline works in the Grand Dictionnaire du XIX. Sitcle, of P. Larousse.) Pietro Berretini da Cortona was chiefly employed at Rome and Florence, in the middle of the seventeenth century in decorating palaces, particularly the Barbarini and Pitti. His canvas pieces have the defects incidental to that sort of work : a want of correctness in design, and a flashy showyness in colouring. 237 Moses Striking the Rock (384) Salvator Rosa. A small landscape representing Moses on the right striking a massive rock. On the left are many females with vases. On canvas, 1 ft. 8 in. high, by 2 ft. 3 in. wide. 238 Martyrdom of St. Bartholomew (426) . after Spagnoletto , L. Nottery? This is a small copy of the famous picture in the Museum at Madrid. The saint is tied to a tree, while his executioner is skinning him with an expression of eagerness and zeal, for which the religious enthusiasts of the Spanish Inquisition must have furnished the type to Spagnoletto. On wood, 1 ft. 1 1 in. high, by 1 ft. 4^ in. wide. The original was engraved by Spagnoletto himself. Of Nottery, who according to the label was the copyist, I can find no mention anywhere. But it appears from an old catalogue that he executed this copy in 1630. N 90 Royal Gallery of Pictures, 239 Small Landscape (1104) Salvator Rosa. A few figures in the foreground, one of whom carries a pitcher on her head. In the background a piece of water and a castle. On canvas, 1 ft. 7 in. high by 2 ft. 1 in. wide. The picture-cleaner and “ restorer ” has been at work on this canvas. 240 Portrait of a Young Woman (403) Labelled P. Bordone , but by Palma Vecchio. This was in Charles I.’s catalogue, page 138: “The picture of a woman in yellow hair, and white habit, wide white sleeves, holding her right hand to her left sleeves ; half a figure, so big as the life. Given to the King by Sir Henry Fan- church. Said to be done by old Palma.” She looks to the left. Below is painted a wooden ledge, on which is an inscription or date in antique characters. On wood, 2 ft. 5 in. high by 1 ft. 10 in. wide. It reappears in James II. ’s catalogue, No. 629: “ A woman’s picture to the waist, in her hair, with naked breasts ; by old Palma.” Morelli and the critics of his school recognize in this picture an example, though an indifferent one, of Palma Vecchio’s third or blonde manner, the characteristics of which — rosy flesh tints, yellow hair, and white skin — are very discernible here. To judge from photographs it bears much resemblance to Palma’s ” Lucretias ” in the Borghese and the Imperial Gallery at Vienna. For a specimen of his middle manner, see No. 115. 241 Salome with the Head of John the Baptist ( 238 ) Labelled Luini> but after Cesare da Sesto ? This was in Charles I.’s catalogue, as his brand, C.R., with the crown above, is found on the back of this panel, which is fully an inch thick. She is seen on the right, in full-length, less than life. Her left hand is in front of her, holding up her gown, her right points to a basin, which stands on a table, and over which the executioner is holding John the Baptist’s head. Her dress is red, with green drapery, and grey sleeves. The executioner, who is a little in the background on the left, is seen only to the waist behind the table ; he holds the head by the hair in his left hand, and is looking at Herodias’ daughter. Behind them is seen the head of her mother. The table is marble, on supporters representing sphinxes ; the green cloth over it is turned up at the cover, and shows a yellow lining. On wood, 4 ft. 2 in. high by 2 ft. 4^ in. wide. This is a repetition, with some variations, not noticed by Messrs. Crowe and Cavalcaselle, of the picture formerly in the Orleans Gallery, where it was attributed to Leonardo da Vinci, and afterwards to Luini ; and now in the Imperial Gallery at Vienna, where it is correctly ascribed to Cesare da Sesto. ( See Suppl.) Cesare was a pupil of Leonardo’s, and was working under him at Milan from about 1507 to 1512. A fine chalk drawing with the study for the hand of the executioner in this picture is at Windsor, under the name of Leonardo. 242 Head, a Sibyl (133) C. Cignani. Bust, in yellow drapery, her left hand on her breast, a turban on her head, looking to the left. A YOUNG WOMAN. BY PALMA VECCHIO. From a photograph by Spooner and Co. Hampton Court Palace . 91 243 4 Peacock, Cocks, and Hens ( 343 ) J. Bogdani. The peacock stands on a pedestal. (See No. 225 s .) Signed on the right. 244 Triumph of Spring over Winter ( 223 ) S. Ricci. She is attended by cupids, crowned with flowers, and rising on clouds ; Winter, represented as a dead old man, lies below. 245 Mystic Marriage of St. Catherine (390) ... A copy after Correggio. The Infant Jesus, seated on His mother’s knee, is placing the ring on St. Cathe- rine’s finger. A saint behind her, and a landscape in the distance. Half-length figures. On canvas, 3 ft. 2\ in. high by 4 ft. wide. I formerly sought erroneously to identify this with “The Picture of Our Lady and Christ and St. Catherine, half figures, so big as the life; a landscape by it, where the martyring of St. Bastian is painted in little entire figures, half so big as the life” — in Charles I.’s catalogue, page 109, and there stated to have been “given to the King by the deceased Duke of Buckingham. Said to be done by Correggio, and by some esteemed a very good old copy ” — which was sold by the Common- wealth for ^25; and is in James II. ’s catalogue, No. 171. This copy, however, is a very bad one ; and, as Mr. Claude Phillips has pointed out, the martyrdom of St. Sebastian, specially mentioned by Vanderdoort as being painted in the background, though it exists in several good copies, is entirely left out in this very inferior one. The original, which was painted about 1517, is in the Louvre. It was engraved for the Music Napolion , in 1814. There are replicas at Naples and St. Petersburg. (See Meyer’s Correggio .) 246 Flower-piece — Lilies, etc. — in a Brass Vase (. 232 ) . • J. Bogdani. O UEEN MARY’S closet is not a very appropriate designation of this room ; for, as it was not floored till four or five years after her death, she could never have been in it at all. It seems to have got this name from having been formerly hung with needlework executed by her ; the chairs and screens also being described as “ the work of the same pious hand,” and “ extremely neat, and the flowers very well shadowed.” They were all removed some years ago. Artistic needlework, indeed, seems to have been the chief occupation by which Mary beguiled the weary hours of her husband’s long absences, varied with the interest of her choice collection of exotics and her orange trees, — the remnant of which can be seen from the windows here, — and her curious specimens of china, which are seen in every room. In an old building called “The Water Gallery,” which stood on the brink of the river, but was taken down after her death, she formed a retreat which would do credit to any “ aesthetic” lady of the present day. The decora- tion of her rooms was superintended by Sir Christopher Wren. It included ceilings painted by Verrio; richly carved doorways and cornices, with delicate festoons of fruits and flowers in limewood, by Grinling Gibbons ; oak dados, hangings of fine needlework, and corner fireplaces, with diminishing shelves above, on which were ranged her most valued specimens of blue china. Here she spent most of her time, surrounded by those beautiful maids of honour whose features she made Kneller transmit to us (see “ King’s Presence Chamber ”) ; sometimes plying her needle on the fragile balcony of beautiful wrought iron, which overhung the then un- cockneyfied Thames, and watching the barges sail to and fro ; sometimes superintending the laying out of the new gardens ; and sometimes sitting Hampton Court Palace . 93 at work beneath the shade of the curious intertwined trees still known by the name of “ Queen Mary’s Bower.” The pleasant views this room affords into the public and private gardens, and its large windows to the south and east, which admit whatever sunlight there may be, make it the most charming of the suite, and admirably adapted for a sitting-room, to which use Queen Anne probably put it. The fireback represents the Madonna and Child. Between the windows is a fine old looking-glass with a blue cut-glass border. The room’s dimensions are : length 26 feet, width 12-^ feet, and height 18^ feet. 247 Two Females sacrificing to a Statue ( 244 ) G. Romano. In Charles I.’s catalogue, page ioo, it is described: — “A high and narrow piece, in a white carved and gilded frame, being a sacrifice ; some four entire little figures, and a goat lying to be sacrificed. A Mantua piece, done by Julio Romano," and in James II.’s collection, No. 237 : — “A Sacrifice to Jupiter." A border of black painted wood has been very inappropriately added all round to make it fit an oak panel frame. The figure in the foreground holds a knife ; the one behind is near the altar, and holds his right hand outstretched towards the statue of the god, which is on a pedestal. A little boy is near the goat holding a basin. The back of the panel is branded with Charles I.’s cypher, C.R. and a crown. On wood, 4 ft. high, by 2 ft. 2 in. wide. It was sold by the Commonwealth for ^44. “ Genuine and spirited. ” — (Waagen.) 248 Charity {20s) C. Cignani. She is seated, clasping three children who are clinging to her for protection. Figures life-size. On canvas. 249 Madonna and Child (77) Bronzino? The Madonna is in scarlet, seated. In her right hand she holds a book which rests on the ground ; her left holds the Infant, who leans on her knees. In the background to the right are a few small figures. The Bargello, Duomo, and other buildings in Florence are in the background. On wood, 4 ft. high, by 3 ft. 4 in. wide. Bronzino was a pupil of Pontormo’s, and became court painter to the Medici. 250 Holy Family, St. Catherine and St. Joseph (167) . Luca Cambiaso. The Madonna is seated, the Infant Jesus, who is on her lap, grasps a palm which St. Catherine holds over Him in her right hand ; her left hand is on the hilt of a sword. St. John rests his head on the Blessed Virgin’s knee, and holds in his left hand a small cross and a scroll with : “ ecce agnvs dei. " St. Joseph on the left contemplates them. Figures life-size, and nearly full-length. 94 Royal Gallery of Pictures. This picture has been attributed to Parmigiano, but the slipping of the canvas in the frame has quite lately revealed the name “ Luca Cambiasi,” who was doubtless the artist. In Charles I.’s collection there were several Holy Families by him, but none of the descriptions exactly correspond with this one. His surname is some- times given as Cangiagio, and he is also known by the familiar designation Luchetto da Genova. Some of his drawings are in the British Museum. His paintings, which are not much known in England now, were held in high esteem in Italy, where he was largely employed in decorating churches, and Philip II. also invited him to Spain to paint in the Escurial. He died there in 1585. 251 The “ Madonna della Quercia” ( 24 /) after Raphael , G. Romano. The Madonna is sitting under an oak, and holding up her Child in her right arm. St. Joseph leans on an antique fragment, and looks over her shoulder. The Infant Jesus and St. John are on a cradle. St. John holding a scroll with “ecce . AGNUS . DEI.” On canvas, 4 ft. 4 in. high, by 3 ft. 5 in. wide. This is an early and very good copy, attributed to Giulio Romano, of Raphael’s famous picture now at Madrid, which is said to have belonged to Charles I. There is also a repetition of it at the Pitti Palace at Florence, marked as a copy by Giulio Romano. It is sometimes called “ The Madonna della Lucertola” on account of a lizard which is introduced into the Pitti version, but not found in others. It was designed by Raphael about 1517, but the execution, even of the original, is generally attributed to G. Romano. Variations by Raphael’s scholars, in which the infants hold the scroll aloft, are frequently met with. 252 Thetis presenting Achilles to Cheiron the Centaur ( 21 1 ) A. Balestra. Three-quarters life-size. Cheiron has the infant in his arms, Thetis in white drapery is looking up at him. Antonio Balestra painted very indifferently, somewhat in the style of Carlo Maratti. His pictures here are specimens of the sort of art patronized by the early Georges. 253 The Roman Daughter and her Father (713) unnamed. He is in prison, sitting in front of the stocks, with his bare back towards the spec- tator, and a piece of red cloth about his loins, and his hands tied behind him. She is suckling him, and thus saves him from starvation ; her right hand rests on his bald head. 254 St. John the Baptist in the Desert { 746 ) .... Lionello Spada. Full length, reclining, looking upwards and pointing with his left hand to a cross ; beside him, in his right hand, he holds the scroll with “ecce agnus dei.” This is a very bad example of an able Bolognese master who, as Kiigler succinctly puts it, “happily combined the more dignified conception of the Caracci with the vigour and truth of Caravaggio.” His most accessible masterpiece for Englishmen is in the Louvre. 255 Vulcan giving Thetis Armour for Achilles ( 207 ) . . A. Balestra. Life-size; three-quarters length. She holds the helmet ; he is giving her the shield and sword. Cupids hover round. 256 Madonna and Child ( 962 ) C. Cignani. He is standing on a table, and holding a rose near her face ; she supports Him. Hampton Court Palace. 95 257 A Roman Emperor on Horseback ( 168 ) G. Romano. His head bare, his mantle arranged so as to form a background to the horse’s head. On wood, 2 ft. 10 in. high by 1 ft. 8 in. wide. Behind is branded “ C.R.” and the crown, showing that it belonged to Charles I. and was one of the “ eleven Caesars,” sketches, which he bought with the Mantuan collection. In the Mantuan catalogue they were entered thus: “ Dieci altri quadri dipintovi un Imperatore per quadro a cavallo — opera di mano di Giulio Romano.” (D’Arco’s Notizie.) At the Commonwealth they were valued at £1, 100, and sold for that sum. Only this and No. 290 now remain in the Royal Collection. 258 A Female with Flowers, called “Flora” (856) .... unnamed. Half-length, less than life, seated. 259 Saint Catherine (412) . . Labelled Luini , but by Gianpietrino? Half-length, life-size. She wears a crimson mantle, and a dark green dress, cut square, with a small linen frill. Her arms are crossed. In her left hand she holds the palm-branch, and her right rests on the wheel. Long, reddish-brown hair. On wood, I ft. io£ in. high by 1 ft. 7 in. wide. This panel is obviously by one of the followers and imitators of Leonardo da Vinci ; and Mr. Claude Phillips’ ascription of it to Gianpietrino, one of the master’s actual pupils, is probably correct. His workshop must have been one of the busiest and most frequented in Milan between 1520 and 1530. “The sweet smile which characterizes all Gianpietrino’s female heads, he derived from his master, and with the exception of Sodoma, he was more successful in reproducing this expression than any of Leonardo’s pupils.” (Morelli. ) He is easily recognized by the golden red colour of his draperies, by his form of hand and ear, by his cold flesh tints, and by his life-like hands, contrasting with the stiff lifeless hands of Marco d’Oggionno (see No. 64), with whom he is often confounded, and to whom some have attributed this panel. Mr. Humphry Ward has a similar but superior picture, attributed to Luini. 260 Old Woman warming her Hands with Charcoal ( 613 ) . G. Nogari ? A head ; the pan of charcoal is on the table. Giuseppe Nogari was a painter of the debased Venetian school, and a pupil of Balestra’s — a bad scholar of a poor artist. As a portrait painter, however, he shows some power and truth. (See No. 263.) At Bologna there is a picture similar to this, attributed to Cavaliere Mattia Preti, called “ II Calabrese,” a scholar of Lanfranco and Guercino (1613-1699). 261 Madonna and Child (749) unnamed. Figures less than life. She is seated, kissing the Child. On canvas, 2 ft. 2 in. high by 2 ft. 8 in. wide. This is a genuine old Venetian picture, worthy of more notice than it has yet received ; it still awaits suggestions as to the painter. 262 Madonna and Child, with St. John ( 707 ) V. Malo. The Madonna is reclining, while the Infant Jesus lies by her side, and St. John, with his hands joined, and holding a cross and scrip, stands by in contemplation. Background : pillars, and a dark landscape. Figures less than life. On canvas, 3 ft. high by 2 ft. 9 in. wide. Vincent Malo was at first a disciple of Rubens, but afterwards went to Italy, and painted landscapes and altar-pieces. 96 Royal Gallery of Pictures . 263 Portrait of a Man ( 611 ) Nogari. A bust. He wears a grey doublet, and a scarlet coat and a black cap ; his right hand on his breast. 264 The Infant Christ attended by Angels ( 213 ) . . Carlo Maratti. He lies on straw, covered with white and green drapery; the cherubs are adoring and kissing Him. On canvas, 2 ft. high by 2 ft. 4 in. wide. 265 Madonna and Child and St. Joseph ( 260 ) V. Malo. She is sitting under a tree, and holds St. John in her arms; the Infant Jesus stands by with outstretched and imploring arms. In the distance are a castle, an aqueduct, and mountains. On canvas, 3 ft. 1 in. high by 2 ft. 4 in. wide. 266 Chiron teaching Achilles the Use of the Bow ( 863 ) . G. Romano. Achilles is pressing towards the Centaur, and receives a boar’s hide and a bow and arrows. Thetis is behind him, prostrate with grief. In the centre on the ground is the figure of a man. Figures less than life. On wood, 4 ft. 2 in. high, by 2 ft. 9 in. wide. This belonged to Charles I., as his cypher — “ C.R.” with a crown — is branded on the back of the panel. There is also a small piece of paper on which is written, “ From Mantua. ” It seems, therefore, to be the picture described in his catalogue, page 142 r — “A Piece of Lantyr, to whom is presented, by a young man, a dead wild boar, and Envy lying on the ground with some other figures. A Mantua- piece, done by Julio Romano.” 267 Sophonisba preparing to take Poison ? ( 417 ) JanMostaert? Half-length, in a black dress with a crimson cloak and yellow puckered sleeves. In her left hand she holds a golden cup or chalice, and has lifted the lid off with her right. Behind her a green curtain. On wood, 2 ft. 3 in. high, by 1 ft. 8 in. wide. This picture was in Charles I.’s collection, for his cypher — “C.R.” and the crown — is branded on the back of the panel. It was No. 243 of James II. ’s catalogue, where it is called “ The picture of Sophonisba, or Fair Rosamund, with a cup in her hand ; ” but it seems rather to be a sacramental cup. It is labelled as by Scipione Pulzone, called Gaetano. Waagen, however, suggested that it is by Jan Mostaert, a Netherlandish artist, who flourished before the differentiation of the Flemish and Dutch schools, was born at Haarlem in 1474, and was patronized by Margaret of Austria, legitimate daughter of the Emperor Maximilian II., and Governess of the Low Countries from 1508 to 1530 (not Margaret of Anjou, as is absurdly said in the English translation of the Art Treasures, nor Margaret of Parma, natural daughter of Charles V., Governess of the Low Countries from 1559 to 1567, as has been elsewhere stated). Mostaert died in his native town in 1556. A comparison of this panel with the female head on the left-hand side of the “ Exaltation of the Blessed Virgin,” by Jan Mostaert, in the Antwerp Museum, and the portrait of Jacqueline of Bavaria, wife of Franck de Borselen, in the same collection, confirms the correctness of Waagen’s attribution. There is also a portrait in the Brussels Museum, which bears a strong resemblance both in style and features to this ; but the painter’s name is not given. There are very few authenticated works of this interesting artist extant, most of them having perished in the great fire at Haarlem in 1571. ST. CATHERINE. BY GIANPIETRINO. From a photograph by Spooner and Co. ueens URING Queen Anne’s reign this room, which is one of the finest of the suite, being 81 feet long, by 25 feet broad, and having seven large windows, was hung with Mantegna’s “ Triumph,” now in the “ Communication Gallery.’' A book called “ Magna ,” written in the reign of Queen Anne, speaks of it as decorated with “ the triumphal entry of a Roman Emperor, very curious, with a good collection of porcelains, and other curiosities of the late Queen Mary.” Cl )t 33elft still remains here ; and the amateur of blue-and- white jars and bowls will observe some very interesting specimens, made especially for William and Mary, and mostly bearing the Royal arms, with the cypher W.M.R. and the Nassau motto, Jc main-tien-dray, and the rose, harp, thistle, &c. The finest are the great flower-vases standing about four feet high, and composed of some eight different parts, placed one above another, and tapering upwards. They bear effigies of William III. and various devices. There are also some old teapots, which remind us how in the palace, and doubtless in this room, “ Thou great Anna, whom three realms obey, Dost sometimes counsel take and sometimes tea.” 0., No. 64), has yet to be identified. In James II. ’s catalogue, No. 682, we again trace the panel before us : “The Virgin, our Saviour, St. Joseph, and St. James, by Correggio.” This charming little picture, which all the critics, Morelli, Frizzoni, Venturi, Layard, Richter, Claude Phillips, Benson, Cook, Corrado Ricci, etc., now agree — with wonderful unanimity — in pronouncing a genuine work of Correggio’s earlier, though not earliest style, was evidently painted about 1515- 17, shortly after the great altar-piece with St. Francis, now at Dresden. “The traits peculiar to this stage of the painter’s development appear in each one of the works painted at this time. Not only do we find the same hot tone of colour, the same haziness in the landscape, the same treatment of foliage, the same somewhat puffy extremities, but in every case we recognize the same facial type and the same idea of drapery. The oval-faced Virgin, with a large mouth and rather long nose, and the Infant with the tripartite arrangement of the hair, a long central lock overhanging the middle of the forehead, are to be found in ‘ The Re- pose in Egypt’ of the Uffizi, in ‘The Madonna with two Children’ at Madrid (in the Prado), and in this ‘Virgin and Child.’ The inclination of the Virgin’s head is another characteristic shared by the three. Indeed, the ‘ Virgin and Child ’ of the Prado may be described as identical with the same group in the Hampton Court picture, where the St. Joseph of ‘ The Repose in Egypt ’ reappears as St. James. The hang of the draperies is still very sculpturesque .... the robes are little more than ample skirts, which the painter allows to fall in vertical folds on the breasts and arms of his figures, a mannerism he afterwards entirely repudiated, recognizing the value of greater freedom and animation. These singularities of colour, type, attitude, and drapery mark a stage in the painter’s development hitherto neglected by the critic.” (Ricci’s Correggio , p. 69.) In all these points, in fact, he shows so strong an affinity to Lorenzo Costa and Dosso Dossi, the two Ferrarese masters working at Mantua at this time, that it is a conjecture, approaching to certainty, that Correggio must have been residing in that town between the years 1511 and 1513, and that he studied in their ateliers. “From them he seems to have acquired not only the form, but the individual use of colour; and we know that * chromatic tonality,’ the secret, in short, of colour, is not to be discovered by the most earnest study of finished works, such secrets being always jealously guarded by particular schools and masters.” In this picture the influence of Dosso Dossi is especially apparent, the straw colour, which is introduced by Correggio in the robe of the Blessed Virgin, being the same as that for which Dosso had a special predilection, and which is used by him in the mantle of St. Anne in his “ Holy Family,” No. 97 ante , while the bush behind the Madonna’s head is lighted up exactly in the same way in both pictures. 277 St. Sebastian (ioyf) Labelled Francia, but of his School. A nude figure, less than life, more than half-length. His hands are tied behind his back with a rope, of which the ends are seen on the left. His head, which is very fine, is encircled with a nimbus ; rich locks of auburn hair fall on his shoulders. A red cloth is tied round his loins ; an arrow has pierced his stomach, and another his left arm. On wood, 2 ft. high, by 1 ft. 6^ in. wide. This panel was in Charles I.’s collection, as his brand — C.R. and the crown io4 Royal Gallery of Pictures. , i i the one before us. # . L. GlORDANO. „ Venus and Cupid (57?) • . ’ ' her ’right shoulder she holds Cupid, who is 2,9 V The goddess, nude, is se ^ e g ’ in _ hig h, by 3 6 f-wed'to young talma, was sold by the Commonwealth for A . _ _ G. ROMANO. 2 8o Burning 0 fR°ineWN® r ^^ n 2ssance style, rfght Rome is seen on 26 On the left is ^ bm “'" g b l "i 0 “ In the background on the r'g con{usio n is on well portrayed ; some si g wide> T , 7 as:— 1 “Apiece where wood, 4 ft- hig ^’jZ C ribed in Charles I.’s catalogue, pag ’ sack ; containing s„r '‘ p " *“ 7 original cartoon in colours a „I see notes thereto.) frontispiece} CORREGGIO. 281 Saint Catherine reading (59^ re5ts her whee^andjnte ^ hook, on which her Charles i.’s collection, though A h book g her hand, by 'TViis was probably m . « { gt. Catherine w nnrchasing works taK inWl^ ;« v e er, Charles’s agent P^g ^ Correggio. Daniel J » En d y mion Porter, dated Catherine of Correggio, of art, mentions m a R me to procure the picture • . though he is here in the Louvre, which ai , unanimously admits Charles I.’s collection. A -u P f ore us, which modern criticism t wor k on th^^enuimsuoss ^y S its v . • :^4avDctin it is interesting to compare tne Hampton Court Palace. !°5 ment of his style, which exhibits the most refined sensibility, and a remarkable modernity of feeling. No trace of archaism, indeed, appears in the delicate face nor in the technical treatment. 282 Madonna and Infant Jesus (ijp) A. del Sarto? . figures less than life. She is seen in a half-length, facing in front, with a slight inclination to the left. Her left hand supports His back, her right is turning the Childs face towards her own. She wears a turban-like headdress. On wood. I ft. 10 in. high, by 1 ft. 5 in. wide. Perhaps this is the “Mary and Child by Andrew del Sarto,” valued by the Commonwealth at £40, and sold to Mr. Rhemy van Leemput, 3rd December 1649, for ^50. (See Commonwealth Inventory , fol. 212.) It is a replica, or perhaps only an old copy, of an original in the Baring Col- lection, which, though ascribed to Andrea del Sarto, Messrs. Crowe and Caval- caselle do not think equal to his powers ; but attribute to Puligo, a pupil of his Another repetition is at Alnwick. s v ^ 283 Princess Hedwig, Daughter of the Duke of Brunswick (461) Mytens ? Full-length, turned slightly to the left. She is dressed in a white silk farthingale and bodice, with a large lace ruff. Pier left arm is resting on her farthingale her right touching the corner of a table. Her hair, which is red, is piled up on her head in a conical shape, and decked at the top with a flower. She has a small necklace, long chains of pearls hanging in front, and on her left breast a fine jewelled ornament. She stands on a marble floor. On canvas, 8 ft. 3 in high by 2 ft. 10 in. wide. J ’ 6 * There has long been much doubt as to who this lady is; but the name “ Hedwi* I6°9 (erroneously taken by some for the artist’s name) inscribed over her head, and the label below on the right, inscribed “filia Brunswickensis, ’ ’ prove she must be Hedwig, daughter of Henry, Duke of Brunswick, and Elizabeth, his wife. (See JNos. 335 and 350). She was born in 1595, married in 1619 Ulric, Duke of Pomerania, and died in 1650. She was therefore fourteen when this portrait was painted. Similar portraits of her two sisters, Elizabeth and Dorothea are now at Windsor. They appear in James II. ’s catalogue as “ Three Duchesses of Brunswick, at length, in white farthingales.” 284 Head of a Man (796) Sc in a von e. Bust ; turned to the right. He wears a plain light brown dress, and has long brown hair. On canvas, i ft. 9 in. high, by 1 ft. 4 in. wide. 285 T ™ A P°st le s Peter , James and John (526) M. A. Caravaggio. 1 hree half-length life-size figures, turned towards the right. They are in loose drapery, and all bareheaded. St. Peter, on the left, carries some fish in his right hand, and extends his left towards St. James, who is a little in advance of him, and is turning round. St. John’s head is seen between them. On canvas, 5 ft. 4 in high, by 5 ft. 6 in. wide. D 4 This being among the Greenwich pictures, is not found in Charles I. ’s catalogue which only included those at Whitehall and St. James’s. S ’ In the Commonwealth inventory, however, page 228, we find an entry of “ Three l Sh M m n’ b ^ Ml c?u e ir Ange [° Car , avaggio ’” valued at £40, and sold for that sum to Mr. Decnttz, 8th November, 1651. In the printed copy in the British Museum ot James II. s catalogue— where it is entered, No. 70, “A piece, being three to 6 Royal Gallery of Pictures. Apostles, one having a fish, by Michael Angelo (Caravaggio) ; ” — there is this note in Horace Walpole’s handwriting: — “ It is now over a door at Windsor, and is one of the finest pictures the king has.” 286 Birth of Apollo and Diana ( 115 ) G. Romano. The scene represents an island, on which is a tent under some trees, with a woman lying in it ; another woman is lifting the drapery from her, and another peeping at her round the corner of the tent. In front are two nymphs : one dipping a child into the water, and the other, on the left, holding a cloth. Behind the tent, on the right, a woman is stealing away with a child, while she casts furtive looks behind. On wood, 3 ft. 7 in. high, by 4 ft. 8 in. wide. It is described in Charles I.’s catalogue as : — “A piece of the birth of Hercules, where the mother is brought to bed, and a tent ; whereby attending some four nymphs, about washing the child, containing seven entire little figures. Painted upon a board. A Mantua piece done by Julio Romano.” In the Commonwealth inventory it is entered as: — “Nymphs being at the birth of Hercules, by Julio Romano,” valued at ^100, and sold, 7th of May, 1650, to Mr. Linchbragh for £114. It reappears in James II. ’s catalogue, No. 67, as : — “A landscape with seven figures, and the birth of a child. By Julio Romano.” The title, “Birth of Hercules,” can scarcely be the right designation of this picture; while “Birth of Jupiter and Juno,” which has been given it in later times, and under which Gribelin engraved it for Queen Anne in 1712, seems equally inappropriate. Its correct one is, probably, “The Birth of Apollo and Diana.” Such, at least, is the name given by Diana Ghisi (Mantuana) to the plate engraved by her at Mantua about 1580, from the original cartoon. (See Bartsch’s Peintre Graveur , xv. , 449. ) The accounts of Apollo’s birth vary ; the one selected here seems to be the fol- lowing : — “Apollo, the son of Zeus and Leto, was born in the island of Delos, together with his sister Artemis ; and the circumstances of his birth there are detailed in the Homeric hymn on Apollo, and in that of Callimachus on Delos. Hera in her jealousy pursued Leto from land to land, and isle to isle, and endea- voured to prevent her finding a resting-place where to give birth. At last, how- ever, she arrived in Delos, where she was kindly received, and after nine days’ labour, she gave birth to Apollo under a palm or an olive tree at the foot of Mount Cynthus. She was assisted by all the goddesses, except Hera and Eileithyiae, but the latter, too, hastened to lend her aid, as soon as she heard what was taking place.” (Smith’s Classical Dictionary.) This is one of a set of twelve similar mythological pieces, originally in the col- lection of Ferdinand, Duke of Mantua, as we learn from an inventory of his, dated 1627, in which is the following entry : — “Dodeci quadri depintovi favola opere de Giulio Romano.” ( D' Arco , ii.) Probably all of them came to England with the Mantuan collection ; though Nos. 266, 291, 293, 302— and perhaps 287 and 305 — are all that now remain of the set in the Royal Collection. Behind each is a Charles’s cypher, and an old label inscribed : — “ From Mantua .” There are engravings from some of the others ; whilst a further piece is now in the Belvedere at Vienna, and another in the National Gallery. They were, doubtless, originally painted for Frederigo Gonzago, Duke of Mantua, Giulio Romano’s great patron, for whom he executed so many mythological works in the ducal city. They are apparently works of his later time, when the influence on his style of his master, Raphael, who had died in 1520, had begun Hampton Court Palace . 107 to wane. (See No. 280.) In Waagen’s opinion, “ they belong to him only by invention; the coarse slight execution is the work of his scholars.” Others, however, consider them fine genuine works. 287 Fortune ( 203 ) G. Romano. This beautiful design is thus described in Charles I.’s catalogue, page 151 : — “ A naked Fortune, standing upon a round globe, holding a fortune sail ; whereby at her feet are two young mermaids in the water, with wings, each of them having oars ; an intire figure not half so big as the life ; without a frame, upon a board. A Mantua piece.” The painter’s name is not given. The figure is standing on a shell, not a globe, and her attendants are tritons rather than mermaids. With her right hand she holds aloft some red drapery, and with her left holds it down, so that it forms a sail and is filled with the wind coming from the left. Her face is turned in the same direction, and her auburn hair fanned back by the breeze. On wood, 3 ft. 1 in. high, by 1 ft. 8 in. wide. On the back of the panel is Charles I.’s brand — C.R. crowned — and a slip of paper inscribed : — “ From Mantua , No. 14.” Mrs. Jameson’s conjecture, therefore, that it was one of the Mantuan pictures is correct ; and we find it in the Duke’s catalogue, ascribed to G. Romano. It was sold by the Commonwealth to Mr. Decrittz, the 10th of November, 1651, for £20. (. Inventory , fol. 228.) 288 & 292 History of Cupid and Psyche ( 472 - 483 ) . Giordano. These are a series of twelve small pieces representing the beautiful mythical story of the “Loves of Cupid and Psyche,” painted on copper, backed up by wood, 1 ft. iof in. high, by 2 ft. 33: in. wide. They are of very slight merit, though George III. purchased them of Sir Gregory Page for ^1,000. The registered numbers of the pictures do not accord with the order of the incidents in the story, and several of the labels are wrong, but the subjects, arranged in their proper sequence, are as follow : — The Parents of Psyche Consulting the Oracle respecting her .... Psyche, as the Oracle commanded, is Exposed on the Rock .... Psyche, Asleep on the Rock, is Borne by a Zephyr to the Abode of Bliss Psyche is Attended by Nymphs in the Abode of Bliss Psyche awakens Cupid with her Lamp Cupid, notwithstanding her Entreaties, flies from her Venus, borne on the Waves, seeks out her Son . . Psyche, in search of Cupid, consults Ceres and Juno . The Marriage of Cupid and Psyche (482) 23 (483) 1 S" < (473) ? 2 (476) 12- (480) L (475) 1 3 (477) O- 0 (472) (481) (474) (478) (479) IQ 8 C '■ £ '■ 289 Christ brought before Pilate ( 522 ) Schiavone. Pilate is seen, in profile, seated on the right with a basin on his knees ; his wife is before him to his left, pouring the water over his hands. Christ, with his hands tied, is standing in front of him. On the right, behind him, are two soldiers. On canvas, 4 ft. 5 in. high, by 5 ft. 1 in. wide. This is No. 743 in James II. ’s catalogue. Hp-rtm 108 Royal Gallery of Pictures. 290 A Roman Emperor on Horseback (i 49 ) • • • Giulio Romano. For the history of this piece see note to No. 257. He is seen facing the spectator, his horse turned to the right. In his left hand he holds a truncheon ; his right is on his hip. Round his shoulders is thrown a green toga. On wood, 2 ft. 10 in. high, by 1 ft. 7^ in. wide. 291 The Nursing of Jupiter (no) Giulio Romano. See note to No. 286, and also Nos. 293 and 302. The scene represents the Island of Crete, where Rhea was brought to bed of Zeus secretly, to save him from his father, Cronos, who devoured all his children as soon as they were born. While his mother went away, to give Cronos a stone wrapped up in a cloth instead of his child, the infant was nursed by the Curetes and the nymphs Adrastia and Ida. They fed him with the milk of the goat Amalthea, and the bees of the mountains provided him with honey. This is the subject represented here. He is seen lying on a nymph’s lap, suckled by the goat, whose leg is grasped by another nymph, and whose head is held down by a shepherd. On the right is seated another woman, who holds a small basin in her right hand, and is turning round looking over her left shoulder, and touching a stone fountain with her left hand. On the left is another shepherd with cattle, and in the distance a town. On wood, 3 ft. 7 in. high, by 4 ft. 8 in. wide. This picture is to be found in Charles I.’s catalogue, page 133, under the title of “A child sucking of a goat. Done by Julio Romano,” and in James II. ’s, “ The birth of Jupiter, sucking of a goat ; ” but in the meanwhile it had been sold by the Commonwealth, the 24th of May, 1650, to Mr. Milbonne for^ioo. A copy, re- cently hung up, is in the Queen’s Presence Chamber. 292 The History of Cupid and Psyche (478-483) . . . L. Giordano [See No. 288.] 293 Jupiter and Europa (63) G. Romano. See note to No. 286, and see also Nos. 291 and 302. Europa lies on the back of the bull, which bears her off. Close by are her sisters, one falling back in anguish, the other kneeling with outstretched arms. On wood, 3 ft. 3 in. high, by 4 ft. 2 in. wide. “ Europa on ye bull. Done by Julio Romano” — was sold by the Commonwealth, 23rd Oct., 1651, to Mr. Decrittz for £ 20 . (See Invent ., p. 197.) It is in James II.’s catalogue. No. 54. “ A genuine but feeble effort.” — ( Waagen . ) 294 Portrait of a Gentleman (118) Nogari ? Bust ; head seen in profile. On canvas, 1 ft. 6 in. high, by 1 ft. £ in. wide. This is certainly not by Titian. The learned authors of the Life and Times of Titian , remark that it is in the style of a later Venetian, such as Sebastian Ricci. Perhaps it is by Nogari. Compare a portrait head by him, No. 263. 295 Portrait of a Lady, perhaps Isabella d’Este, Marchioness of Mantua ( 355 ) . . Labelled Perugino, but by Lorenzo Costa. Half-length ; her body turned towards the left, but her face and eyes are directed downwards to the right. Her right hand is seen folded over her left arm, and she has a little dog on her lap. She wears a red bodice, with green sleeves ; and has a PORTRAIT OF A LADY. BY LORENZO COSTA. From a photograph by Spooner and Co. Hampton Court Palace . 109 siring of large black beads round her neck, and small ones across her forehead. Her hair is red. On wood, 1 ft. 6 in. high by 1 ft. 2 in. wide. This picture, which is of the Ferrara-Bolognese school, is assigned by Morelli, without hesitation, to Lorenzo Costa ; and “ Mary Logan,” while endorsing his opinion, adds that it is “ thoroughly characteristic of him in every detail, the general type, the oval of the face, the pose of the head, the drawing of the eyes, the folds of the drapery, and the general scheme of colour.” It is particularly interesting on account of the extreme rarity of portraits by this master. To Mr. Berenson is due the suggestion that this is probably a portrait of Isabella d’Este, daughter of Ercole I., 2nd Duke, and wife of Gian Francesco II. Gonzaga, 4th Marquis of Mantua. The face certainly resembles the one supposed to be hers in Costa’s “ Allegory ” in the Louvre ; and the apparent age of this lady would accord with that of the famous Duchess at the time when Costa first became court painter at Mantua, namely, in 1509,— Isabella d’Este being then thirty-five. (See notes to No. 306.) There can be little doubt that it was one of the pictures acquired by Charles I. from Mantua. 296 Portrait of a Gentleman ( 1084 ) unnamed. Bust ; turned towards the left, face inclined to the front. He wears a black dress with red sleeves. He is bareheaded, and his hair is black. On wood, 1 ft. 6 in. high, by 1 ft. 5 in. wide. Messrs. Crowe and Cavalcaselle are inclined to attribute this portrait to Ridolfi. 297 Ganymede carried to Heaven by Jupiter ( 560 ) . after Michael Angelo. Jupiter, in the form of an eagle flying, is carrying the boy off to heaven, grasping his legs in his talons, and twining his beak and neck over his right shoulder. Ganymede’s arms rest carelessly on his wings. Beneath them is a dog looking up and barking. In the background is a landscape with a river and ruins of Roman architecture. On wood, 6 ft. 3 in. high, by 3 ft. 9 in. wide. This was not in Charles I.’s catalogue, although it is in one of his frames, which, by the way, it does not fit. Perhaps it formed part of the “ Dutch Gift ” presented to Charles II. It is after the well-known design of Michael Angelo, from which there are so many paintings. Dr. Waagen believed it to be “ the skilful work of some Nether- landish artist, in many respects recalling Bernard van Orlay.” There are other copies at St. Petersburg, Berlin, Paris, Vienna, &c. (See also Duppa’s Life of Michael Angelo.) 298 Madonna and Child (774) unnamed. She is seen in a three-quarters view, seated ; facing to the right. The Infant Jesus is sitting on her lap, holding a small cross and scrip in His right hand. His face is turned round towards hers. On wood, 2 ft. 85 in. high, by 2 ft. 3 in. wide. The C. R. and crown, branded at the back of this panel, show it belonged to Charles I. It has been recently cleaned, when it was found to have been entirely repainted, and a figure of St. Joseph added. “ There is little doubt it is a Julio Romano. ” 299 Judith with the Head of Holofernes ( 1106 ) . . . after C. Allori. This is a copy, doubtless by one of his scholars, of the famous picture in the Pitti zr I 10 Royal Gallery of Pictures. Palace at Florence ; of which there is a good replica at St. Petersburg, and copies at Vienna, Dulwich, and elsewhere. The original when at Paris was finely en- graved by Gandolfi, for the Muse'e Napoleon. Judith is seen in a three-quarters length, turned to the left, Iiolofernes’ head in her left hand, her sword in her right. In the lower right-hand corner of this copy, on a ledge, on which is a green cushion, is this inscription : — Hoc Cristofani Allorii Bronzinii opere pictura Hadenus invicta pene Uincitur Anno, 1613. An anecdote is told of the original, that Allori, vexed at the coldness of his mis- tress, Mazzefirra, painted her portrait for the Judith, and the head of Holofernes from himself. The calmness and severe beauty of Judith’s countenance, and the absence of any harsh or violent expression, is considered to be the great excellence of this composition. 300 Venus and Cupid {463) . . . after M. Angelo by Bronzino? The goddess is reclining on the ground on blue drapery, her left leg outstretched, her right doubled up. Cupid winged, is bending over and kissing her ; his left arm being under her chin and his right turned back, holding an arrow. To the left is a table, on which are hung two masks and a bow, and on which stands a vase of flowers. Venus must be at least 7 ft. 6 in. in height. On wood, 4 ft. 3 in. high, by 6 ft. 5 in. wide. This grandly beautiful, though hardly attractive composition, which Varchi com pares to the Venus of Praxiteles, was designed by Michael Angelo. The sketch was given by him to “his friend Bartolomeo Bettini, and was afterwards lent by him to Pontormo, . . . who contrary to agreement sold it. This unhandsome con- duct is said by Vasari to have exceedingly vexed Michael Angelo and to have created a coolness between him and Pontormo. The original study now forms part of the old Farnesan collection in the Naples Museum, and appears by its style to be contemporary with the paintings of the vault of the Sistine chapel. As for the picture which was executed by Pontormo, according to the editors of Vasari it was discovered in 1858 in a lumber-room at Florence, and is now hung in the President’s Hall of the Academy of that city.” (C. C. Black’s Michael Angelo, p. 160, ed. 1875.) This version shows but little resemblance in style to the one at Florence, un- doubtedly by Pontormo. Its hard dry style, and coldness of colouring, suggest that it is the work of Bronzino, who is known to have executed one or two copies, and other scholars several more. “It was brought to England in 1734, and exhibited at ‘Essex House, Essex Street, Strand ; ’ subsequently it was advertised to be disposed of by a raffle, the tickets ten guineas each. This raffle apparently did not take place ; Queen Caroline was just at that time intent on collecting fine pictures, and the ‘ Venus and Cupid,’ after being for some time the talk of the town, was purchased in the name of the King for £1000.” The engraved tickets to the exhibition contained an elaborate description, and an attestation of its genuineness signed by three con- noisseurs, and at the bottom of the ticket an etching from the picture. (See Mrs. Jameson’s Royal Galleries.) Duppa engraved it in his Life of Michael Angelo, 1806, and states there that it had come from the collection of the Bettini family. 301 Judith with the Head of Holofernes (1106) . . . Guido. The figures are life-size, but Judith is upwards of six feet six ! She faces full ST. HELENA. BY TAMAROCCIO (?). From a photograph by Spooner and Co. I Hampton Court Palace. 1 1 1 in front ; in her left hand holding the head of Holofemes, part of whose body is seen, and in her right holding her sword with the point resting on the ground. She wears a blue robe, white sleeves, and a yellow mantle falling on her knees ; her face is upturned. On canvas, 7 ft. 2 in. high, by 4 ft. 10 in. wide. Some critics question the authenticity of this picture, but in Waagen’s opinion it is genuine, though much darkened in the shadows for the master. 302 Jupiter and Juno taking possession of Heaven ( 113 ) . G. Romano? See note to No. 286 ; and see also Nos. 291 and 293. Jupiter and Juno are hand-in-hand, the god turning round towardsthe goddess, and she extending her left hand towards the pathway of cloud, up which they are about to walk towards a throne in mid-air*. Two attendant angels, with vases in their hands, are standing on the steps to meet them. In the distance on the left is a landscape. On wood, 3 ft. 6 in. high, by 4 ft. 6 in. wide. Engraved by Bonasoni. It was sold by the Commonwealth, under the title, “Two coming from Jupiter’s Throne,” to Mr. Jerome, May 14th, 1650, for^44. And in James II.’s catalogue it appears No. 56, as : “A picture with four figures in it, two coming from Jupiter’s seat. By Julio Romano.” 303 Head of a Magdalen (219) after Sasso Ferrato. In a blue hood, with her hands clasped in front. On canvas, 1 ft. 6b in. high, by 1 ft. 2\ in. wide. 304 St. Helena bearing the Cross ( 233 ) Labelled Perugino , but by Tamaroccio ? Half-length, directed to the left, but her face seen nearly in full. The cross is over her right shoulder. She wears a dark green bodice with red drapery ; and over her head a brown hood. On canvas (transferred from wood), 1 ft. 8 in. high, by 1 ft. 6 in. wide. Behind is the following note : — “ Transferred from panel to canvas by Morrill. The panel was so destroyed by worms, it was not possible to preserve the brand of King Charles the First, which was at the back July 29th, 1865. Nothing could be better done, as not the least injury was done to the picture by the process. C. Buttery.” In the inventory of Charles I. ’s pictures sold by the Commonwealth is : — “A young Saint carrying a cross,” sold to Mr. Harrison, October 30th, 1651, for (folio 301). It was then at Hampton Court (which accounts for its not being in Charles I.’s catalogue), and it was here still when James II.’s catalogue was compiled in 1685, where it appears as No. 964: — “A woman saint, to the waist, bearing a cross,” without any painter’s name. This is certainly not by Perugino, to whom it is attributed ; it is not even of the Umbrian school at all, but rather the work of a Ferrara-Bolognese artist. Morelli pronounced it a genuine work of Lorenzo Costa, but the ascription to Tamaroccio, a pupil of Francia’s, which we owe to Cavaliere Adolfo Venturi, is probably the right one. It has been damaged in the process of transfer from panel to canvas ; but is still beautiful. “It should be compared with Sir Henry Layard’s two important pictures by Ercole di Giulio Grandi.” (See Catalogue of the Works oj Artists of the Ferrara-Bologna School , Burlington Fine Arts Club, 1894, by Mr, Herbert F. Cook, where Tamaroccio’s five only known works are enumerated.) I 12 Royal Gallery of Pictures . 305 A Mermaid and her Young ( 1122 ) G. Romano. Described in Charles I.’s catalogue : “A certain piece of a mermaid with seven breasts, where is sucking many young mermaids, in a blue gilded frame. A Mantua piece, done by Julio Romano.” Her arms are extended over them; behind her floats some dark green drapery. They all have long fish-like tails, which flap in the green waves. On wood, 3 ft. 1 in. high by 3 ft. 3 in. wide. From the Commonwealth inventory of his goods, page 198, we find that it was sold to Col. Webb for £ 8 ; and it is No. 180 in James II. ’s catalogue. On the back is Charles I.’s cipher, and a paper label inscribed “From Mantua.” It is probably identical with the “ quadro dipintovi la Galatea con diversi monstri marine, opera di Giulio Romano,” in the old catalogue of the Duke of Mantua’s pictures, dated 1627, and still preserved at Mantua (see D’Arco’s Notizia , ii., 158). It was brought to light from the lumber-room here about thirty years ago. 306 Portrait of an Italian Lady ( j 6 ) Parmigiano? Three-quarters length, seated ; face seen in full. She wears a curious and elaborately embroidered dress of interlaced black braid, on a light red ground, and a large turban-like headdress. Her left hand is on her lap. On the left an angel’s head is seen. In the background on the right is a view of an interior, with a doorway, the curtain in front of which is being lifted by a woman in a green dress to admit a lady. She seems to be a visitor, and is veiled ; another woman, apparently an attendant, follows. On wood, 3 ft. 9 in. high by 3 ft. wide. In Charles I.’s catalogue there was a picture called “The Marchioness of Mantua in an old-fashioned red velvet apparell,” without any artist’s name, which may be this. It was afterwards in Van Reynst’s collection, and engraved, in 1653, by Cornelius Visscher, and also by Holsteyn, as a Julio Romano. Forming part of the “Dutch Gift” to Charles II., it appears in James II. ’s catalogue, No. 833, as : “An Italian Duchess at half-length, by Raphael.” It is now ascribed, with better reason, to Parmigiano. This lady has not yet received a name ; but the picture bears, in many par- ticulars, no small resemblance to the two authenticated portraits of the renowned Isabella d’Este, Maichioness of Mantua, which are preserved at Vienna — one a work of Titian, and the other a copy, made by Rubens, of an original, now lost, also by the great Venetian. In age, the panel before us would seem to be about midway between those two. In all three there is the same pose of the head, the same shape of the shoulders and neck, and sufficient likeness in the features to make it probable that the same woman is here represented, although by the hand of a very different artist. There are also further points of similarity : in the headdress, in the ornament in the centre thereof, in the little curls of her hair, in the earrings, in the ornamental chain round her neck, and in the ring on her right forefinger. There are engravings of the Vienna portraits in M. Charles Yriarte’s interesting article, “ Isabelle d’Este et les artistes de son temps,” Gazette des Beaux Arts, 3 me Periode, vol. xiii., p. 14. 307 St. John baptizing Christ { 456 ) F. Francia. Christ, with his hands joined, is standing in the water. St. John, who is kneeling on the bank, to the left, has a saucer in his right hand, and a staff with a cross at the end of it, in his left. Behind him are two angels. In the background are four figures, Jews who have come to be baptized, two attired as monks. Above in irradiated clouds is the Holy Ghost in the form of a dove. A golden light, the PORTRAIT OF A LADY. BY PARMIGIANO. (?) From a photograph by Spooner and Co. Hampton Court Palace. 1 1 3 reflection of the dove, illumines the water where St. John’s staff touches it. On a cartellino in the lower left-hand corner is inscribed: “Francia Avrifex. Bononien.” On wood, 5 ft. 3 in. high by 4 ft. wide. This beautiful picture, the finest specimen in England of this great master, must have been acquired by Charles I. with the Mantuan collection ; for in an old Italian inventory of the Duke’s works of art, dated 1627, we find it catalogued thus : “Uno quadro sopra asse con N.S. battezzato da S. Giovanni, di mano del Franza.” Between that date and about thirty years ago, when it was discovered in a lumber-room in this Palace, there appears to be no record of it. There is a replica, though larger in scale, at Dresden, also signed, with some variety in the placing of the angels and the landscape, and dated 1509. It has been rather the custom lately to put down the Hampton Court “Baptism ” as a repetition, or imitation from the hand of a pupil, of the Dresden one. But, as Mr. Claude Phillips observes, “the Dresden version, in its greater simplicity and expressiveness of design, in its added suppleness, passion, and movement, seems to be the later work of the two, and the Hampton Court picture in its essentials, and notwith- standing certain undoubtedly disquieting features in the landscape background, to be also the work of Francesco Francia. A pupil imitating or adapting the Dresden picture would hardly have produced a version earlier and more Quatrocentist in style, and as such the Hampton Court ‘ Baptism’ may surely be described.” ( Picture Gallery of Charles I . ) In the Uffizi, among the drawings not exhibited, is Francia’s original sketch for the figure of Christ, but injured. Copies of an engraving by Francia himself of the whole composition are to be found at Bologna and in other collections of prints. An old copy with many variations is in the Royal Gallery at Modena, bearing the name of Luigi Augussola di Reggio — Alois™ Augusol rs P. M.cccc.XII. (Prof. Adolfo Venturi in Archivio Storico dell ’ Arte, iii. p. 293.) There is a small predella, with the same subject, belonging to Lord Taunton at Stoke, “but the hand of an assistant is seen in the execution.” ( Painting in North Italy , i. 573.) The motive is a common one, and is always represented in this way in Early Italian art. Compare, for instance, the same subject by Piero della Francesca in the National Gallery, and the “Baptism,” from the school of Costa, lent by Mr. R. H. Benson to the Burlington Fine Arts Club, 1894, for its exhibition of works of the Ferrara-Bologna school. Francia, like most artists of the Renaissance, did not confine himself to painting. He worked also as a jeweller, and indeed assumed the name of Francia from his master in that trade, instead of his own surname Raibolini. He further testified his respect for technical art by often signing his pictures Aurifex , goldsmith, as he has done on this ; while on his jewellery he inscribed himself Pic tor, painter. “ In reference to Signor Panizzi’s pamphlet, to show that Francia founded the beautiful types of the printer Aldus, it may be remarked how closely the letters in the inscription agree in form with the types of the Polipholo.” (Mr. Redgrave.) 308 James I. (455) Vansomer. Full-length, turned to the right, his left leg forward. He wears black trunk hose, doublet, and stockings, and a small ruff ; and has brown hair turned back from the forehead, sandy-coloured moustachios and beard ; and a blue ribbon, to which is suspended the George. This he holds in his right hand ; his left being Q 1 1 4 Royal Gallery of Pictures. on the corner of a table, to the right, on which are the crown and sceptre and orb ; on the ground to the left lie a breastplate and other armour. The back- ground and floor are red. In the lower right-hand corner is an inscription, partly invisible from being covered by the frame : — “ facobus D. G. Magn{\o ! 309 Duke of Cambridge, and Princesses Charlotte and Augusta(^ “which were many and rare,” formed the nucleus of his brother Charles’s famous collection ; there are many pieces in these rooms, which belonged to him, and still have his cypher at the backs. (See No. 347, &c.) Hampton Court Palace . 159 The appearance of this accomplished and hopeful young Prince is thus described : “ He was of a comely, tall, middle stature, about 5 ft. 8 in. high, of a strong, straight, well-made body, with somewhat broad shoulders, and a small waist, of an amiable majestic countenance, his hair of an auburn colour, long-faced and broad forehead, a piercing grave eye, a most gracious smile, with a terrible frown.” The attribution of this picture to Da Heere is an absurdity ; he was dead twenty years before it was painted. It is engraved in the Biographical Mirror by Harding, and in James I.’s Progressses . 401 Assembly of the Gods B. Spranger. They are seated at a table feasting, Jupiter and Juno being on the right at the top of the table. Ganymede with a goblet is close by. Venus is seen in the centre clasped by Vulcan, and turning round to kiss Mars. Pluto is seen on the left ; Fame above. They are all enveloped in clouds, in which are cupids flying and scattering flowers. On copper, diameter, 2 ft. This was in James II. ’s catalogue, No. 347 : — “ A round piece in an eight square gold frame, the Gods and Goddesses feasting.” The frame is old and unusually good. This is almost a solitary example of this painter in England ; but there are quantities of his works at Vienna, where he resided a long time, as the favourite painter of Rudolph II. The years of his birth and death are both unknown, but those critics who insist on having a date at all hazards bring him into the world in 1564, and dismiss him in 1625. 402 Christ falling beneath the Weight of the Cross (734) . Garibaldo. Our Lord is prostrate and turning towards His Mother kneeling and weeping behind Him. The soldiers are dragging Him up and urging Him forward. On copper, 2 ft. 3 in. high, by 2 ft. wide. This picture has for many years been attributed to Van Harp, but it is signed in the lower right corner : — “ Marc Antonio Garibaldo fecit P 403 Study for a Boar’s Head (426) Snyders. Full life-size ; seen in a profile turned to the left, with open mouth and tusks shown. On canvas, 2ft. 4m. high, by 2ft. loin. wide. This is No. 932 of James II. ’s catalogue : — “ A piece being a boar’s head.” It is signed below in the right-hand corner : — 11 F. Snyders fecit P See note to No. 704. 404 A Quakers’ Meeting. A Woman Preaching ( 406 ) . E. Hemskerck. This represents a room, in the centre of which is a woman standing on a tub, apparently addressing the meeting, consisting of some twenty-four men and women seated on benches, and standing around. The woman on the tub has her hands, which have long gloves, clasped on her breast, her eyes are rolling, and her tongue is thrust out. On wood, 1 ft. 10 in. high, by 2 ft. 8 in. wide. The painter of this picture, Egbert Hemskirk the younger, is to be distinguished from the elder, of the same name, who painted somewhat in the same style, and from Martin Hemskirk, a very much earlier and greater artist. (See No. 587.) He was a native of Haarlem and a scholar of De Grebber, but came to England in Charles II. ’s time, “where he painted pieces of humour, that is, drunken scenes, quakers’ meetings, wakes, &c. He was patronized by Lord Rochester, and died in London, 1704.” 1 60 Royal Gallery of Pictures . 405 Ernest, Count Mansfeldt ( 590 ) Mytens. Full-length, in armour, over a crimson and white dress slightly showing, turned toward the right. He has high white boots, spurred ; across his right shoulder is a red scarf, and he has a broad lace collar. His left hand is on the hilt of his sword, his right one holds a baton. He has a small greyish peaked beard and moustache. Behind him, to the left, is a table with a crimson cover ; on it his helmet with feathers. The cover, with a richly embroidered border, lies partly on the floor, and his left foot is on it. In the lower left-hand corner a label is painted, with this inscription : — ‘ ‘ Ernestus Princeps et Comes Mansfeldice, Marchio Castelnovi et Bontigliere, Baron Heldrungen Generalise &c. ALtatis 48. 1624.” On canvas, 7 ft. 4 in. high, by 4 ft. 6 in. wide. We find this in Charles I.’s catalogue, page 85 : — “ Item the picture of Count Mansfield at length. Done by Dan Mytens ; ” and again in James II. ’s : — “ Count Mansfield at length, in armour, done by Mytens.” Ernest, Count Mansfeldt, one of the greatest generals on the Protestant side in the Thirty Years’ War, was a natural son of Count Peter Ernest, and was born in 1585. Being of a romantic temperament, he adopted with ardour the cause of Elizabeth of Bohemia, and, in conjunction with Christian, Duke of Brunswick (see No. 330), won many brilliant victories. This fine portrait of him was doubtless painted when he visited England in April, 1624, just before his second incursion into Germany. He was, of course, an object of great interest here. “ Notwithstanding,” says a diary writer of the day, “the Spanish Ambassador’s protesting against him as an infamous man that had long wasted the Empire by his spoils and robberies, yet he was graciously received, and royally entertained by the King and Prince, being lodged at St. James’s, in the very chamber and bed, which had been provided for the Infante Maria of Spain, had the treaty of the Spanish match succeeded ; and on Friday the 23rd, being St. George’s Day, he was made Knight of the Garter at Whitehall. ” He left about the 30th of April, “carrying with him all manner of contentment and many presents, as a jewel of ,£4,000 from the King, a ring with a diamond of £2,500 from the Prince, besides others.” (See Progresses of James I. , iii., 971.) After being defeated at Dessau by Wallenstein, and further adventures, he was taken suddenly ill at a small village in Bosnia on the 20th November, 1626. Feeling that the hand of death was upon him, he ordered his soldier-servants to dress him in his uniform, and, placing his helmet on his head and grasping his sword in his hand, died standing in this heroic attitude, supported by them. The visitor can compare this picture with the account given of him by Motley {Life of Barneveld, ii. , 31), as “fair-haired, prematurely wrinkled, battered, and hideous of visage, with a hare-lip and a hump-back ; slovenly of dress, and always wearing an old grey hat without a band to it.” an old plan this is called “The Dressing Room.” It is exactly Inpl sr/J in the north-east angle of Wren’s Palace, and is 24 feet square. There is nothing to notice in the decoration. From the two windows that look to the north, part of the old Tudor Palace is seen, unfortunately much disfigured, but nevertheless picturesque. Below is a charming little garden, enclosed between the buildings and the wall of the Public Garden. In the middle of it is an old catalpa tree, planted about a hundred years ago by the mother of the great Duke of Wellington, Lady Mornington, who had the suite of apartments underneath these. 400 Philip III., King of Spain (pjp) Pantoja. Full-length, standing ; turned to the right, face seen nearly in full. His left hand is on the hilt of his sword, his right grasps a truncheon. He wears a suit of steel armour elaborately worked with gold ornament ; his stockings, which are seen above the knee, are white, as also are his shoes. Behind on the left is a table, with a table-cover edged with red and gold, on which is a crown. On the right is a dark landscape. On canvas, 6 ft. 5 in. high, by 4 ft. n in. wide. Signed below : — “ Ju. Pantoja De la ►£< Valladol it Regia: Majestatis Philip. Pictor faciebat. 1605.” This picture was in Charles I.’s collection, and probably brought by him from Spain. It appears in the Commonwealth inventory of his goods, folio 656, and was sold to a Mr. Houghton, 23rd October, 1651. Y 1 62 Royal Gallery of Pictures . Juan Pantoja de la Cruz was born at Madrid in 1551, and studied in the school of Alonso Sanchez Coello, the first of the great portrait-painters of Spain. He soon became sufficiently distinguished to obtain the posts of painter to the King and Queen and gentleman of the chamber, which he retained on the accession of Philip III. In 1603 he executed two large compositions, which are now at Madrid, introducing the Queen and other members of the royal family ; but no original portrait of the King exists in the Royal Gallery, nor are they at all nume- rous elsewhere ; this portrait therefore has a special value. Having been painted in 1605, the King’s age is here twenty-five. There is a similar portrait at Cobham Hall. “The countenance of Philip III.,” says Sir William Stirling Maxwell, “bears a considerable resemblance in feature to his father’s ; in early youth it may have been pleasing (the visitor can here judge for himself), but the lips want firmness, and the eyes intelligence. That constitutional melancholy, inherited with the Spanish crowns through the blood of Juana, which drove Charles to San Yuste, and his son to the Escurial, and may be read in their pale stern faces, is equally visible in the owlish physiognomy of their less intellectual descendant.” Philip III. possessed some hereditary feeling for art, though too indolent to sub- stantially promote its cause; of bad pictures he sagaciously remarked that “as they please some people as much as good ones, it was a pity to destroy them.” 407 Portrait of Louis XIII. of France ( 581 ) .... Copy by Belcamp. Full-length, turned slightly to the left. His left hand is by his side with his scab- bard between his fingers ; his right leans on his stick. He is dressed in striped scarlet, has leather boots and gloves, and a large lace collar ; and wears a blue sash across his breast, and a white sword-belt over his right shoulder. In front of him is a dog. His hair is long, and he has a small moustache. Near his right foot is inscribed “ Lewis y e 13 th .” On canvas, 6 ft. 6 in. high, by 3 ft. 10 in. wide. This is a copy, probably after an original by Philippe de Champaigne, executed for Charles I. by a Dutch artist named Jan Van Belcamp, who spent most of his life in England and was much employed by the King on such works. Charles mentions a copy by him of his eldest daughter’s picture in the letter which he left in his room, when he fled from this Palace. Belcamp was afterwards one of the trustees for the sale of the King’s works of art. We find it mentioned in James II. ’s catalogue, No. 874 : — “ Lewis the Thirteenth of France, at length, in a red garment, by Belcom.” Engraved by Th. Cookson ? This portrait, which represents the King when about twenty-six years of age, is thoroughly indicative of his feeble, emasculated nature. “ Louis XIII. maladif et melancolique, insignifiant et nul, nature seche, incomplete et pauvre, n’avait rien de Henri IV., rien de son energie physique et intellectuelle ; il avait la physionomie, le temperament et les gouts d’un prince italien de la decadence.” Notwithstanding, however, his effeminate character, he was entirely devoid of any sensitive feeling. For instance, when his former favourite Cinq-Mars had been condemned to death, he took out his watch at the hour appointed for the execution, and remarked with malicious coolness : “ Je crois que mon cher ami fait a present une vilaine mine.” 408 Louis XIV. on Horseback ( 8 yj) Charles le Brun? He is shown the size of life, on a cream-coloured charger, rising on its hind legs, and turned to the left. His dress is an embroidered coat, with jack boots and scarlet breeches. In his right hand he holds a baton. On his head is a black MARIANNE, DUCHESSE DE BOURBON. BY DROUAIS (?). From a photograph by Spooner and Co. Hampton Court Palace. 163 laced hat ; he has long flowing hair and curls. In the distance under the horse’s forelegs an attack of cavalry is seen. On canvas, 8 ft. 3 in. high, by 6 ft. 2 in. wide. This has been attributed to Van der Meulen (see No. 414), but there is a similar picture at Versailles by Charles le Brun (see The Queen’s Gallery) of which this is perhaps a replica. 409 The Massacre of the Innocents (. 1115 ) P. Mignard. The scene is an open place with a temple to the right. The Roman soldiers are snatching the children from their mothers, and slaying them with swords. In the centre is one holding a babe aloft and plunging his sword into it, while its mother seizes him by the throat ; to the left another is chasing a woman and her child up some steps. On canvas, 3 ft. 3 in. high, by 4 ft. 7 in. wide. Mignard, surnamed “The Roman,” from his long residence at Rome, was a Frenchman by birth, and eventually returned to his native country by the invitation of Louis XIV. While he was painting that monarch’s portrait for the tenth time, he was asked by him “ Whether he didn’t find him growing older?” “ Sire, ” replied the painter, “ I perceive the traces of many more campaigns in your majesty’s face.” 410 Marianne, Duchess of Bourbon (985) unnamed. Half-length, facing in front ; her hands not seen. Her hair is dark, and dressed high, with a blue ribbon fastened over with a red jewel, and carried to the front. Her dress is yellow brocade with red drapery. On canvas, 2 ft. 5 in. high, by 2 ft. wide. Behind is written in ink : — “ Marianne . de. bourbon, fille. de. Monsieur, le. prince, de. Conty. famme. de. Monsieur . le. due. de. bourbon .” She married, in 1713, Louis Henri de Bourbon, brother of Mademoiselle de Clermont (see No. 417), and died in 1720. There is a portrait of her husband at Paris, by Drouais (see No. 429), who is very possibly the painter of this portrait, and also No. 417. 411 Marie de’ Medici (953) F. Pourbus. Bust, facing in front, inclined to the right. She is in a black dress, with a lace collar and a thin ruff of gauze. Her cap is black, and a small flap comes down to the middle of her forehead. She has a pearl necklace and earrings, and a string of silver beads. On her breast is a large black enamelled cross with three pearls. Her hair is white and frizzled. On canvas, 2 ft. high, by 1 ft. 7J in. wide. This is “The old Queen Mother of France, a cross with three pearls at her breast” in James II.’s catalogue, No. 329. It is a companion piece to that of her husband, No. 418, and was evidently painted when she was in mourning after his assassination in May, 1610, to which she was suspected of being privy. She was then thirty-six. “ Grande, grosse, avec des yeux raids et fixes, elle n’avait rien de caressant dans les manieres, aucune gaiete dans l’esprit ; elle n’avait point de gout pour le roi ; elle ne se proposait point de l’amuser ou de lui plaire ; son humeur etait acariatre et obstinee ; toute son education avait ete espagnole, et dans l’epoux, qui lui paraissait vieux et desagreable, elle soup9onnait encore l’heretique relaps.” In 1638, after she was banished by her son, she took refuge in England. Lilly the astrologer gives, in August of that year, the following account of her : — “I 164 Royal Gallery of Pictures, beheld the old Queen Mother of France, departing from London ; a sad spectacle of mortality it was, and produced tears from my eyes, and from many beholders, to see an aged, lean, decrepit, poor Queen, ready for her grave, necessitated to depart from hence, having no place of residence in the world left her. ” She died a few months after. 412 Christ’s Agony in the Garden (153) after N. Poussin. This night-piece is a companion to No. 419, and is the ‘‘piece painted upon marble of Christ in the Garden, a copy,” No. 474 in James II. ’s catalogue. Christ is represented in prayer to the left, on an elevated spot ; and above Him, in the heavens, which are illuminated, appear angels bearing a cross. His disciples are in the foreground asleep. On the left is seen the moon. On stone, 1 ft. 9^ in. high, by 1 ft. 10 in. wide. 413 Louis XVI. in his Robes {316) Labelled Greuze, but by Callet. Full-length, standing, facing to the left. His left hand holds his hat by his side, his right leans on his sceptre. He is attired in the royal robes of France, a purple mantle embroidered with fleurs-de-lys, and an ermine tippet, &c. He has a small wig ; his face is shaven. Behind him is his throne, with a figure of Justice. On canvas, 9 ft. high, by 6 ft. 5 in. wide. This is in the original presentation frame, decorated with fleurs-de-lys. 414 Prince Eugene on Horseback (621) ... A. Van der Meulen. He and his horse, which is white, are both turned to the left. He wears a rich buff suit, and has a red bow and white feathers in his hat. On wood, 1 ft. 4^ in. high, by 1 ft. 2 in. wide. Francis Van der Meulen, though of Flemish origin, and a pupil of Peter Snayer’s, in whose style he painted battle pieces, is generally considered in theory to belong to the French school, as he spent the greater part of his life in France. There he not only prostituted his talents to glorifying “ Le Grand Monarque ” and his exploits, but even sunk so low as to perpetuate on canvas his foreign master’s triumphs over his native land. 415 A Dead Christ {418) N. Poussin. The Blessed Virgin is standing over Him, with outstretched arms ; Mary Magda- lene is kissing His feet, and three other figures are around. On canvas, 1 ft. 4J in. high, by 1 ft. 1 in. wide. 416 A Gentleman on Horseback (622) .... A. Van der Meulen. The man and horse, which is bay, are coming out of the picture. The horseman is in a green coat lined with purple, and wears a large hat. On canvas pasted on wood, 1 ft. 4^ in. high, by 1 ft. 2 in. wide. 417 Mademoiselle de Clermont (984) unnamed. Half-length, facing in front, hands not seen. She is dressed in a white dress, with a garland of flowers across it from under her left arm to her right shoulder. Behind her she has a blue scarf. Her hair is powdered and done high up. On canvas, 2 ft. 5 in. high, by 2 ft. wide. Behind is written : — “ Marianne . de . bourbon . nommeo . Mademoiselle . de . Clermont. ” She was bom in Paris in October, 1697, and was the daughter of Louis, the third Duke of Bourbon, and his wife Louise Fraujoise de Bourbon, Mademoiselle de Nantes, LOUIS XVI. BY CALLET. From a photograph by Spooner and Co . «*4 LOUIS XV. BY RIGAUD. From a photograph by Spooner and Co, Hampton Court Palace . 165 a natural daughter of Louis XIV. In 1725 she was appointed “ Surintendante de la Maison de la Reine.” The story of her and her lover, M. de Melun, and his tragic end, forms the basis of Madame de Genlis’ charming little novel, Mademoiselle de Clermont. 418 Henry IV. of France (pSS) F. Pourbus. Bust, facing in front, eyes directed to the right. He is in a rich black dress, with a ribbon on his breast to which is attached some order not seen in the picture. He wears a small ruff. He has grey hair, and a short grey moustache and beard which is trimmed close. On canvas, 2 ft. high, by 1 ft. 7I in. wide. Signed, in the upper right-hand corner, “F. P. Faciebat, 1610.” This portrait must have been painted just before May 14th, 1610, on which day he was assassinated by Ravaillac in the Rue de la Ferronnerie at Paris ; there are two or three others in the Louvre by the same painter. 419 The Angel appearing to the Shepherds (154) . . after N. Poussin. This is a companion night-piece to No. 412, and is in James II. ’s catalogue. It represents a landscape with some five figures, illumined by a light in the heavens, accompanying the messenger of good tidings. On the left is a hut with a fire in it. On black marble, 1 ft. 9^ in. high, by I ft. 10 in. wide. 420 Sophia, Queen of Frederick II. of Denmark (980) . . . unnamed. Full-length, standing turned to the left. Her left hand holds her gloves in front of her, her right rests on a table. She is in a black dress trimmed with grey, and has an all-round ruff ; on her head is a plain white cap, flattened at the top. Round her neck is a rich chain hanging on her bosom. On canvas, 6 ft. 4^ in. high, by 5 ft. 3 in. wide. “The Queen Mother of Denmark ” was sold by the Commonwealth to Mr. Murray, 23rd Oct., 1651, for ^29, and the “Queen of Denmark at length, wife of Frederick II., King of Denmark,” was No. 25 in James II. ’s catalogue. She was a daughter of the Duke of Mecklenburg, and was born in 1557. On the death of her husband, in 1589, she was appointed Regent. She was the mother of Anne of Denmark. 421 A Landscape with Ruins (655) after Claude. To the right are two ruined pillars, at the base of which is a man seated playing the flute. Other figures and boats are close by the wharf wall, on which the pillars stand, near a river. The sun is setting to the right. On canvas, 2 ft. 7 in. high, by 3 ft. 5 \ in. wide. 422 Portrait of Louis XV. when young (925) Rigaud. Half-length, turned to the left ; his left hand is in his sash, his right holds a marshal’s baton. His dress is a fawn-coloured doublet with a cuirass, a blue sash, and a blue mantle embroidered with fleurs-de-lys over it. Short hair, beardless face. On canvas, 3 ft. high, by 2 ft. 5 in. wide. This portrait was painted by Rigaud, as the contemporary mezzotint engraving by J. Simon proves, and not, as has been said, by Mignard, who had been dead thirty years. He is considered one of the best French portrait-painters. Louis XV. conferred several favours on him, and decorated him with the Order of St. Michael, in 1 727, soon after this portrait was painted. This distinction was given, as he said, “tant en consideration de la reputation acquise dans son art, que pour avoir peint la famille royale jusqu’a la quatrieme generation.” 1 66 Royal Gallery of Pictures . 423 A Sea Port (460) after Claude. To the right, Roman architecture, by which figures are embarking. To the left, a castle in the water and the sun setting behind it. On canvas, 3 ft. 2 in. high, by 4 ft. 2 in. wide. This is a bad copy of an original in Lord Yarborough’s collection. {Royal Catalogue). 424 Stanislaus, King of Poland (895) Lampi. Bust, turned slightly to the left. He is dressed in a purple velvet coat, across which is a light blue sash, and on the left side of his breast a star. He wears a small wig and pigtail ; his face is shaven. On canvas, 2 ft. 4 in. high, by 1 ft. io£ in. wide. Behind in ink is written : — “ Cavalieri Lampi de Vienna.” In an old inventory, dated 1819, is this entry : — “ Half-length portrait of the King of Poland, purple velvet coat, &c., painted by Lampi, member of the Academy of Vienna. Bought of Colnaghi for Stanislaus-Augustus Poniatowski was proclaimed King of Poland on the 7th of September, 1 764, having owed his election to his lover the Empress Catherine. It was during his reign that the infamous partition of Poland was perpetrated, to which he lent a passive assistance. He died in 1798. 425 The Emperor Paul of Russia (£94) ? Bust, turned to the left, eyes looking at the spectator. He is in a green uniform with red facing ; and on his breast three stars and a blue ribbon across from his right shoulder to his left. His hair is curled and powdered. On canvas, 2 ft. 4 in. high, by 1 ft. 10J in. wide. Behind the picture is inscribed : — “ Kopal T. Ep . K. E. (?) 1799” and “ Cata- logue No. 545, Emperor Paul of Russia.” This portrait represents the emperor in the forty-fifth year of his age, three years after his accession, and two years before his assassination. 426 Portrait of a Lady (94s) Richardson ? Half-length, turned to the right. Pier dress is white, but almost entirely covered by a large blue coat lined with white, which hangs as a hood from her head, and is fastened at her bosom. Her age appears to be about forty. On canvas, 2 ft. 6 in. high, by 2 ft. 1 in. wide. In an old catalogue it is ascribed to Richardson. 427 Christian IV. of Denmark riding (504) unnamed. Pie is on a black horse with rich housing and gold stirrups ; riding towards the right, but facing in front. His right hand is on his hip, his left holds the reins. He wears a rich doublet embroidered in gold, with a broad collar, a black hat with a large white feather. In the distance is a landscape and sportsmen. On wood, 2 ft. 4 in. high, by I ft. io£ in. wide. (See No. 98.) 428 Louis XIV., when young {396) Mignard? Three-quarters length, facing in front. His left hand hangs by his side, his right is on his hip. He is clad in armour, over which is a purplish robe, lined with yellow. He has a long brown wig. On canvas, 5 ft. high, by 3 ft. 7 in. wide. If this is really by Mignard, it must, on account of the age of the king, be one of the first pictures he painted in 1658, on his introduction to the French Court. MADAME DE POMPADOUR. BY DROUAIS. From a photograph by Spooner and Co. Hampton Court Palace. 167 429 Madame de Pompadour ( 986 ) Drouais. Half-length, seated, turned to the left. She wears a dress of figured brocade, worked with coloured flowers and foliage on a white ground, and trimmed with striped ribbons ; her sleeves are short and edged with lace. On her head is a sort of mob cap, or headdress, of lace, tied under the chin with a striped ribbon ; her hair is short and powdered. In front of her is a frame of embroidery called tambour- work, which she is working, her right hand being above, and her left under the canvas. The background is grey, with a red curtain to the right. Painted in an oval. On canvas, 2 ft. 7 £ in. high, by 2 ft. wide. This picture has been attributed, but quite unwarrantably, to Greuze, who does not appear to have painted Louis XV. ’s mistress at all, and certainly could not have done so when she was as young as she is here represented. It is in fact a replica (or perhaps only a copy) of a portrait by Drouais, of which a great many repetitions are extant, and of which the original — a full-length — is now at Mentmore, Lord Rosebery’s. The Mentmore picture was purchased for ^1,000. Drouais was an indifferent artist whose name would long have passed into oblivion, had he not painted princes and princesses. Diderot drew this just esti- mate of his works : — “ Tous les visages de cet homme-la ne sont que le rouge vermilion le plus precieux, artistement couche sur la craie la plus fine et la plus blanche. ... II n’y en a pas une de laide, et pas une qui ne deplut sur la toile. Ce n’est pas de la chair ; car, oil est la vie, l’onctueux, le transparent, les tons, les degradations, les nuances?” And Larousse endorses this view with the following remarks: — “ Toutes ces peintures, habilement traitees d’ailleurs comme metier, n’ont rieli de saillant, aucune puissance, aucune originalite. Les tetes sont banales, ternes, sans physionomie. L’allure est gauche et penible. Les personnages sont fort mal habilles, bien que les draperies soient executees en trompe-l’oeil et avec magnificence.” Madame de Pompadour is here represented at about the age of thirty-five, a period when, having lost the influence of a lover over the debauched and fickle Louis XV., she endeavoured to retain her power by ministering to his pleasures and vices. Her appearance completely tallies with the account given of her: — “ Elle etait assez grande, bien faite, les cheveux chatain clair, tres-beaux, avec une peau d’une grande finesse et d’une blancheur eclatante. Mais elle avait un genre de beaute qui se fane vite ; ses chairs molles s’infiltraient, s’enflammaient aisement ; elle avait des langueurs et des paleurs maladives. ” The tambour- work at which she is engaged was one of her favourite occupations ; and it is pleasant to remember, with the revoltant record of her infamous career, that she created that style in decoration, furniture, dress, literature, and even art, which is known by the name of Louis XV., a style which, wanting as it is in. the pure simplicity and grace of mediaevalism, and stamped though it be with the character of its meretricious inventor, is yet always pleasing from a certain refine- ment and artificial beauty. mice of 430 Madonna and Child (, 592 ) Paul Veronese ? Small life-size, seated. The Infant Jesus is standing on His mother’s knee ; He hold the drapery at her bosom with His left hand, and extends His right. On canvas, 3 ft. 8 in. high, by 2 ft. u£in. wide. 431 Madonna and Child (766) after Vandyck. The original is at Buckingham Palace. The Child lies on His mother’s knee, and looks up at her. Figures life-size. On canvas. Engraved by Snyers. 432 Landscape — a Lake and distant Mountains (634) . . Van Diest. A few boats are plying on the water ; to the right is a road with figures. On canvas, 3 ft. 3 in. high, by 5 ft. 2 in. wide. Adrian Van Diest was a Dutch painter who came over to England in Charles II. ’s reign. Unfortunately for his reputation, he is generally known by his worst pic- tures; his better ones, “as if ashamed of their brethren, have changed their names.” The several landscapes by him in this collection are among his best. 433 Landscape — a Rocky Valley and Waterfall ( 646 ) . . . Ibbetson. A range of trees crosses the middle foreground ; and there is a road with a shed by it. On canvas, 1 ft. IO in. high, by 1 ft. 5 in. wide. Julius Csesar Ibbetson (not Ibbotson) was a bad landscape-painter, who flourished in George III.’s reign. 434 Landscape ; with a River and Bridge (66 j) . . . . P. Hackert. To the left is a tree ; in the foreground some figures and sheep ; in the distance a river with a bridge of several arches across it. On canvas. Signed in the lower left-hand corner : — “ P. (?) Hackerts .” Perhaps Johann Gottlieb Hackert is the artist meant. 435 Holy Family {745) A good copy of No. 97, varied in size and proportion. a^&rDosso Dossi. Hampton Court Palace . 169 436 The Flight into Egypt (558) .... after Bassano by Teniers. An ass on which is a child led by a woman with a torch ; two men walk beside ; they are passing from right to left. On canvas, 2 ft. high, by 2 ft. 6 in. wide. 437 Copy of Titian’s “ Ecce Homo ” {694) ? This is an old but feeble copy of the original now at Madrid. In the centre is Christ stripped, and bound, seen to the waist, with the reed thrust be-tween His arms ; to the right Pilate, in red, with a cap bound with fur ; to the left a young man who receives the purple robe from our Lord’s shoulder with his left hand, and with his right holds the cord that binds His hands. On canvas, 3 ft. 3 in. high, by 3 ft. wide. In the original there is another figure of a soldier on the left, which is wanting here. A similar picture to this, catalogued as by Francesco Vecelli, is in the Dresden Museum. (Crowe and Cavalcaselle’s Titian.) 438 Jupiter and Europa ( 716 ) after Paul Veronese. Europa is mounting the bull, who is crowned with flowers ; two nymphs by. On canvas. 439 The River Liddel, with Rocks {649) Ibbetson. To the left in the foreground is a rock jutting over the rushing river, and a man is standing on it. In the centre some men are crossing the stream. Companion to No. 433. 440 St. John the Baptist (708) after Correggio. This is the “ picture of St. John, standing at length, a copy,” No. 164 in James II. ’s catalogue ; the original, which is now at Windsor, was also in his collection. There are some alterations in the design. He is partially clad in a garment of camel’s hair, and has purple drapery. 441 Copy of Titian’s “ Venus qui se mire” ( 121 ) ? Venus is seated unrobed, turned to the front ; but her face is seen almost in pro- file, looking into the glass held on the right by Cupid, and Cupid is seen full length, standing, looking round at the spectator. The goddess has crimson drapery trimmed with fur on her lap ; her left hand is on her breast. On wood (oak), 3 ft. 6 in. by 2 ft. 10 in. This belonged to Charles I., as his cypher is branded behind ; and it is in James II. ’s catalogue, No. 209 : — “A large piece being Diana and Cupid, by Titian.” The original, which was formerly in the Orleans Gallery, is now at Cobham Hall ; and there is a replica belonging to Lord Ashburton. 442 Mockery of Christ crowned with Thorns (657) after Rub ens or Vandyck. Christ is in the centre, clad in a purple robe, with His hands on His lap. Twc soldiers behind force the crown of thorns on His head. To the left is a man thrust- ing his tongue in his face, and a boy blowing a horn in front of him. On wood, 1 ft. 7& in. high, by 1 ft. i£ in. wide. 443 Christ in the House with Martha and Mary ( 562 ) . after Bassano This is the same composition as No. 217 ; but larger in size, being 3 ft. 10 in. high, by 5 ft. 5 in. wide. Z 170 Royal Gallery of Pictures. 444 Copy of Titian’s “Cornaro Family” (i6j) by Henry (“Old”) Stone. This is a good copy (smaller than the original, which is now at Alnwick in the Duke of Noithumberland’s collection), made probably for Charles I., by Henry Stone. The entry relating to it in James II. ’s catalogue, No. 930, is as follows : — “ Three Senators going to the altar ; a copy after Titian, from the Duke of Somer- set’s original ; by Stone. ” It represents four generations : the head of the family is kneeling before the altar, on which are a cross, two candles and a vase, adoring the Host ; his sons, grandsons, and great-grandsons surround him. The original was engraved by Baron. “ Old Stone,” as he was called to distinguish him from his younger brother John, was the son of Nicholas Stone, a statuary much employed in the reign of Charles I. The whole family, in fact, distinguished themselves in that line, and Henry the son, who travelled a good deal in Italy, became besides an excellent copyist of the Italian masters. He probably made this copy when the original was in the possession of Vandyck, at the sale of whose effects it was bought by the ancestor of its present owner. 445 Nautch Girls’ Dance before an Indian Prince ( 408 ) . . unnamed. He is seated on the right, looking at five girls on the left dancing and playing. Around him are attendants, and one holds an umbrella over him. On canvas, I ft. 8 in. high, by 2 ft. 1 in. wide. 446 A Woman’s Head ( 1096 ) after Titian. Bust, to the right. Her hair, which is fair, is bound behind ; white drapery is over her shoulders. On wood, 1 ft. 3^ in. high, by 1 ft. £ in. wide. 447 Queen Thomyris receiving the Head of Cyrus (255) after Rubens by T. Russell. She is enthroned on the left ; the head is held by a man over a brazen vessel in front of her ; many figures around. On wood. 448 Madonna and Child (705) after Tintoretto. In James II. ’s catalogue, No. 348: — “A Madonna looking on a book, the Virgin in a red and blue garment.” She is seated on clouds with the crescent moon beneath, and holds the Infant in her left arm. 449 Venus and Cupid (/?/) after Titian. Venus seated, holds her chemisette to her bosom with her right hand, her left rests on a stone plinth. She is turned to the left, but faces to the right. Cupid stands on the plinth. On canvas, 3 ft. 3J in. high, by 3 ft. wide. 450 A Country Woman carrying Holly (648) Wheatley. She is walking to the left ; looking in front. Her right hand holds the holly- bush on her head ; her left holds her apron ; she has a straw bonnet and a red cloak. A lamb is in front of her. On canvas, 2 ft. high, by 1 ft. 4 in. wide. Francis Wheatley, R. A., was the well-known painter of the popular “ Cries of London. ” 451 Madonna and Child {76s) The Infant is standing on His mother’s knee, to the right ; after Vandyck. He looks off to the Hampton Court Palace . 1 7 1 right, and her face is upturned. On canvas, 4 ft. 9 in. high, by 3 ft. 5 in. wide. This is a copy or perhaps a replica of a picture at Dulwich ; there are others at Bridgwater House, and at Blenheim. Engraved by Pontius. 452 George II. (59$) after Pine. Full-length ; in a rich dress, with Order of the Garter; his left hand on his sword, his right in his bosom. 453 George Villiers, Second Duke of Buckingham, and his brother, Lord Francis (24s) Copy after the Vandyck at Windsor. This copy is inscribed in the upper right-hand corner, “ Copy'd by William Hannemann. ” Waagen, by some error, stated it to be signed by Knupfer. The Duke, afterwards the famous wit of Charles II. ’s Court, is in front, with fair hair, and in crimson satin ; at the age of twelve. The other, vrith brown hair, in red satin, is Lord Francis, about eleven years old, having been a posthumous child. Though killed at the age of nineteen, he was remarkable for his accomplishments, extraordinary beauty, and courage. During the Civil War in 1648, he and his brother raised a small force, not far from this Palace, in defence of their King ; it was, how- ever, at once cut to pieces. “ The Lord Francis having his horse slain under him, got to an oak tree in the highway, about two miles from Kingston, where he stood with his back against it defending himself, scorning to ask quarter, and they barbarously refusing to give it, till with nine wounds in his beautiful face and body, he was slain : the oak tree is his monument, and has the first two letters of his name, F. V., cut in it to this day.” — Clarendon. The original was engraved by MacArdell. 454 Faith with a Chalice and Host {6yi) .... Guercino? Half-length, in a blue robe with yellow sleeves, a crimson scarf, and a white turban. She holds the chalice in her right hand, and points to it with her left. Her eyes are fixed on the Host, which is miraculously suspended over the chalice. On canvas, 3 ft. if in. high, by 2 ft. in. wide. This seems to be “ The picture of Faith in a white (?) habit with a communion cup in one hand, and the other arm holding a cross, being the thirteenth piecp of the twenty- three Italian collection of pieces, which the King bought of Frosley. Done by Paul Veronese,” — in Charles I.’s catalogue, page 136. Waagen thought it a genuine picture by Guercino, but this is doubtful. ueert’s DOMED ceiling, with a glazed octagonal cupola, is the chief feature of this room, which probably received its present name in the time of George II., whose queen, Caroline, was accus- tomed to have prayers read by her chaplain in a room adjoining her private chamber while she was dressing. Her toilet was probably performed in the little room next to this, called the Queen’s Bathing Closet. A recumbent Venus used to hang over the fireplace in the chapel, and her chaplain once made bold to observe : “ A very pretty altar-piece is here, Madam ! ” The visitor, in order to reach this room, has to return through the Prince of Wales’ Apartment and the Public Dining Room, and pass through a dark ante-room. 455 Foreign Birds {677-680) Bogdane. These four pieces were painted by Bogdane for Queen Anne ; see No. 225*. They are on canvas, and mostly 2 ft. 6 in. high, by 3. ft. wide. They represent a cockatoo, and red and green parrots {677) ; red and green parrots and parroquets (678) ; foreign poultry, ducks, &c. {67 g) ; and pigeons, quails, bullfinches, &c. (680). 45 5 a Water-Fowl and Birds {681-2) F. Barlowe. A duck standing by a pool ; bulrushes behind {68/). Water-fowl, and a king- fisher plunging into a stream {682). These two pieces are catalogued under Bogdane’s name ; but they are really by Hampton Court Palace. 173 Francis Barlowe, whose signature is on each of them in the lower right-hand corner. He was an English painter of birds and fish, &c., who was born in 1626, and died in 1702. He had considerable feeling for nature, and designed with great truth, but failed in his colouring. His works are much superior to Bogdane’s. 456 The Raising of Lazarus ( 687 ) B. van Orley? Composition of nineteen figures. On the right, Christ with uplifted hand ; on the left, Lazarus supported by three men ; in the centre, two women, one on her knees, the other with clasped hands. Others in the background. On wood, 2 ft. 11 in. high, by 2 ft. 5 in. wide. This piece, under the title of “Christ raising Lazarus out of the ground,” was sold to Mr. Hunt and Mr. Bass by the Commonwealth for ^3, March 1st, 1652 (Folio 227). 457 Flower Piece — Lilies, Roses, in a vase (224) .... Baptiste. On canvas, 4 ft. 1 1 in. high, by 4 ft. 9^ in. wide. 458 Christ Healing the Sick (688) Verrio. A long piece showing a large classic building in the colonnade. In the centre is Christ in a blue mantle ; round him are the sick on the steps and between the pillars. On canvas, 3 ft. 5 in. high, by 6 ft. 1 1 in. wide. It was painted for Charles II., and is entered in the catalogue of the Royal Collection made in 1685, for James II., No. 458 : — “ Our Saviour curing the lame and blind; — by Verio.” The original sketch is at Buckingham Palace. 459 Flowers, in a wreath round a statuette (228) . k . . Baptiste. Everlastings, poppies, tulips, hyacinths, &c. 460 A Holy Family (692) Bassano ? St. John offers a basket of flowers to the Infant Jesus, seated on His mother’s knee ; to the right, St. Catherine ; to the left, St. Joseph in orange and blue. On canvas, 2 ft. 8 in. high, by 4 ft. 2 in. wide. In James II. ’s catalogue, No. 360, attributed to Titian. 461 Pharaoh in Bed Sleeping (693) Van Harp. He rests his head on his right hand ; his crown and sceptre are by him ; in the foreground is a white dog. On wood, 2 ft. 1^ in. high, by 2 ft. 1 in. wide. 462 Birds — A Cassiowary, Parrots, &c. (683) Bogdane, And other foreign birds. Signed on a stone on which the birds sit, “Js. Bogdani . ” 483 Ducks and Geese, in a Farm- Yard (209) . Hondecoeter. In the centre, a little to the right, is a large grey-and-white goose ; a gander lies in front ; and she is surrounded by her brood. In the background is a farmhouse. A mallard duck flies in the air. On canvas, 4 ft. 2 in. high, by 5 ft. i| in. wide. This is a fair specimen of Melchior de Hondecoeter, who was a student of Weenix (see No. 718), and who, in representing poultry, peacocks, pigeons, &c., alive, and surrounded with the accessories of bird-life, has never been surpassed. 484 Dead Game, with Fruit (798) Snyders. A peacock, a pheasant, grouse, woodcocks, &c. ; snipe lie on a red table to the right ; to the left are melons and a basket of grapes ; on the wall hangs a brace of fowls. On canvas, 3 ft. 9 in. high, by 5 ft. wide. 174 Royal Gallery of Pictures. This is probably the “ Piece of Fruite and Birds by F. Snyders, which was sold to Col. Hutchinson, 9th October, 1649, for ^£io.” It was in the market-place of Antwerp, his native city, that Snyders studied those objects of still-life — fruit, vegetables, dead game, poultry, fish — to which he confined his earlier efforts in painting. His talents were very soon so highly thought of, that Rubens himself frequently engaged him to execute the still-life in his own pictures, and even painted the figures in Snyders’ market-scenes. At this period, in 1617, when he was about thirty-six, his capabilities were believed to be limited to ‘ ‘ representing beasts, but especially birds, altogether dead, and wholly without any action of any kind.” (See note to No. 612, and also No. 704.) 465 St. Peter in Prison (685) Steenwyck. Four or five sleeping figures in a crypt, dimly lighted by a lamp against a pillar. On canvas, 2 ft. high, by 3 ft. wide. (See No. 670.) 466 Joseph brought before Pharaoh (/op) unnamed . The King is seated on his throne on the left, surrounded by his court ; Joseph, bound, in front of him. In the background Venetian architecture. (See No. 470.) 467 Still-Life — Sausages, Bread, &c. (239) .... Labrador? The sausages and bread are on a plate ; there are besides a straw-covered flask, a wine glass, and an earthenware jar. These articles all stand on a table ; there is a green curtain behind. On canvas, 2 ft. 11 in. high, by 2 ft. 3 in. wide. In James II. ’s catalogue, No. 491 : — “ Still-life, being a Flask with Lemons and Bread ” — where it is attributed to Michael Angelo, that is, presumably, Michael Angelo Campidoglio. (See No. 539). This is now attributed to De Heem (see No. 469), but it is doubtless the piece, with the dimensions of which it corresponds, in Charles I.’s catalogue, page 153 : — “Upon a cloth, upon a stone table a wicker wine bottle, and a speckled white earthen wine pot, and a wine glass, and a white earthen dish by, wherein some sausages de Bolonia, a napkin, a loaf of bread by, and some greens ; which the King did change with the Lord Marquis, giving him a piece of grapes for the same ; done by Labrador.” Labrador was a Spanish painter of still-life, and fruit and flowers, who flourished at the end of the sixteenth century. This and No. 539 are probably unique specimens of his art in England — at least accessible to the public. 468 Dead Game and Implements of Sport {368) . Van Aelst. On a stone slab lie a dead partridge, and a hunting-horn, a belt, a knife, and a green velvet game-bag. Above hang a partridge and several small birds. On canvas, 3 ft. 5 in. high, by 3 ft. wide. No. 508 of James II. ’s catalogue : — “A large piece of still-life, being fowls by Van Aelst.” William van Aelst was one of that school of painters of still-life, flowers, &c., who flourished in Holland in the middle and end of the seventeenth century. “The pictures by him representing dead birds are, as respects picturesque arrangement, finely balanced harmony of cool but transparent colour, perfect nature in every detail, and delicate and soft treatment, admirable specimens of the perfection of the Dutch School.” — (Kugler’s Dutch and Flemish Schools.) For a fruit piece by him see No. 538. Hampton Court Palace. »7 5 469 Still-Life— A Lemon, Apples, &c. (240) . . J. D. de Heem. The lemon and its pealings lie on a plate ; there are also a glass vase, a silver mounted mother-of-pearl cup, an oyster shell, and a napkin, all of which are on a table covered with a green cloth. On wood, 3 ft. 8 in. high, by 3 ft. 9 in. wide. The painter’s signature : — “ J. De Heevi. f ” is on the edge of the table. This piece belonged to James II., and is No. 88 of his catalogue : — “ A piece of still-life, a mother-of-pearl cup in it. By Deheem.” This master is very little known in England, but in Holland his works are as appreciated as they are nume- rous. He is the most distinguished master of that great school of painters of fruits, flowers, &c., which includes the names of Kalf, Mignon, Ruysch, and Van Huysum. “ The works of his earlier time,” says Dr. Waagen, “ are distinguished by a golden tone of such depth, juiciness, and clearness, as sometimes to approach Rembrandt.” In tastefulness of arrangement, in drawing, in colouring, in truth to nature, he is unequalled ; and in rendering the transparency of glass, the lustre of silver and other accessories, he almost attains to delusion. 470 Joseph’s departure from Jacob (704) unnamed. To the left Jacob is sending away Joseph ; in the distance is Joseph and his brethren. Formed into an oval out of an upright picture. On wood, 4 ft. 7 \ in. high, by 2 ft. 7 in. wide. “ A Flemish copy of a Venetian picture probably by Tintoretto.” — (Mr. Redgrave in the Royal Catalogue .) S UEEN ANNE and Queen Caroline used this as a bath-room ; and in the wall is still the tall recessed marble bath with a tap, where the queens used to wash. The door leads to the Queen’s Drawing Room and Bed Chamber. Over the corner fireplace is another old-fashioned oak chimney-piece, on the shelves of which are some remnants of Queen Mary’s and Queen Anne’s collections of china. 471 Children playing with a Goat (yu) J. Amiconi. A naked boy is in the centre, pulling a goat by the horns with his right hand ; to the left is another boy clinging to the goat ; others behind. On canvas, 3 ft. 8 in. high, by 3 ft. 6 in. wide. 472 An Italian Market ( 712 ) Bamboccio. To the right a woman is selling fruit — melons, pumpkins, &c. ; several figures are near her, and others behind. In the background to the left a classic ruin, and to the right a hill and buildings. On canvas, 3 ft. 1 in. high, by 4 ft. 4 in. wide. Peter de Laer, the painter of this and similar pictures in this closet, is said by some to have received his nickname of “Bamboccio” from his deformity of body ; by others from painting such subjects as that of the picture before us, namely, fairs, rural festivities, &c., which the Italians call “ Bambocciate. ” 473 A Painter in his Studio (227) G. F. Cepper. He is at his easel, painting an old woman with a crutch ; he turns round and faces the spectator. Behind him is an old woman grinding colours ; a girl looks round the corner of the easel, and two boys are drawing on the right. On canvas, 4 ft. 2 in. high, by 5 ft. 5 in. wide. Hampton Court Palace. 177 This and the three similar rather cleverly painted pieces in this closet, are in- scribed on the canvas, in the left-hand corner: — “ Gia mo francesco Cipper, 1736.” The last part of the name is not distinct, and it may be Cippw or Cipp#. In any case, however, no such painter is mentioned in any ordinary dictionaries of painters, and both the name and subjects have much puzzled the critics. By some they are pronounced of the “ Neapolitan school ; ” others call them Dutch subjects, and the painter is variously called in the catalogues Chippu, Cepper, Cippa, &c. Recent cleaning has revealed the date. 474 St. Paul (714) unnamed. Half-length, standing ; turned to the right. In front of him is an open book, written in black letter, and apparently part of the eleventh chapter of the Epistle to the Ephesians. The forefinger of his left hand points to the centre of the page ; his right grasps the hilt of a long sword. He is dressed in a bluish-green mantle with a crimson scarf over his right shoulder. He has dark hair and a beard. On canvas, 3 ft. 1 in. high, by 2 ft. 7| in. wide. No. 187 of James II. ’s catalogue : — “A picture of a man to the waist, with a sword in one hand, a book in the other.” 475 Italian Peasants (71s) Bamboccio. Two men are in the centre playing music, to the right a man dancing ; to the left are peasants. In the background to the right, a ruin, to the left a landscape. (See No. 472.) 476 Cupid and Psyche (717) Lazzarini, On the left is Cupid sleeping ; Psyche bends over him on the right, holding a lamp. 477 George II. when Prince of Wales {718) . after Kneller by Schackleton. Seated, in the robes of the Garter. (Compare No. 522. ) 478 Judith and Holofernes {7 if) . . . after P. Veronese by Teniers. Holofernes’ body lies in a tent on the right ; Judith has the head in her hand, and is about to put it into the bag held by an attendant. Other figures to the left. On wood, 1 ft. 7 in. high, by 2 ft. 3 in. wide. 479 Two Men’s Heads facing each other ( 720 ) Tiepolo. 480 Two Youth’s Heads facing in front (721) „ 481 Head of Christ and an Old Man ( 722 ) „ 482 Head of Christ and a Young Man (723) „ 483 An Old Man’s Head facing to the right (724) .... „ These five pictures are studies ; each is on canvas, 1 ft. 6 in. high, by 1 ft. 10 in. wide. “ From Consul Smith’s collection.” — ( Royal Catalogue .) 484 Acts of Mercy (727) after A. Caracci, To the right is a saint on a platform distributing alms. Below is a crowd of people, many beggars and sick. A A 178 Royal Gallery of Pictures, 485 Italian Peasant Regaling (J29) G. F. Cepper. To the left a young woman is bringing in eggs, &c. ; in the centre is a woman seated, with a child on her lap, by a table, on which is a pumpkin. Another woman is behind her. (See No. 473.) 486 Italians Regaling (223) G. F. Cepper. In the centre is a young woman, with her hands clasped in front of her, seated near a table at which are on the right two young men playing cards, and a man smoking with a jar in front of him. To the left is a man playing music. (See No. 473 -) 487 Italian Peasants Feasting (; 730 ) G. F. Cepper. A man in a three-cornered hat is seated on the left ; he holds a stick in his right hand, his left holds a mug which a man behind is about to fill. In the centre is a woman playing a hurdy-gurdy, and beyond a man and woman drinking. In front is a child with cherries and an owl. (See No. 473.) j.88 Boys playing with a Lamb ( 629 ) Amiconi. In the centre three boys are putting garlands round a lamb ; to the right a cupid is playing to them on a pipe. On canvas, 3 ft. 8 in. high, by 4 ft. 2 in. wide. ribate f^^^^HIS, as well as several rooms that follow, were last occupied, K|| ||||| from 1795 to 1813, by the Stadtholder, to whom George III. iff PH gave an apartment here when he was driven from the Nether- lands by the Revolution. In the previous reigns it had been used as a private dining room by the Royal Family. When the Prime Minister, Sir Robert Walpole, was invited, he had to stand behind the Queen’s chair and hand the first dish. In this room are now three old State Beds : the one on the left, of crimson damask, being William III.’s; that on the right, of crimson velvet, Queen Mary’s; and the small one in the middle, that used by George II. when he lived in this Palace. There are also some old-fashioned chairs and boxes, and a few bits of china. From the windows here a good view is afforded of the Fountain Court, one of the principal features in Wren’s Palace. 489 Landscape — A Garden with Statues {732) Danckers. In the middle a statue of Plenty ; to the right one of a sphinx, on the pedestal of which is the signature, — “y. H. Dankers. 1677 and the inscription : — “ dies maaievs.” Behind is an alley of cedars and a palace. On canvas, S ft. 2 in. high* by 3^ ft. wide. Henry Dankers was a painter much employed by Charles II. Pepys writes in 1 80 Royal Gallery of Pictures . 1669 : — “ Called at Danckers’, the great landscape painter, and he took measure of my panels in my dining room, wherein to place the four I intend to have, the four houses of the King — Whitehall, Hampton Court, Greenwich, and Windsor.” He returned to Holland at the time of the Popish plot. 490 The Emperor Charles VI. {771) Kneller. Full-length, standing, turned to the left, the face seen in front. He is in armour, with red hose, and a purple mantle with ermine tippet and lining. His left hand rests on a crown which is on the table by his side, his right holds a truncheon. He wears a large wig. Ships are seen in the background. Engraved by J. Smith. This portrait, which is one of Kneller ’s worst, was painted in 1 703, when Charles was in England on a visit to Queen Anne, who was supporting his claims to the throne of Spain against the Duke d’Angou. He landed here on Christmas Day, and went at once to Windsor, where he was entertained by the queen with great hospitality and kindness, which he acknowledged by paying compliments to the ladies and presenting the Duchess of Marlborough with a magnificent ring. For painting this portrait Kneller was made a knight by the Emperor Leopold. Charles was proclaimed Emperor of Germany in 171 1. 491 Stoning of St. Stephen {738) Rotten ham m er ? The saint is kneeling in a vestment, with outstretched arms and face turned up to heaven. Behind are men stoning him. On canvas, 6 ft. high, by 5 ft. wide. In James II. ’s collection, No. 839. 492 Christ in the House of Martha and Mary ( 737 ) .... unnamed. He is seated to the right ; Mary kneeling at His feet. 493 Landscape {731) Lucatelli. Two shepherds on a hillock to the left, beyond a waterfall, and in the distance a town on the summit of a hill. On canvas, 3 ft. high, by 4 ft. 9 in. wide. 494 Landscape with Ruins {73(f) unnamed. Shepherds, cattle, sheep, goats, and cottages are in the foreground. 495 Venus and Cupid {746) Pontormo? Venus lies, nude, on white drapery, with her head to the right ; her left hand holds Cupid’s bow, who is endeavouring to take it back. Cupid is winged, and has a belt round his waist. Two doves, two roses, and an apple are in the lower right-hand corner. On wood, 5 ft. 2 in. high, by 7 ft. 3 in. wide. This is a similar but very inferior composition to No. 300, and is certainly not by Pontormo, to whom it is attributed. It was in James II. ’s collection, No. 996 “A large Venus, with Cupid, and two doves by her.” 496 A Japan Peacock (343) • Bogdane. A lake scene behind. On canvas, 9 ft. high, by 2 \ ft. wide. 497 View on the Thames near Whitehall { 74 2 ) unnamed. Showing also the buildings of old Scotland Yard, and the garden of Richmond House. Hampton Court Palace . 1 8 1 498 Landscape — Cattle at a Fountain {735) H. Roos. On the left is an arched fountain, with a statue on the top, and a basin below. A cow is drinking from it, others are lying down. On canvas, 2 ft. 3 in. high, by 2 ft. wide. 499 Ruins, with a Vase {744) Griffier. In the centre is a pedestal, surrounded by water, surmounted by a vase. Two figures are stepping out of the water. To the left is an escutcheon carved in stone, and surmounted by a death’s head. To the right are an arched cave and a river. John Griffier was a Dutch painter, who came to England after the Fire of London. He was particularly fond of painting river scenery, and he spent a great part of his time in a barge on the Thames. 500 A Magdalen (743) Palma Giovine? Seated, turned to the right ; her legs, arms, and breast bare. She leans her head on a skull, and is reading an open book lying in front of her. On canvas, 6 ft. high, by 5 ft. wide. 501 Princess Isabella, Daughter of James II. {748) Lely. Seated, turned to the right, but facing in front. Nude, except a white cloth fringed with gold ; a wreath of flowers on her head. Her two hands are on the head of a lamb to the right. On canvas, 3 ft. high, by 2 ft. in. wide. Hitherto unnamed, but there is an engraving in mezzotint after it, by Alexander Browne, which sometimes has the inscription : — “ The Lady Izabella. P. Lelly Eques pinxit ” — though more commonly without it, as it was erased from the plate after her death in March, 1680. She was the daughter of James and Mary of Modena, and was born 28th August, 1676. (J. C. Smith’s British Mezzotint Portraits , i., 1 13.) 502 Duchess of Brunswick, Sister of George III. (603) . A. Kauffman. Full-length, turned to the right. She holds a child in her arms on an altar in front of her. She is dressed in white with an orange-coloured mantle, lined with light blue ; she wears sandals. On canvas, 8 ft. 1 1 in. high, by 5 ft. 1 1 in. wide. On the left at the foot of the column is the signature : — “ Angelica Pinx : A 0 . 1767. ” To the left, on a vase, the inscription : — Carol, ille de Bruns, dr 3 Prih. Hered. A. MDCCLX M. Jul. apud Enisdorff VICTORIA. et A. mdcclxiv M. Jan. apud Lond. amore. Coron. Augusta, the eldest daughter of Frederick, Prince of Wales, was bom on the 31st of July, 17 37, and was married to the Duke of Brunswick on the 17th of January, 1764. By him she became the mother, among other children, of Caroline, Princess of Wales, and of Duke William Frederick, “Brunswick’s fated chieftain,” who fell at Quatre-Bras. In 1767, when this portrait was painted, she was in England on a visit. The child in her arms must be her eldest son Charles George Augustus, who was born 8th February, 1766, and died in 1806. 503 Landscape — Men Fishing in a Stream (jjo ) .... Van Diest. To the left tall trees ; the men stand on large stones in the centre of the stream. On canvas, 5 ft. high, by 3 ft. wide. 182 Royal Gallery of Pictures, 504 Landscape — A Stream and Weir (75/) G. Edema. To the right and left are lofty trees ; in the foreground two figures, and in the distance a town. On canvas, 6 ft. high, by 3 ft. wide. Gerard Edema is mentioned by Walpole as a scholar of Everdingen (see No. 698), who came to England in 1670. 505 Landscape — A Stream and a Bridge (752) .... Danckers. Some figures are on the shore, and others in a boat beneath some trees to the right. Beyond the bridge are Italian buildings. (See No. 489.) 50 6 Twelve Saints { 753 - 764 ) D. Feti. These pictures belonged to Charles I., whose cypher is stencilled behind them, and who acquired some of them, at any rate, from Mantua ; for we find in the Duke of Mantua*s catalogue of 1627 this entry : — “7 quadri, depintivi santi et sante diversi, opere del Feti,” valued at 420 liras. (For Feti, see No. 151.) Among the pictures sold at Whitehall by the Commonwealth were : — “A Saint with a Lillie ; another S £ in White ; AS* writing with a penn ; A S £ with a white napkin ; A S £ in a red Garment all by Ffettee. Sold to M r Decrittz y e 23 rd Oct. 1651 for £3 6.” Seven more were sold the same day at Hampton Court to Mr. Jackson for £42. They afterwards occur in James II.’s catalogue, No. 843, &c. On canvas, 2 ft. 10 in. high, by 2 ft. 6 in. wide. Some of them are to be recognized in the descriptions in Charles I.’s catalogue, p. 143, &c., thus : — “The picture of an old grey-bearded Capucin Fryar holding with both his hands a staff, in his grey Capucin habit, a Mantua piece done by Fetti.” { 733 ) “ A middle-aged, side-faced saint, with a long brown beard, writing with a pen in a book in a light yellow and green habit.” (733) “Another old Fryar, side-faced, with a long grey beard, looking upwards, holding in his left hand a white lily branch, whereon are two a little blowed open, and six buds.” {737) “ A Saint in a white habit holding both his hands on his breast.” {738) 507 Senators of Venice in the Senate-House ( 64 ) Fialetti. This picture, though poor as a work of art, is historically curious. It was brought by Sir Henry Wotton from Venice, where he was ambassador, on and off, from 1604 to 1625 ; and he bequeathed it together with the pictures of the “ Four Doges,” No. 526, to Charles I. His will refers to them thus “ And first to my most dear sovereign and master, of incomparable goodness (in whose gracious opinion I have ever had some portion, as far as the interest of a plain honest man), I leave four pictures at large of those Dukes of Venice in whose time I was there employed, with their names written on the back, which hang in my great ordinary 184 Royal Gallery of Pictures . dining room, done after life by Edoardo Fialetti. Likewise a table of the Venetian College, where ambassadors had their audiences ; hanging over the mantel of the chimney in the said room, done by the same hand, which containeth a draught in little, well resembling the famous Duke Leonardo Donato, in a time which needed a wise and constant man.” At the upper end of the chamber is a dais, in the centre of which is seated the Doge ; on his right is a secretary in black. On each side are three councillors in red, and seven in black. On the side seats are others. In the body of the hall are some persons entering. On canvas, 5 ft. 8 in. high, by 8 ft. 7 in. wide. At the Commonwealth this picture was sold to a Mr. Delamere, 28th July, 1650, for £>\o. It is afterwards in James II. ’s catalogue, No. 1018. 508 View of Windsor Castle (767) unnamed. St. George’s Chapel is seen on the left ; a sailing boat is on the river. Perhaps the “ Landscape of Windsor Castle; by Dankers,” No. 297 in James II.’s cata- logue. 509 St. Peter in Prison {768) Steenwyck? Dirty and indistinguishable. Similar to No. 670. 3J ft. high, by 4 ft. wide. ucm’s riimte timber. this room is another marble bath or basin, which was probably use< ^ ky Queen Anne, when she resided here, as the door in IO # §|g the wainscot leads into her bedroom. The corner fireplace, the SIMM finely carved cornice, and the old china, are worthy of notice. 510 Greek and Ottoman Architecture { 769 ) Ghisolfi. In the foreground to the right is a range of buildings stretching away to the distance, consisting of a doorway with a portico of two Corinthian columns support- ing a semicircular pediment ; beyond is an arched open hall, and behind, a dome of two minarets. To the left is a spacious area paved with black and white marble, where are seated two Greeks, and a Turk is passing by them. On canvas, 3 ft. 8 in. high, by 4 ft. 3 in. wide. 5 1 1 Portrait of a Lady (927) unnamed. Half-length, turned to the left ; facing in front. In her left hand she holds a hunting horn ; her right is by her side. She is in a flame -coloured dress trimmed with blue, and has a band round her waist. 512 Queen of Prussia (907) Anton Graff ? Seated in an high-backed armchair covered with blue velvet ; she is turned to the left, but faces in front. Her right hand rests on a table beside her, and points to a book ; her left hangs by her side. She is dressed in black trimmed with ermine, and her head is covered with a black lace veil. Her hair is white. On canvas, 4 ft. 7 in. high, by 3 ft. 3 in. wide. B B 1 86 Royal Gallery of Pictures. This is attributed in the Royal Catalogue tp Graff, a German painter who flourished at the end of the last century. Is this Sophia Dorothea, sister of George II., who married, in 1706, William I., King of Prussia, and who died in 1757 ? 513 Frederick the Great (SSS) Antoine Pesne. Full-length, standing, turned to the left, but facing round to the front. His left hand points to a battle in the distance ; his right holds a marshal’s truncheon. lie is in armour, over which is a crimson ermine-lined mantle ; he has a small close- curled wig ; his helmet is on the ground in front of him. On canvas, 8 ft. 7 in. high, by 5 ft. 7 in. wide. For another portrait of him see No. 868. “To this admirable painter (i.e. Pesne) I am inclined to attribute the portrait of Frederick the Great. The king, w'ho is still in youthful years, is pointing to a battlefield in the background, probably in allusion to the Silesian war. A picture of considerable merit.” — ( Waagen .) This praise was probably inspired rather by the great critic’s patriotism than by his judgment. By most connoisseurs the painter is now remembered only in the following couplet by Frederick the Great : — “ Quel spectacle etonnant vient de frapper mes yeux, Cher Pesne, ton pinceau t’egale au rang des Dieux,” which Voltaire interpreted thus : — “Le roi ne regardant jamais le peintre, ce dernier etait pour lui invisible comme * 5 ieu.” Pesne was in England in 1724. 514 The three Daughters of George, 21 . (625) Maingaud. Three half-length, life-size figures. The eldest, Anne, born in 1709, is on the right, facing to the front, her right hand holding a rose to her bosom. The second, Amelia Sophia Eleonora, born in 17 1 1, is to the left behind, looking at her youngest sister, and with her right hand round her shoulder, pointing. The youngest, Elizabeth Carolina, born in 1713, is seen nearly in profile to the left, looking at the spectator ; she has a wreath of flowers on her left shoulder. Of the Princess Anne it is said that “she was vain without cause, imperious without being dignified, and ambitious without the means of gratifying the passion.” When a mere child she told her mother she wished she had no brothers that she might succeed to the throne, and when reproved she answered, “I would die to-morrow to be queen to-day.” To satisfy her ambition she married, in 1734, the Prince of Orange, a repulsively hideous man, having declared she would do so even if he were a baboon. “Well, then,” said the King, “ there is baboon enough for you. ” Pier sister Amelia, on the contrary, was never married. She occupied herself entirely in her youth with painting, in her old age with play, and in her middle age with gossip. “Princess Emily,” writes Walpole, “remains in London, saying civil things: for example, the second time she saw Madame de Mirepoix, she cried out, ‘ Ah ! Madame, vous n’avez pas tant de rouge aujourd’hui : la premiere fois que vous etes venue ici, vous aviez une quantite horrible. ’ ” Elizabeth, their amiable sister, who devoted herself entirely to works of charity, led a retired life, marred by ill-health, and embittered by an unfortunate attach- ment to “that mere white curd of ass’s milk,” Lord Hervey. (Jesse’s Memoirs of the Court.) Hampton Court Palace . 187 Duke of Gloucester (77c ?) Lely ? Seated on a red cushion, facing in front. Dressed in white, with a white feather on his head. His two hands are held to the left towards a flying bird, which he retains by a string. Background, a crimson curtain to the left, a landscape to the right. On canvas, 4 ft. high, by 3 ft. 3 in. wide. This is, perhaps, “ The Duke of Gloucester, by Lely ” — No. 1109 in James II. ’s catalogue, but it is not quite certain that it represents him at all. If it does, it of course belongs to Lely’s earlier time, and must have been painted while the young prince was in the custody of the Countess of Leicester at Penshurst. It is far more likely a portrait by Kneller of William, Duke of Gloucester, son of Queen Anne. (See Nos. 41 and 830.) The Last Supper { 776 ) Bassano. Indistinguishable. On canvas, 2 ft. by 3 ft. Two Daughters of George II. { 917 ) Maingaud. Full-length figures. The eldest is to the left, standing, her right arm clasping a stem of tree, round which twines a vine ; her left hand giving a rose to her younger sister ; she is dressed in white. Her sister is kneeling to the right, facing in front, and takes the rose with her left hand ; her right rests on a lictor’s fasces. On canvas, 4 ft. 6 in. high, by 3 ft. 7 in. wide. (Compare No. 514.) Frederick, Prince of Wales ( 619 ) Vanloo. Full-length, face turned to the right. His right hand is extended, his left holds back his crimson and ermine cloak. His dress is blue with rich gold lace. Fie has a short wig. On canvas, 7 ft. 9 in. high, by 4 ft. 9 in. wide. Vanloo came to England in 1737, and this portrait was probably painted about two years after. He became a very popular artist, and made a great deal of money, for, as his French biographer observes : — “ L’Angleterre est le pays oil il se fait le plus de portraits et ou ils sont mieux payes.” Engraved by Baron. This picture, therefore, dates from the time when the Prince was about thirty- one years of age, and had been expelled from St. James’s Palace, and was in declared enmity with his father. His insignificant character, which excited con- tempt rather than dislike, is very happily satirized in the famous epitaph : — “ Here lies Fred, Who was alive and is dead ; Had it been his father, I had much rather ; Had it been his brother, Still better than another ; Had it been his sister. No one would have missed her ; Had it been the whole generation, Still better for the nation ; But since ’tis only Fred, Who was alive and is dead, There’s no more to be said.” 9 View of the Arno at Florence by Day ( 653 ) Patch. The river is crossed by a five-arched bridge, and covered with boats ; on both sides are quays. View of the Arno at Florence by Night ( 642 ) Patch. The river is crossed by a three-arched bridge, at the end of which is a bonfire. The moon is shining, and there are lamplights. In the distance on the right is the Duomo and Giotto’s Tower seen over the housetops. 1 88 Royal Gallery of Pictures. These have been usually called views of Rome, and attributed to Fabier. They are both on canvas, 2 ft. 10 in. high, by 3 ft. 9 in. wide. On a boat in the centre foreground of No. 519 is the signature, “ Patch, 1763.” Thomas Patch was an English engraver and painter who went to Italy with Sir Joshua Reynolds. 521 Portrait of George I. (782) Kneller. Seated, facing in front. Pie is in the robes of the Order of the Garter. His left hand on the arm of the chair, his right on a table, whereon are a crown and a plumed helmet. On canvas, 7 ft. 9 in. high, by 4 ft. 9 in. wide. George I. was the tenth sovereign who sat to Kneller, and for this portrait, which was painted soon after his accession, the king made him a baronet. Addison refers to it in his “Lines to Sir Godfrey Kneller on his picture of the King,” beginning : — “ Kneller, with silence and surprise We see Britannia’s monarch rise, A godlike form, by thee displayed In all the force of light and shade ; And, awed by thy delusive hand, As in the Presence Chamber stand.” 522 George II., when Prince of Wales (783) Kneller. Standing, facing in front ; his left hand on his sword, his right on his hip. He is in the full robes of the Garter, with ermine cloak, powdered wig, &c. On a pedestal behind him is a crown. Signed in the lower left-hand corner, “ G. Kneller . Baronetis and dated 1716. Kneller was made a baronet in 1715, and died in 1723 at the age of seventy-five. This picture represents George II. at the age of thirty-three, and before his quarrel with his father. 523 Caroline, Queen of George II. (784) Zeeman? Full-length, standing, figure to the left, face a little to the right. Her left hand holds up her cloak, her right is on a table, on which is a crown and sceptre. She wears a blue velvet dress trimmed with broad gold braid, and a white satin skirt, richly worked with gold and jewels. Her hair is short and powdered. On canvas, 7 ft. 9 in. high, by 4 ft. 9 in. wide. This was formerly attributed to Kneller, but it cannot be by him, as she is repre- sented as queen, while Kneller died four years before her accession. (Compare No. 834.) Caroline was forty-five when her husband became king. “Her levees,” says Coxes, “were a strange picture of the motley character and manners of a queen and a learned woman. She received company while she was at her toilette ; prayers and sometimes a sermon were read ; learned men and divines were intermixed with courtiers and ladies of the household; the conversation turned on metaphysical subjects, blended with repartees, sallies of mirth, and the tittle-tattle of a drawing-room.” 524 A Labyrinth and Pleasure Garden (787) . . Tintoretto. In the centre of the maze is a table, at which four ladies are seated ; four atten- dants standing by. In the right foreground are four more ladies seated in a bower. On the left is a band playing. Behind are various sports and other incidents. In the background to the right is a palace. On canvas, 4 ft. 10 in. high, by 6 ft. 7 in. wide. Hampton Court Palace. 189 This has always been traditionally attributed to Tintoretto, and it is probably the same “Labyrinth by Tintoretto” which was put on board “The Charity” at Venice, on April 25th, 1615, and consigned to the Earl of Somerset. (See Sains- bury’s Original Papers concerning Rubens , p. 274.) There is nothing to fix the exact date when it came into the Royal Collection, but that it belonged to Charles I. is evident from its being in one of his old frames, and it is doubtless the “ Large piece being a maze with a great many figures,” which was No. 47 in James II.’s catalogue, but without the painter’s name. 525 Landscape — A Palace and Garden (790) Danckers. A circular flight of steps with a stone balustrade leads up to the palace on the left ; a woman is coming down them. In the distance is a domed building. ip^ipJ^VER the fireplace is some exceedingly beautiful carving by Pgglga j Gibbons ; and all round the room is a richly carved oak cornice SLvaSy A acant ^ us '^ ea f pattern. There are some very dilapidated old chairs, but of fine workmanship, of the time of Queen Mary. iZTfje marble bust of a negro, which stands on a pedestal in this room, is believed, and probably correctly, to be William III.’s favourite servant, who frequently appears in portraits with the King (see No. 31). The face and neck are of black marble ; while his dress, and the dog’s collar round his neck with a bell, are of grey and white. K\)C CapfStrg represents the Battle of Solebay, which was fought on May 28th, 1672, between the English and French fleets under the Duke of York and the Comte d’Etrees, against the Dutch fleet under De Ruyter. The Dutch fleet, it will be remembered, consisting of 91 men-of-war, 54 fireships, and 23 tenders, attacked the combined fleet, composed of 100 English and 40 French men-of-war, when at anchor in Southwold Bay, or Solebay, on the coast of Suffolk. In the first piece of tapestry, on the left, we see the two fleets drawn up in the form of a crescent just off the sea-shore, and a few Dutch ships coming forward on the right. The second piece shows the English fleet under sail. There were originally, no doubt, several other pieces, giving the combat itself, in which the heroic Lord Sandwich (see his portrait, No. n) lost his life. Both sides claimed the victory. Each piece is 12 feet high by 24 feet long, and has a fantastic border of tritons, dog fish, &c. Hampton Court Palace . 1 9 1 526 Four Doges of Venice (791-794) Fialetti. See note to No. 507. These four portraits are each three-quarter lengths, and represent the Doges in their robes, lined with ermine and having ermine tippets, and with Doges 7 caps. On canvas, 5 ft. 4 in. high, by 4 ft. wide. The names of three of them are uncertain, as the inscriptions, which were on the backs in Charles I.’s time, were not to be found when the pictures were repaired by Buttery in 1878, as they had been relined and enlarged. ? Marino Grimani, Doge from 1595 to 1605 ( 79 1 ) In a yellowish -brown robe, turned to the left. His left hand is raised, and holds a sealed paper ; his right, with a gold ring on the forefinger, is pointing down. He has a grey beard and moustache. ? Giovanni Bembo, Doge from 1615 to 1618 ( 79 -) In a crimson brown robe. He has a grey clipped beard. Turned to the right ; same action with his hands as the preceding. Leonardo Donato, Doge from 1605 to 1612 ( 793 ) In a yellow brocaded robe ; his right hand by his side. He has a moustache, and a grey beard under his chin. Painted in the upper left-hand corner : — “LEONARDO DONATO DOGE DI VENETIA.” ? Antonio Memmo, Doge from 1612 to 1615 ( 794 ) In a crimson brown robe, with a lace skirt underneath. His glove is in his right hand j his left is raised. 527 Caroline, Queen of George II. (7pj) ....... Zeeman? Bust ; profile to the right. Her hair is drawn off her forehead, curled and powdered. She is in a blue dress with ermine. Oval. The queen is here older than she is represented in Nos. 523 or 834. 528 A Turkey Carpet with Fruit and Flowers (231) . Maltese. The carpet, which is very heavy, is partly on a table, partly on the floor ; also on the table is a chased gilt jug, and another is below. The fruits are apples, figs, grapes, &c. On canvas, 3 ft. high, by 4 ft. 3 in. wide. This is a characteristic specimen of an artist whose works are rare, and of whom little is known, beyond the fact that he lived at the end of the seventeenth century, and that he was called Francesco Maltese from the place of his birth. “ He is by no means an indifferent painter. His pictures represent the objects faithfully ; his handling is large and vigorous, his colour bold and striking ; he excelled in painting carpets and musical instruments.” — (Bryan.) 529 Venus and Adonis {367) B. Gennari. A similar composition to the well-known Titian’s at Dulwich and the National Gallery. Venus, nude, rests on a bank to the left ; Adonis is running away from her ; Cupid in front of him. On copper, 1 ft. 1 in. high, by 1 ft. 9 in. wide. Benedetto Gennari was one of Charles II. ’s painters. This and several similar pieces by him are enumerated in James II. ’s catalogue. 530 Madonna and Child (363) Bassano? Perhaps No. 642 of James II. ’s pictures : — “A small piece, being the birth of Christ, with St. Joseph ; by Bassan.” 10 in. by 8 in. 192 Royal Gallery of Pictures. 531 A Dutch Barrack Room (577) C. Troost. Soldiers are sitting, smoking, and looking at military maps on the walls. On canvas, 1 ft. high, by I ft. 5 in. wide. Cornelius Troost, a painter more valued by his countrymen than appreciated here (see Bryan’s Diet .), faithfully portraved the life of his time. He died in 1750. eorge tt.’s flamber. I HEN George II. occupied this room, it was hung with red damask, which must have harmonized well with the rich deep- toned oak of the carved cornice and of the old-fashioned corner fireplace. It is now hung almost exclusively with flower-pieces, mostly by Baptiste. 532 Four Flower-Pieces (799-802) Baptiste. A gilt vase with tulips, chrysanthemums, sunflowers, hyacinths, and a branch of an orange tree . { 799 ) A gilt vase with roses, stocks, peonies, honeysuckle, poppies, &c. . . { 800 ) A group of tulips, cornflowers, carnations, roses, &c { 801 ) A green glass vase with hyacinths, poppies, honeysuckle, &c (< 802 ) Qn canvas, of various sizes. 533 Fruit with a Monkey and Cockatoo (803) Bogdane ? In the centre is a basket with fruit, on a white cloth ; the monkey, with a black and white mane, is taking some apricots out of it. The cockatoo is above. 534 Three Fruit and Flower-Pieces (804-806) Baptiste. A group of grapes, melons, figs, and roses, in the centre ; white poppies with a green parroquet and a monkey, dressed as an old woman, stealing grapes, on the right ; and iris-like flowers with a monkey, dressed as a man, on the left • ( 804 ) C C 194 535 536 537 538 539 540 54 1 542 543 Royal Gallery of Pictures . Lilies, poppies, damask roses, &c. , growing ( 805 ) In the centre, grapes, peaches, &c. ; on the right, roses and a parrot ; on the left, a parrot, and a dog barking at a fox carrying off a drake ( 806 ) Flowers — Vases of Tulips and Roses (#07, 808) . . M. di Fiori. On the pedestal at the foot of the vase are grapes and oranges .... {Soy) On the pedestal is a gold vase, and oranges by it (808) Mario di Fiori was a flower-painter who lived in Rome at the end of the seven- teenth century. Fruit and Flowers (809) M. A. Campidoglio. A group of grapes, pomegranates, and a cut melon ; above are a white flower and convolvuluses ; below an apple, &c. On canvas, 3 ft. 4 in. high, by 2% ft. wide. This is doubtless the “ Italian piece of fruit with grapes and flowers,” No. 947 in James II. ’s catalogue, and perhaps the “piece of fruits” sold by the Com- monwealth for ^44, and there attributed to Labrador. Flower and Fruit-Pieces ( 810 , 811) Baptiste. An upset basket, on which is a squirrel, with grapes, peaches, &c., in the centre ; on the right a spaniel barking, and crown imperials {8/0) An upset basket with a bird perched on the rim, and plums, grapes, peaches, &c. ; on the right is a monkey in a red coat, stealing the fruit (Si 1) Fruit-Pieces — Grapes, Peaches, &c. (812) . . Van Aelst. A group of white grapes, peaches, walnuts, &c., on a table. A white butterfly, a snail, and a bluebottle, are on the fruit. On canvas, 2 ft. high, by 1 ft. 7 in. wide. This is attributed to Van Aelst, whose name is appended to it in Queen Anne’s catalogue, No. 203. Fruit-Piece, Apples, &c., in a Dish (813) . . . Labrador. This has long been attributed to Campidoglio ; but it is evidently “ The Picture of several sorts of Fruits, in a white earthenware vessel ; grapes, apples, chestnuts, and the like. Painted on the right light. Done by the Spanish Labrador, given to the King by my Lord Cottington, ” in Charles I.’s catalogue, page 4. It was after- wards sold by the Commonwealth for ^5 ; but is found in James II. ’s and William II I.’s catalogues, attributed to the same painter. On canvas, 2 ft. 9 in. high, by 2 ft. 4 in. wide ; which are the dimensions given in King Charles’s catalogue. See No. 467 for another picture by this rare painter. A Gold Vase of Flowers, with Birds ( 814 ) Bogdane. The vase holds a red liliaceous plant. Below are grapes, and apples on which two birds are perched. Four Flower and Fruit-Pieces ( 813-818 ) Baptiste. A vase on a stone slab, with poppies, hyacinths, &c ( in which year Francis I. died ; and it is probable that it was painted before 1542, the year when Hemy VIII. ’s catalogue was compiled. That a much earlier date, however, than this cannot be assigned to it is evident from the apparent age of the queen. (Compare No. 566.) It has been attributed to Janet — a name which was formerly given indiscriminately to two painters, Jean Clouet, and Frangois, his son — till M. de Laborde distinguished between them. (See his delightful book La Renais- sance des Arts a la Cour de France.) Waagen was probably right in calling it a work of the elder Clouet, a better painter than his son, though not so well known, as scarcely more than four or five authentic pictures by him atfe extant. For, besides the fact that it exhibits all the delicacy and feeling characteristic of him, the supposition is confirmed by dates, Jean Clouet, the father, being the favourite painter of Francis I., and Frangois not succeeding to his position at court as painter- in-ordinary and gentleman of the Privy Chamber, till his father’s death in 1 545 • (See note to 631.) In M. Niel’s book (Personnages Illustres, tom. i.) there is a facsimile of a drawing in the Louvre for a portrait of this queen, which bears a remarkable resemblance to the painting before us, and his remarks with regard to it may be quoted as being equally applicable here : — “Cette image ne reflete pas la jeune fille celebree par Hubert Thomas, mais bien la reine a la maigreur nerveuse, a la paleur maladive et melancolique. Les cheveux sont d’un blond ardent, circon- stance qui derive d’une mode du temps, plus peut-etre que de la realite elle meme. La levre inferieure et le menton presentent cette epaisseur et cette proeminence particulieres aux princes et aux princesses de la maison d’Autriche.” The inscrip- tion on the letter she holds in her hand alludes to the emperor’s habit of addressing his letters to her after her marriage : — “A Madame ma meilleure sceurd (See Papier s d'etat du Cardinal Granvelle.) For other portraits of her, see Nos, 344 and 566. ELEANORA OF SPAIN. BY JANET. From a photograph by SPooner and Co. Hampton Court Palace . 203 562 Lady of the Time of Henry VIII. (303) .... L. Cornelisz. This was in Charles I.’s catalogue, among the “Twenty-three little heads, most of them painted without hands upon board, much less than life,” page 115 : “Item. The fourth, a lady’s picture, in a golden cloth dressing, with red sleeves, putting a ring to her left-hand finger. A Whitehall piece.” Her bodice is square cut and quilted. She has a thick necklace, and a cameo at her breast. On wood, I ft. 2 in. high, by 9^ in. wide. It has been called, as well as three similar pieces close by, “A Lady of the Court of Henry VIII. ; ” but it is probably some foreign queen (see Nos. 564 and 565), the name of whom had been lost by Charles I.’s time. It is perhaps one of the “ Three Italian Ladies pictures, after the life,” sold for £3 by order of the Commonwealth. It is only recently that these little I teads, probably copies executed for Henry VIII. from life-size originals, have been attributed to Lucas Cornelisz. He was a Dutch painter who came to England in Henry’s reign ; and as he is known to have painted two or three large copies of the Constables of Queenborough Castle, which were, and I suppose still are, at Penshurst, he may likely enough have executed these. 563 Portrait of Henry VIII., a.d. 1536 (313) . Holbein or Janet? This is an exceedingly fine picture, and considered one of the best portraits of Henry. He is seen in a half-length, with his head — but not his eyes — turned slightly to the right. He has reddish hair, a small thin beard and moustache. His eyeballs are dark black-grey. He wears a vest or doublet, cut square across the chest, crossed with strings of pearls, and slashed with rows of white puffs. Over this is a sable-furred jerkin, and underneath is his white shirt, which is brought high up the neck, and terminates in a small frill. He also wears a black cap with a medallion, on which are Our Lady and the Infant Jesus, in colours, and a white jewelled feather falling to the left. In front of him is a table or ledge, with a crimson cushion, on which he leans his right hand ; in his left he holds the end of a white scroll, inscribed : — “ Marci-i6. Ite in Mudvm Vniversv et predicate EvANGELIVM OMNI CREATVR_/E.” The background is a rich green. The surface is rubbed, especially about the eyes and mouth, the mouth badly, and the lights gone from the eyes. On wood, 2 ft. 4 in. high, by 1 ft. 10 in. wide. On the back of the panel is branded Charles I. ’s cypher — C. R. and the crown — and there is also a slip of paper on which is inscribed in a handwriting of the time, “ Changed with my Lord Arundel , 1624.” In Charles’s catalogue, compiled in 1639, page 119, it appears as : — “ King Henry VIII. when he was young, with a white scroll of parchment in his hand ; the picture being to the shoulders ; half a figure so big as the life, in a carved gilded frame. A Whitehall piece, said to be done by Jennet or Sotto Cleve.” At the Commonwealth “ King Henry y e 8 ch by Gennett was sold to M r Baggeley y e 23 rd Oct. 1651 for ^25.” (See Inventory , fol. 506.) It may also be the “Table with the picture of King Henry VIII., then being young, ” in Edward VI. ’s catalogue ; but if so, it is difficult to divine how it should have come into the possession of Lord Arundel. The most various opinions have been expressed as to the painter of this picture. “ Undoubtedly a very fine work of Holbein’s,” says one critic. “ Certainly not by 204 Royal Gallery of Pictures* him,” says another, but “unquestionably by Janet.” “ Clearly not by him,” re- plies a third, but by “ Sotto Cleeve.” “Not at all,” cry others, “By Toto, by Luca Penni, by Girolamo da Treviso,” &c. Dates, style, tone, drawing — every- thing is invoked to establish the most opposite theories. “ Non nostrum inter vos tantas componere lites.” But it may be observed that the authorities whose opinions are entitled to most weight — Dr. Waagen, Mr. Wornum, and Dr. Wolt- mann — are all agreed that it is not by Holbein ; though Wornum is inclined to attribute it to an Italian hand, perhaps Girolamo da Treviso, and Woltmann to a Frenchman. With regard to the date of this portrait, some are of opinion that Henry was about thirty-eight — certainly not more than forty — when it was painted, which gives us the year 1529; and on this they ground a further argument against its being by Holbein (though Holbein was in England by the beginning of 1527). Two of the critics, however, just referred to, Mr. Wornum and Dr. Woltmann, assign it to the period between 1532 and 1537; and there are two facts which strikingly confirm their views, and make it highly probable that the correct date is 1536. For in 1535 on “the 8th of May the King commanded all about his court to poll their heads ; and to give them example he caused his own head to be polled, and from thenceforth his beard to be knotted and no more shaven.” (Stowe’s Annals .) His hair and beard are treated in this fashion here ; previously it had been cut straight across the forehead, and hung down lower than the ears all round the head, and the face was shaven. Besides, in the year following, 1536, Henry ordered Miles Coverdale’s English version of the whole Bible, of which the printing was finished on the 4th of October, 1535, and which was dedicated to the King, to be laid in the choir of every church, “ for every man that will to look and read therein ; and shall discourage no man from reading any part of the Bible, but rather comfort, exhort, and admonish every man to read the same.” To this, the text which Plenry holds in this portrait evidently refers ; and the frontispiece of the work, in which the King is shown holding in each hand a book, inscribed “The Word of God,” and saying, “Take this and teach,” with similar texts, confirms this view. (See Archceologia , xxxix., 250; Womum’s Holbein, pp. 34, 268; Mr. Scharfs paper in Old London , pp. 292, 335 ; Dr. Woltmann’s Holbein ; notes to the Catalogue of the National Portrait Exhibition , 1861, and Froude’s History of England, iii., 76.) 564 Elizabeth of Austria, Queen of Denmark ( 296 ) . . L. Cornelisz? This has been hitherto called “ A Lady of Henry VIII. ’s Court,” but we find it in Charles I.’s catalogue, page 1 1 5 : — “Item. The ninth being Elizabeth the Austrian, Queen of Bavaria, in a golden cloath habit, holding her two hands one over another. ” The word “Bavaria,” as Mr. Scharf has pointed out, must be an error of the cataloguer, for “Denmark,” as there was no kingdom of Bavaria till very modern days. This picture may, therefore, be the one of “ Elizabethe of Austry, Queen of Denmark, with a curtain,” in Henry VIII. ’s catalogue. (See No. 562.) 565 Lady of the Time of Henry VIII. (2^7) .... L. Cornelisz? This is perhaps “ the Eighth, being the Countess of Collona, in a red habit, with two hands,” in Charles I.’s catalogue, page 1 15. Her left hand, on which there are rings, is held up ; the fingers of her right are turned downwards, the tips touch- ing a table in front of her. She has a heavy necklace, and a string of pearls. HENRY VIII. BY AN UNKNOWN ARTIST. From a photograph by Spooner and Co. Hampton Court Palace. 205 566 Francis I. and his wife Eleanor of Spain (319) . . Janet? Half-length, life-size figures. The Queen is on the right, turned slightly to the left ; in her left hand she holds an artichoke, from which rises a caduceus, with little bells at the top ; her right hand is grasped by the King. He is turned towards her, but looking in front ; his right arm is not seen, his left hand holds hers. He wears a furred robe with slashed sleeves, and on his head a black cap with a white feather, and a medallion with the initial “L” (the first letter of her name, Leonora) ; while she has a black cap with a feather, and a medallion with his initial, an “F.” Her dress is embroidered and her sleeves puffed. Behind her is a small figure of a fool dressed in green with his forefinger held up. On wood, 2 ft. 4 in. high, by I ft. io in. wide. This curious picture has for at least 230 years been wrongly named ; the lady being called “The Duchess of Valentinois, Francis I.’s mistress,” while, in fact, she is Eleanor of Austria, his wife. The earliest record of it under its erroneous title is in the Commonwealth inventory, folio 506: — “Francis of France and ye Duchess of Valentynois, sold to M r . Baggeley, 23 rd Oct. 1651, for ^50.” At the Restoration “ Francis ye i** of France and the Duchess of Valentinois, by Gennet, valued at ^50” was found at Hampton Court {Hist. Commission. 7 th Rep.); and it was afterwards in James II. ’s catalogue, No. 928, “ Francis of France and his mistress, half-length.” On wood, 2ft. 4 in. high, by 1 ft. loin. wide. Unfortunately it does not appear in Charles I.’s catalogue at all, though it cer- tainly was in his collection, as his cypher branded behind proves. But there can be little doubt that it is identical with the picture described in Henry VIII. ’s catalogue, compiled in 1542, “ The Frenche Kynge, the Queene his wiffe, and the Foole standinge behynde him,” a suggestion confirmed by the undoubted likenesses to other unquestioned portraits. In any case the lady could not be meant for the Duchess of Valentinois (Diane de Poictiers), for she never was Francis I.’s mistress at all. (See Niel’s Portraits.) It was evidently painted at the time of their marriage, which was finally solem- nized at Paris in March, 1531. The alliance being regarded as an earnest for the maintenance of the Treaty of Cambrai between Francis I. and Charles V. was very popular in France. And to this the caduceus — the winged staff of Mercury and the emblem of Peace — which the Queen holds in her hand, evidently refers. This fact gives it a peculiar interest, particularly as it has been hitherto supposed that no likeness of her at so early an age was in existence. We see her here as she appeared to her contemporaries : — “ Ainsi que le soliel vient a chacer {sic) l’orage Dont le pays d’autour est presque submerge ; Cest astre ainsi voyant ce royaume afflige, Vint d’Espagne, et le mit hors de peine et servage. ” The meaning of the artichoke and the little bells on the caduceus, and also the gesture of the fool in the background, is not equally clear. M. de Laborde, who saw the picture some forty years ago, and who was of course ignorant that the lady was meant for the queen, communicated to M. Niel a curious and mystical expla- nation of it, which, besides being too gross for quotation here, is certainly incorrect. Some light may be thrown on the question by noting the fact that exactly the same device is seen in an old panel picture, engraved by Vertue, of Charles Brandon, Duke of Suffolk, and his wife Mary, widow of Louis XII. of France, probably 20 6 Royal Gallery of Pictures. painted about the time of their marriage, in 1516, where they are represented in an attitude almost identical with that of Francis and Eleonora in this picture; and also a similar one mentioned by Dallaway as belonging to Sir E. Bridges, where the fool is introduced whispering monitory verses in his ear. Lord Bath has a picture at Longleat exactly similar to this, which is perhaps the repetition or copy formerly in Charles I.’s collection, valued at £ 6 , and found at the Restoration in the custody of Arthur Samwell. Since writing the above I have come across a letter of Mary Tudor, Louis XII. ’s widow, dated 1530, and addressed to Francis L, which, taken with the above remarks, seems to indicate the painter of this picture : — “Monseigneur mon bons fils, le present porteur maistre Ambroise, peyntre de tres reverendissime legat de France archevesque de Sens, comme suis advertye, bien congnoissez, ayant eu voulonte de venir par de 5a devers le roi, mon tres cher et tres honore frere et moy, a son arrivee a fait de grans presens tant a luy que a moy, passans en' singularity plus que ne sauroye estimer, mesmement en choses concernans le fait de son art, au tres grand contentement de mon dit seigneur et frere et moy, a raison de quoy, monseigneur mon beau filz, non seullement pour le bon sens et savoir qui par approbacion, a este congneue estre de plus grande experience que nul qui fut jamais par de §a, mais aussi de bon voulloir et affection qu’il a eu de me venir visiter et faire chose qui grandement a este a ma resjouissance, je vous prie tant affectueusement que faire puis, pour et en faveur de moy, avoir le dit Ambroise en vostre singuliere recommandation en toutes ses affaires dont il a necessairement besoing, cognoissant qui est un homme qu’on ne doit oublyer, vu ceque dit est, luy donnant par vous a congnoistre que a ma requeste ceste rescription luy a ete prouffitable. Ce faisant, me feret tres singulier plaisir ainsi que le benoist fils de Dieu sjait, qui, monseigneur mon bons filz, vous ait et maintiengne en sa tres saincte et tres digne garde avec longue vie. Escript a Londres le xiiie lour joing l’an mil v c xxx. Vostre bonne mere, Marie.” 567 Lady of the Time of Henry VIII. {304) . . . . L. Cornelisz. In Charles I.’s catalogue, page 114 '.—“Item. The third a Lady’s picture, being in a red cloth habit, laying her two hands upon a table, with white furred ermine sleeves.” She has a yellow cap and a necklace. (See No. 562.) 568 James II., when young (353) Honthorst. ( Withdrawn .) 569 Christian, Duke of Brunswick, in his youth (356) . . . . - — 7 ? Full-length, turned to the right, facing in front. His right hand is on his hip, his left rests on the hilt of his sword. He wears a doublet and full breeches of a thick white glossy material, laced with narrow perpendicular lines of gold thread. Over his shoulder is a dark cloak, trimmed with broad gold braid. He has stockings of white silk, red bows at the end of his trunk hose, black shoes with small red rosettes, and a collar- ruff open at the throat. Behind him, on the left, is a table, with a red cloth, on which is a black cap with jewels. Above is a green curtain. He stands on a floor of plain flagstones. On canvas, 6 ft. 1^ in. high, by 3 ft. 4 in. wide. This has hitherto been unnamed, but in the upper left-hand corner is the inscription: — “Christianas, 1609;” it is therefore doubtless a portrait of Christian, the son of Henry, Duke of Brunswick (No. 335), and the chivalrous FRANCIS I. AND HIS WIFE. BY MAITRE AMBROISE (?). From a photograph by Spooner and Co. Hampton Court Palace. 207 supporter of the cause of his unfortunate cousin, Charles I.’s sister, Elizabeth, Queen of Bohemia. It is a companion picture to that of his sister (No. 283), and is doubtless by the same painter. Compare also Nos. 332 and 59 j which are both in the same style. For an account of Christian himself, see the portrait of him by My tens, dated 1624, No. 330. 570 The Sleeping Shepherd ( 1129 ) ... Gennaro. This was formerly unnamed, but it is no doubt the “Large piece, being a Shepherd and Shepherdess ; by Gennaro,” No. 309 in James II. ’s catalogue ; and afterwards in William III.’s, and in Queen Anne’s, No. 254: — “A Shepherd sleeping, two women stealing his flute ; by Gennaro.” He lies with his head to the right. 571 William III. when young ( 252 ) Hanneman. Full-length, turned to the left, facing in front. His right hand is resting on a baton which is itself resting on the base of a column by his side ; his left is on his sword. He is attired in armour, with buff boots, &c., and a blue scarf round his left arm. In the background are rocks and trees, and a column on the left, on the abacus of which is the signature : — “ Adr. Hanneman ,f Ano. 1664.” On canvas, 6 ft. 3 in. high, by 3 ft. 4 in. wide. William of Orange was fourteen years of age when this portrait was painted, and had already given signs of those great qualities which afterwards distinguished him. “He found himself,” says Macaulay, “when first his mind began to open, the chief of a great but depressed and disheartened party, and the heir to vast and indefi- nite pretensions, which excited the dread and aversion of the oligarchy, then supreme in the United Provinces. ” He had, in fact, been deprived of his hereditary rank and office of Stadtholder by the influence of Cromwell ; but his prospects greatly improved with the restoration of the Stuarts. Hanneman was the favourite painter of his mother, the Princess of Orange. (See notes to Nos. 766 and 777.) 572 Countess of Derby ( 343 ) L. da Heere? Half-length, facing in front. She is dressed entirely in black, with a large black lace ruff behind her head. Her hair is red and frizzled. On wood, 3 ft. 3 in. high, by 2 ft. 10 in. wide. In the upper right-hand corner of this picture is painted : — ‘ ‘ Countes of Darby ; ” but the inscription is not very old ; and it is doubtful whether it represents a Lady Derby at all. It is not unlike some of the portraits of Queen Elizabeth. 573 Portrait of Sir George Carew ( 344 ) ? Half-length, facing in front. His right hand is holding his gloves, his left is in his belt. He wears a white slashed doublet, a large black furred cloak, with a tippet of whitish fur ; his hat is on one side, and he has a small collar ruff". His beard is short ; he has a chain on his breast. Above is inscribed : — “ANO. dnI. 1565, alt at sva:. 54.” On wood, 3 ft. 3 in. high, by 2 ft. 6 in. wide. Sir George Carew, the eldest brother of Sir Peter (see No. 615), was a soldier and sailor in the reign of Henry VIII., and in 1545 commanded the Mary- Rose, one of the largest ships in the King’s great armament against the French. Henry had dined on board on the day of the action, but the ship was afterwards sunk on the first onslaught of the French, and all on board were lost. There must conse- 208 Royal Gallery of Pictures, quently be either some error in the date in the inscription, or else it cannot be a portrait of Sir George Carew. There is a drawing of him among the Holbein heads, and this portrait has been attributed to the master, but without warrant. 574 Portrait of a Man with a Paper in his hand (906) . . Giorgione? Half-length, looking to the right, but turned to the front. His left hand is raised to his coat, his right holds a paper. His coat is dark, under it is a white frilled shirt. On wood, 1 ft. 9 in. high, by 1 ft. 5 in. wide. “ A young fellow holding a paper in his hand, by Giorgione,” was sold 23rd October, 1651, for £30, and reappears in James II. ’s catalogue, No. 506. 575 Portrait of a Gentleman (pzj) unnamed. Bust, looking in front. He is in his plain white shirt, with a dark cloak over his left arm. He wears earrings. On wood, 2 ft. high, by 1^ ft. wide. 576 Venus mourning over Adonis’ Body (. 148 ) . . . B. Van Orley. His body lies on the ground, with the feet towards the spectator. On the left are two nymphs, weeping, one standing a little behind, the other kneeling at his feet. On the right is Venus, with an armlet and tiara, also weeping over him ; a dog is by her side. The background is a wooded landscape, with a boar-hunt in the distance. On wood, 3 ft. high, by 2 ft. 6 in. wide. This is probably the piece in the Commonwealth inventory, “ Venus bewailing Adonis,” which was sold to Mr. Lampitt for £6 ioj., January 7th, 1651. A dupli- cate is in the possession of Mr. Wm. Donald Napier. 577 Portrait of Edward III. (91s) unnamed. Bust, looking to the right. He has a long white beard, and long hair over his shoulders. He wears an ermine tippet over a gold-edged robe. In front is painted “ edwardvs ill.” On wood, 1 ft. 6 in. high, by 10 in. wide. “There is a duplicate of this at Windsor let into a panel in the little corridor” [Royal Catalogue ). It is probably a copy made about the close of the fifteenth century from a portrait in some illuminated manuscript, such as those in the magnificent copy of Froissart in the British Museum, or some fresco in a church, such as that which was discovered in 1800 on the wall of St. Stephen’s, West- minster, but which has since been destroyed. There is said to be another in distemper in the Royal Chapel at Windsor. 578 Holy Family with SS. Andrew and Michael (146) Schoreel. The Blessed Virgin is seated in the middle, beneath a rich canopy in the Renais- sance taste, with the Infant Jesus on her lap. Her left hand supports Him, and in her right she holds an apple. On the right stands St. Andrew, looking at them, holding in his right hand an open book, and under his left arm his cross. On the left is St. Michael in armour, and with wings, holding a shield in his left hand, and grasping in his right a spear, with which he transfixes Satan, on whom he tramples. In the background on either side is a landscape, in which is a town on the left. On wood, 2 ft. 4 in. high, by 5 ft. wide. This was in Charles I.’s collection, and it has his cypher behind. It was sold by the Commonwealth for ^10. It was formerly ascribed to Mabuse ; “but, judging from the only well-attested Hampton Court Palace . 209 picture by Jan Schoreel in the town-hall at Utrecht, decidedly by this painter, who was a pupil of Mabuse. His great reputation in his own time, and the rarity of his works, render this work very remarkable.” — ( Waagen ). 579 St. Jerome with a Lion by him {963) . . . J. van Hemmessen? He is seated, turned slightly to the left. On his knees he holds an open book, in which he is writing. A lion crouches by his feet on the left. He is bald-headed, and has a coarse beard. In the foreground on the right are some figs. Behind are rocks and a landscape. On wood, 3 ft. 3 in. square. Behind is Charles I.’s cypher, and it is perhaps the picture of St. Jerome entered in his catalogue, page 156, though the description given there does not quite agree. We trace it in the Commonwealth inventory : — “ St. Jerome, done by Quentin, sold to Mr. King, 28th May, 1650, for £ 60 .” A similar piece, by Quentin (Matsys), is described in the Duke of Mantua’s catalogue of 1627 ; so this, perhaps, formed part of the Mantuan collection. We find it again in James II. ’s catalogue, No. 822 : — “ St. Jerome sitting with a lion by him ; by Quentin Matsys.” It is now assigned to Hemmessen, a pupil of Q. Matsys. There is a similar picture at Vienna. 580 The Last Supper (89) Palma Giovine. Christ is seated in the centre of a long table, on which are four candles. St. John is on His left side with his head on His bosom. On wood, 1 ft. 5 in. high, by 3 ft. 2 in. wide. This is the “ Little piece of young Palma, being the Lord’s Supper, little entire figures. Brought by the Lord Marquis of Hamilton out of Germany, and given to the King ” in Charles I.’s catalogue, page 7. “ The Last Supper by Palma,” was sold 2 1st May, 1650, to Mr. Emmery for £12. 581 Turkish Warrior on Horseback (394) . . Mazzolino da Ferrara. The principal figure is on a white horse ; he has a brazen helmet with white plumes ; behind him is another with a large white turban. In front are a man with a red shield and a sword, and a boy. On wood, 10 in. square. In James II.’s catalogue, No. 370 : — “ A small piece ; figures on horseback, one with a white turban.” “ A genuine picture.” — {Waagen.) 582 La Belle Gabrielle, Mistress of Henri IV. {908). . ? Bust, facing in front. She wears a black dress trimmed with lace, and a high stand-up ruff. Her hair is powdered, or of a very light colour, and frizzled. She has a string of pearls round her neck. The inscription above, “ La belle Ga- brielle,” is not more than 150 years old. On canvas, 1 ft. 9 in. high, by 1 ft. 2 in. wide. This picture, though probably only a copy, or at best a replica from some original in France, seems to be a fair likeness, judging from the coloured engraving in Niel’s Portraits des Personnages Francais, &c. (See vol. i., where her “iconography” is discussed in detail, and several anecdotes given ; and see Pierre Colan’s Belle Gabrielle , and the numerous memoirs of her. See also Lord Ronald Gower’s autolithograph from the portrait in the collection at Stafford House.) Gabrielle d’Estrees, Marquise de Monceaux, Duchesse de Beaufort, the famous mistress of Henri IV., was the daughter of Antoine, Marquis d’Estrees, and was born in 1571. It was in 1591 that she was first introduced to the King, who at once fell passionately in love with her, and not only overwhelmed her with presents, E E 7 “7 ~ 210 Royal Gallery of Pictures . titles, and favours of all sorts, but treated her also with as much respect as kindness and affection ; his attachment was indeed very different from ordinary ones of this nature; his letters to her, which are among the most charming in the French language, breathing the deepest and the tenderest love. An extract from one of them may be cited here, as it refers to a picture of her : — “ Je vous ecris, mes cheres amours, des pieds de votre peinture, que j’adore seulement pour ce qu’elle est faite pour vous, non qu’elle vous ressemble. J’en puis etre juge competant, vous ayant peinte en votre perfection dans mon ame : dans mon ame, dans mon cceur, dans mes yeux. ” Sainte Beuve’s summary of her charms ( Can series du Lundi y viii.) may be com- pared with the portrait before us : — “ Elle etait blanche et blonde, avait les cheveux blonds et d’or fin, releves en masse ou mi-crepes par les bords, le front beau, Ventr ceil (comme on disait alors) large et noble, le nez droit et regulier, la bouche petite, souriante et pourprine, la physionomie engageante et tendre, un charme repandu sur les contours. Ses yeux etaient de couleur bleue et d’un mouvement prompt, doux et clairs. D’un esprit gentil et gracieux, elle avait surtout un naturel parfait, rien de savant ; le seul livre qu’on ait trouve dans sa bibliotheque etait son livre d’heures.” La Belle Gabrielle is supposed to have even inspired Henri IV. to write charming poetry, such as the famous lines beginning : — “ Charmante Gabrielle, perce de mille dards,” though modern criticism denies his claim to them. His project of making her queen of France, which was so vehemently opposed by Sully, was abruptly terminated by her sudden death in 1599. 583 Portrait of a Gentleman Unknown (p/2) unnamed. Bust, looking in front. He has a dark dress with a large linen collar, and a dark beard and hair. On canvas, 1 ft. high, by ft. wide. 584 Portrait of a Gentleman Unknown ( 485 ) U7ina?ned. Head, turned slightly to the left. His dress is a rich crimson, with a small collar-ruff and a black cap. Round his neck is a gold chain. On canvas, I ft. 9 in. high, by 1 ft. 5 in. wide. Perhaps this is the Emperor Rudolph, see No. 630. 585 Elizabeth Woodville, Wife of Edward IV. (300) . . . . jmnamed. To the waist, showing both her hands in front of her, with a ring on the right little finger. She wears a dark dress, a small gold cap with a thin veil behind, and a necklace with an ornament of a red rose in front. Her hair is short. On wood, 1 ft. 3 in. high, by 9.^ in. wide. On an old scrap of paper, at the back of this panel, is a half-obliterated inscrip- tion : — “ Elizabeth ? Erdw . . di III. (?).” It is doubtless, therefore, the “Whitehall piece, the sixteenth, in a black and gold habit, with a golden dressing on her head, being Princess Elizabetha Regina Edwardi ” in Charles I.’s catalogue, page 1 1 7. It may be an original portrait of her, or perhaps only a copy after a manuscript or a fresco (see note to No. 577). There is another portrait of her in the Ashmolean Museum ; and a similar one to this at Windsor. 586 Children Playing with a Lamb (259) F. Floris. The lamb is on the ground near a tree ; one of the children is St. John, with a cross. In the background a landscape, with people walking along a road, and a chateau. On wood, 2 ft. 3 in. high, by 2 ft. 9 in. wide, PORTRAIT OF A YOUNG MAN. BY A. DURER. From a photograph by Spooner and Co. 2 1 1 Hampton Court Palace. A picture of “ Three naked boys, playing with a lamb,” was sold by the Com- monwealth to Mr. Wright, 21st of May, 1650, for ^10 ioj. It reappears in James II. ’s catalogue, No. 935. Floris was a Flemish imitator of the Italian style. §87 Death and the Last Judgment ( 137 ) . . . M. Heemskerk. On the left is represented a man on his death-bed, in a tent beneath some trees ; he is surrounded by figures of Faith, Hope, and Charity, and a priest is adminis- tering the last sacraments. At the foot of the bed are a pilgrim’s staff, hat, and shoes. In the other part of the picture opposite to him is shown the Resurrection and Last Judgment — the central foreground being occupied with the dead in their cere-garments rising from their tombs, while to the right hand Christ appears in the clouds. He is attended by St.John on his left hand, and the Blessed Virgin on his right ; while preceding them is “a female figure of Fame, not an Angel,” sounding a serpent-like trumpet. Beneath is the mouth of Hell, a monster’s head with gaping jaws ; a devil with a pitchfork standing in the front of the lower jaw between the tusks. Into it a crowned figure, representing Earthly Pomp, is being drawn by a troup of demons. In the centre distance are a blaze of empty yellow light and a rainbow, and a lake on which is Charon and his boat, with nume- rous souls. On wood, 2 ft. 4 in. high, by 5 ft. 2 in. wide. This picture is far from being badly designed, some of the figures being exceed- ingly well drawn, and their expressions of fear, joy, hope, and despair admirably portrayed. But the grotesque element that pervades it renders it amusing rather than impressive. “The Last Judgment ” was a favourite subject with the earlier painters, especially of the Teutonic schools, who turned instinctively to a topic which gave such scope for the fantastic. The treatment here, however, “displays a studious departure from the established arrangement of the older artists. ” This is clue to the painter, Martin Van Veen (called Hemskerk from the place of his birth), having learnt the Italian taste from his master Schoreel, and afterwards carrying it out, subsequent to his visit to Rome, in its most repellent form. It is probable that the panel before us was executed after he had seen Michael Angelo’s famous fresco in the Sistine Chapel. (See Handbook of Dutch, &c., Schools, 23; 7 ; and Mr. Scharfs interesting paper on “ Representations of the Last Judgment,” in Archceologia, xxxvi., 370, illustrated by numerous outline sketches.) The fix-st mention of this piece is in James II. ’s catalogue, No. 973 : — “The Resurrection, a large piece, by Hemskirk.” It is signed in the left-hand corner : — “ JHavtjmus > 7 an f^cemffterrft Ettbentor." In an old catalogue (1818) it is stated to have been painted for a pupil of his, Jacob Raswaert. 588 The Judgment of Paris ( 995 ) Lucas Cranach. Paris, represented as a fat boor in rich armour ornamented with red, is seated on the left, and looking up at the goddesses. Behind him is an elderly man in a grey beard, bending over him. On wood, 1 ft. 8 in. high, by I ft. i-^-in. wide. It was in James II. ’s catalogue, No. 976, and attributed to Hemskerk. §89 Portrait of a Young Man (275) .... Albrecht Durer. This is the “ red-faced man’s picture, without a beard ; in a long reddish hanging ; in a black cap, and with a black habit lined with white fur ; a little of his white shirt and red waistcoat seen ; painted upon board ; done by Albert Durer ” in Charles I.’s catalogue, page 157 ; and the “ man’s head, red hair and a black cap. 2 12 Royal Gallery of Pictures . with a fur gown, by Albert Durer ” in Janies II. ’s, No. 637. It is a little less than life. At the top, but hidden by the frame, is his monogram, A. D., and the date 1506. On wood, 1 ft. ^ in. high, by io£ in. wide. “ A young man’s head by Albert Durer” was sold by the Commonwealth to Mr. Grinder, October 23rd, 1651, for ^60. In 1505 Albrecht Durer, then thirty years of age, journeyed, for the second time, into U pper Italy, and resided for some months at V enice, where he was well patronized and employed both by the Venetian nobility and the Seignory, as well as such of his own countrymen as happened to be residing in the City of the Lagoons. His works at this period were mostly scriptural or historical pieces ; though he also exercised his skill in portraiture, as we know from his letters, and it was doubtless here that he painted the panel before us. Indeed, it seems strongly to resemble one of the heads — namely, the third from the left, on which an angel is placing a rose wreath — in his famous picture, now at Prague, of “ The Feast of the Rose Garlands,” which was painted to serve as an altar-piece for the little church of San Bartolommeo, allotted to the German merchants, and which unquestionably exhibits a number of portraits of a decidedly Teutonic physiognomy. Some of the preparatory drawings are in the Albertina collection at Vienna, others at Paris and Bremen, and most of them are on the same bluish paper, and dated 1506. As to the particular portrait before us, the man’s hair is done in the Italian fashion, “such as is seen in the portraits of Antonello da Messina and Giovanni Bellini, the influence of whom, especially the former, is unmistakable.” See Mr. Lionel Cust’s Paintings and Drawings of Albecht Durer , p. 59. Mr. Claude Phillips likewise observes : “The style of the picture shows the in- fluence of Venetian portraiture as it was developed under the influence of Antonello da Messina. The characterization is here far truer, the painting more homogeneous, than in such sensational examples of portraiture as the Diirer by hitnself \ of 1500, at Munich.” ( Picture Gallery of Charles I.) In the Belvedere at Vienna is a similar portrait of a young man, with high colour, dated 1507. 590 Head of a Man in an oval (276) School ^Memling. A head, less than life, of pallid complexion, with long bushy light-brown hair. Plis habit, of which very little is seen, is black, the collar tied in front with three laces. From it hangs some ornament with very minute pearls. His face is ugly and oblong. On wood, 1 ft. ^ in. high, by 11 in. wide. This picture was formerly catalogued as a work of Sir A. More’s, but it is un- doubtedly from the hand of a very early Flemish painter of the school of Memling, the great master of Bruges. (See Crowe and Cavalcaselle’s Early Flemish Painter s, p. 295.) There is a very similar portrait, and evidently of the same man, at Stafford House, which in Lord Ronald Gower’s Lenoir Collection is attributed to Van Eyck, but which is more probably by a follower of Memling. (See Crowe and Cavalcaselle, ubi supra , p. 1 28. ) There are some grounds for believing it to be a portrait of Anthony, the Bastard of Burgundy, brother of Philip the Good, who was invested with the Order of the Golden Fleece in 1456 : the ornament on his breast may be that order. Or it may, perhaps, represent Nicholas de Spinelli, Graveur des Sceaux to Charles the Bold, to whose portrait, reproduced in M. A. J. Wauters’ Memling. , p. 97, it bears considerable resemblance. See also M. Alphonse Wauters’ Recherches stir VHistoire de Pecole LADY VAUX. BY HOLBEIN. From a photograph by Spooner and Co. Hampton Court Palace. 213 Flamande de Peinture dans la seconde moitie du X V e Siecle — premier fascicule — for a collotype reproduction of a picture of a man, No. 51 in the Brussels Museum, which M. Wauters proves to be a portrait of Charles the Bold, and which would seem to be by the same painter as the panel before us and the one at Stafford House. As to the name of the artist of the Brussels panel, the great Belgian archaeologist offers us the choice of Jan van der Meeren, Jan Mertens, and Pierre Constain, all pupils or followers of Van der Weyden. 591 Elizabeth, wife of Lord Vaux, the Poet ( 337 ) . . Holbein. Small bust, nearly full-face. She is in black with ermine over her sleeves, and wears a diamond-shaped hood turned up with yellow and edged with pearls. Her hands are crossed in front of her, and in her right she holds a gillyflower or pink. A fine black chain is thrown over her neck. On her breast is a gold and enamel broach, with a cameo of the Madonna enthroned. On wood, I ft. 3 in. high, by 1 1 J in. wide. The original drawing by Holbein for this picture is at Windsor Castle ; the imitation of it by Bartolozzi will be found among the well-known “ Holbein Heads ; ” and also among the slightly reduced, but admirable photographic facsimiles, published by Messrs. Hanfstaengl of Pall Mall, East. There is a duplicate belonging to the Emperor of Austria at Prague, which, indeed, Mr. Claude Phillips declares to be the original, not allowing that the panel before us is anything more than a good old copy. Nevertheless it has generally been considered to be a genuine work. The head has been repainted, and to this we must, in the opinion of Mr. Wornum and Dr. Woltmann, attribute its faded condition, though Dr. Waagen thought it due to the master’s attempt to give the refinements of modelling in grey half-tones. The accessories, such as the cuffs, the ring, the broach with the cameo, and the fine black chain round her neck, exhibit all Holbein’s delicacy of execution. It is a picture of his middle time, probably about 1537, when Lady Vaux was about thirty-two. (Wornum’s Holbein, p. 41 1, and Woltmann’s, p. 400.) It did not belong to Charles I., but is probably identical with “ The picture of Madame de Vaux, by Holbein,” which was among the Duke of Buckingham’s pictures sent to be sold at Antwerp, whence it presumably returned with the “Dutch Gift,” and we may, perhaps, identify it with No. 410 in James II. ’s catalogue, described as “ One of King Henry VIII. ’s Queens, holding a gillyflower.” Lady Vaux was the only child and heiress of Sir Thomas Cheney of Ditton in Cambridgeshire and Irthlingborough in Northamptonshire, by his second wife, Anne, daughter of Sir William Par. She married Thomas, second Lord Vaux of Harrowden, the poet of Henry VIII. ’s reign, who was five years her junior, having been born in 15 10. There is a drawing for a portrait of him by Holbein at Windsor. 214 Royal Gallery of Pictures . 592 Portrait of a French Nobleman ? {332) . . . Labelled Holbein , bull Ilalf-length, less than life ; facing to the right. He wears a brown coat, a black doublet, a white shirt embroidered in black, and a black cap. In his left hand he holds a small book bound in brown leather, with black strings, and in- scribed “ petrarca. ” In his right hand, which is gloved, he holds his left-hand glove. He has thick brown hair and a short close beard. On wood, 1 ft. 3 in. high, by 1 ft. 1 in. wide. On the back is a slip of paper, with the inscription, but not very ancient : “ Portrait of a French Nobleman, by Jennet.” This cannot be traced in Charles I.’s collection, but we find it in James II. ’s catalogue, No. 634 : “A man’s picture in a black cap, with a book in one hand, a glove in the other, by Jennet.” It is certainly not by Holbein, to whom it is now attributed. A portrait, very similar in style and execution, is in the Alte Pinacothek at Munich, ascribed to Heinrich Aldegrever, a celebrated German “ Little Master,” as to whom see supplemental note to No. 600. 593 Portrait of a Young Man {1083) Labelled Holbein , but by Hans Baldung. Half-length ; less than life. His hair and beard are dark brown. Pie wears a dark doublet sable-lined, and a furred gown ; his shirt showing between. He has a black cap on which is a medal, and round his neck is a gold chain with a cross ; a sword is by his side. In his left hand is a glove, and he has a ring on his fore- finger, with yellow devices on a blue shield. On panel, 1 ft. 4 in. high, by 1 ft. 1 in. wide. In the right-hand corner is a signature, H. and B. with a small g on the cross-bar of the PI. This is the monogram of Hans Baldung, commonly called Grien. It is dated a.d. 1539, and is no doubt an authentic work of his, painted while he held the office of painter to the bishop of Strasburg, between the years 1533 and 1545, when he died. Pie had at that time a great reputation as a portrait painter, and also as the artist of the altar-piece at Freiburg in Bresgau. Of course it has been attributed to Holbein, even so early as the time of James II., for we identify it as No. 302 of his catalogue. In recent times, like many other portraits going without names, it has been labelled a “portrait of Plolbein.” It is perhaps needless to say it bears no resemblance to him at all. It has been injured and retouched. (See Womum’s Holbein , pp. 34, 212, and Dr. Woltmann in the Fortnightly Review , Sept., 1866.) 594 Erasmus writing (331) . by Cornelius Vischer ? after Q. Matsys? Small half-length, turned to the right, but both his eyes seen. It is not certain whether he is supposed to be sitting or standing. In front of him is a desk, on which lies a book in which he is writing. His right hand, the forefinger of which has a ring, holds a pen ; his left hand is not seen. The background represents a sort of shelved recess or bookcase, with six books in it : on the edges of the leaves of the topmost book are the letters mor. (Erasmus’ Encomium Morice — the Praise of Folly, published in 1511); on one beneath, novvm testament, (his Translation of the New Testament, published in 1516) ; on another, A 0 YKIAN 02 his translation of Lucian, published in 1516); and on a fourth, hieronvmvs Hampton Court Palace . 2 1 5 (Jerome, also in 1516). Hanging on a nail from one of the shelves is a pair of scissors. On parchment? backed up with oak, 1 ft. 8 in. high, by 1 ft. 6 in. wide. This picture was in Charles I. ’s collection, as the back of the panel is branded with his cypher — C. R. and the crown ; and it may be identical with the picture in his catalogue, page 5, described as : — “ Some schollar without a beard, in a black habit and a black cap, looking downwards upon a letter which he holds in both hands, being side-faced, less than life ; which was sent to the King by his Majesty’s sister, by Mr. Chancellor, Sir Henry Vane, Lord Ambassador from the King to the King of Sweden, painted upon the right light, 1 ft. 7 by 1 ft. 5^ ; done by Cornelius Vischer,” though the description does not quite correspond ; and it is not very likely that the picture before us could have failed to be recognized as a portrait of Erasmus. That it is not an original, however, but only a copy, seems pretty certain, as well from the poorness of the execution, as from the strange indistinctness of the lettering on the leaves of the books on the shelves, and the utter gibberish of the words in the book in which the scholar is writing — betraying the hand of some ignorant illiterate copyist. The words, as they appear, read thus : — . . . Pare- phrasis Erasm . . . motero . . . A . . . tulus ego ille a Gau . . . factus a turbulent pacijicus . . . liber servus faetus . . . and on the opposite page the inexplicable letters vratia. In this mutilated inscription, however, gibberish though it be, enough can be traced to enable us to identify the title and beginning of Erasmus’s famous commentary on St. Paul’s Epistle to the Romans, which was the next work undertaken by him after those indicated in the background of this picture, and by a reference to which we can restore the correct Latin words, as follows : “ In Epistolam Pauli ad Romanos Paraphrasis Erasmi Rotero- dami Paulus ego ille e Saulo factus , e turbulento pad ficus t nuper obnoxius Legi Mosaics, nunc Most libertus servus factus Jesu Christi . ” Now, Erasmus began this commentary in the year 1 5 1 7 ; and the date of the execution of the composition being thus fixed, we are further enabled to connect it with a famous picture, frequently alluded to in the letters that passed between Erasmus and Sir Thomas More in this very year. Erasmus, we find, left England in the spring, and going first to Antwerp, wrote thence to More, mentioning that he and his friend iEgidius, the town clerk of that city, were being painted together in one piece — as a diptych, the two portraits being hinged together to fold like a book ; and that he would shortly send it over to him as a present. The painting, however, had been delayed. “I was well enough,” says Erasmus, “but some fool of a doctor prescribed for me a few pills for purging my bile, and I, still more foolishly, followed his advice ; my picture had been previously commenced, but, from the physic I took, when I came back to the painter, he declared that my features were not the same : so his work is delayed for a few days until I become more alive.” When the picture at last reached More in the following October, he ac- knowledged it in words of the most rapturous delight, writing a Latin poem upon it, and describing the two portraits with the minutest accuracy. He concludes by expressing a wish that the work were committed to a more trustworthy material than frail wood, “ for if preserved, and if future ages maintain any regard for the arts, and the horrors of war do not destroy all learning, at how great a price,” exclaims he, “ will not posterity estimate this picture ! ” 4 2 1 6 Royal Gallery of Pictures . “ Posterity,” in the person of Lord Radnor, who is the fortunate owner of the “^Lgidius” half of this celebrated diptych, would, undoubtedly, not belie the great humanist’s forecast, should there ever be a question of putting a price on his unique possession ; nor would “ Posterity,” in the representative character of the Directors of the Public Galleries of Europe, be backward in offering a sum, greater immeasurably than More would have ever ventured to con- ceive of as possible, to the lucky discoverer, should there ever be one, of the other half of the diptych — the lost original portrait of Erasmus by Quentin Matsys, of which the picture before us, though only an old copy on a reduced scale, is yet most interesting as being the only known existing version of the famous original. For the irrefragable arguments by which the facts and inferences given above are demonstrated, we must refer those interested to Archaologia , vol. xliv., pp. 435 et seq ., by the late John Gough Nichols, and also to M. Henri Hymans’ interest- ing article in the Bulletin des Commissions Roy ales d'Art et d' Archceologie. It is there also shown conclusively that rhe picture of Erasmus at Longford Castle, long held to be the companion portrait by Matsys to the “ ^Egidius,” is really by Holbein and of six years’ later date. See also Mr. Claude Phillips’ article on the Longford collection in the Art Journal , October, 1897. 695 Three Children of Christian II. of Denmark (jop) . Mabuse. Three children, much less than life, seen at half-length, at a table. The one in the middle has a hat on ; the child to his right, who is younger, is without a hat, and wears a square cut dress and a string of beads round its neck ; the one on his left, who is younger still, wears a hood. They all have their hands on the table, on which are some apples. On wood, 1 ft. 2 in. high, by 1 ft. 6 in. wide. This curious picture has been supposed, until recently, to represent the three children of Henry VII., namely, Prince Arthur, Prince Henry, and Princess Margaret, and was so engraved by Vertue in 1748, and is still so labelled. But since Mr. Scharf’s interesting paper read before the Society of Antiquaries in i860, and printed in Arc/uzologia, vol. xxxix., page 245, there can be no doubt that they are really the three children of Christian II., King of Denmark, who spent, with his wife, a niece of Catherine of Arragon’s, about three weeks in England in I 5 2 3 - The grounds for this belief are, shortly, that the costume is rather that of the time of Henry VIII. than Henry VII., and apparently not earlier than 1525 ; that the physiognomies are quite unlike those which we are accustomed to find in portraits of English royal children of that period ; and that the eyes of all these children are brown, while Henry VIII. ’s were blue. It is found, too, that their ages would exactly correspond ; the eldest being John, who was born in 1518, and the youngest being Christina, afterwards Duchess of Milan, a beautiful woman, who, when Henry VIII. wanted to marry her, begged to decline the offer, remarking that she only had one head. Her full-length portrait by Holbein is now on exhibition at the National Gallery, lent by the Duke of Norfolk. The panel is, in fact, doubtless identical with the picture entered in Henry VIII. ’s catalogue, compiled in 1542, as : — “A table with the pictures of the three children of the King of Denmark ; with a curtain of white and yellow scarcanet, paned together.” And it is unquestionably the same as the one entered in Charles I.’s catalogue, thus : — “Item. Another picture, wherein, two men children and one Hampton Court Palace. 217 woman child, playing with some apples in their hands, by a green table ; little half-figures upon a board in a wooden frame. A Whitehall piece thought to be of Jennet.” The mistake probably had its origin in the carelessness of Vertue, who, in the printed copy of Charles I.’s catalogue, altered the word “ apples ” into “ oranges,” substituted “ curiously painted by Mabusius” for “thought to be of Jennet,” and gratuitously stated that they were the children of Henry VII. An inscription behind this panel, stating them to be Henry VII. ’s children, and with the word “ Mabuze,” is comparatively recent. The earliest instance of its being ascribed to Mabuse is in the Commonwealth inventory, among the pictures at St. James’s, where it is entered as “ Three children in one piece by Mabusee, sold to Mr. Grinder for ^10, 23 rd Oct. 1651.” There are several replicas or copies of this picture, one of which is at Wilton (Lord Pembroke’s), another at Sudely Castle, and others which belong to Lord Radnor, and Lord Methuen. The inscriptions on them were perhaps copied from the one behind this picture. (See the whole question exhaustively stated in Mr. Scharfs paper as above ; and in Mr. Wornum’s Holbein , p. 85.) 596 Martyrdom of St. Sebastian ( 233 ) .... Lucas van Leyden. One of three pieces by this master in Charles I.’s collection, pages 11 and 16, and entered : — “A piece where Saint Sebastian stands tyed to a stump of a tree to be shot at. Done by Lucas van Leyden ; bought by the King of Sir James Palmer.” The saint is on the left, his body pierced with arrows, and some four or five soldiers are shooting at him with bows and arrows. On wood, 1 ft. 8 in. high, by 1 ft. 2| in. wide. 597 Erasmus, with his hands on a book ( 324 ) . . . Holbein? Companion piece to No. 603. Half-length, less than life, turned slightly to the right ; his face being seen nearly in full. He wears a black coat, trimmed with fur, and a black cap. The hands, which are admirably drawn, are both resting on a closed red book, which lies on a desk or table in front of him. Some other books with clasps are on the right. The background was, it seems, originally plain, but was altered by Steenwyck (see note to No. 603), and now represents a Gothic church. On parchment, backed up with wood, 1 ft. 9^ in. high by 1 ft. I in. wide. Although Mr. Wornum in his book on Holbein, published in 1869, accepted this as a genuine work of the Bale period, dating from say 1523, its authenticity had been disputed before his time by Waagen, and has been repudiated, we may say, by every critic and connoisseur who has examined the picture since. Indeed, its only claim to genuineness lies in the fact that it seems formerly to have been attached to the portrait of Frobenius, No. 603, to which it was hinged like a book, the two making a sort of diptych — similar to that by Quentin Matsys of Erasmus and ^Egidius, discussed in the note to No. 594. The original from which it was copied has not yet been traced, but it must be not far off from a contemporary copy, and the whole style is characteristic of Holbein’s early period. 598 Francis I. of France ( 330 ) ....... Jean Clouet. Half-length, turned towards the right, seen only to the shoulders. On wood, 1 ft. 3 in. high, by 1 ft. £ in. wide. This is doubtless : — “The table with the picture of the French Kyng, having a doublet of crimson colour and a gown garnished F F 2 1 8 Royal Gallery of Pictures. with knots made like pearls in Henry VIII.’s collection in 1542, and entered in the catalogue made for Edward VI. in 1649, as : — “A table with the picture of Francis the French King.” In both cases it immediately precedes that of his wife, Queen Eleanor, to which it was a companion- portrait (see note to No. 561), as, in fact, it is afterwards stated to be in Charles I.’s catalogue, page 109 : — “ The fellow-piece being the picture of Francis, King of France, painted upon a board, a green ground, in a black cap and a white feather ; so big as the life, to the shoulders, — done likewise by Jennet, a Frenchman; ” and on the back of the panel is Charles I.’s brand. It was afterwards sold by the Commonwealth to Colonel Webb, 30th of October, 1649, for ^10, but reappears in James II. ’s catalogue, No. 573 : — “ King Francis the First of France to the waist.” From the date of Henry VIII.’s catalogue given above, we can fix approximately the time when this was painted ; and that being determined, it is pretty certain that if it be the work of one of the Clouets Qanet), it must be by the father Jean (see note to No. 561). It is probably, however, not an original at all, though very likely a copy out of his studio — particularly as an exactly similar portrait, though larger in size and finer, is now in Lord Dudley’s collection, and another inferior repetition at the Louvre. (See Niel’s Portraits , where he exhaustively discusses all the portraits of Francis I., though his arguments are unfortunately vitiated by his ignorance at that time of the existence of two Janets. Compare M. de Laborde’s Renaissance des Arts, pages 13-24, and passim.) The incidents of Francis I.’s life are so familiar to everyone that no reference need be made to them here. But the visitor may like to compare this portrait with the account given of him by an old French chronicler. “ II estoit d’unetaille belle, bien proportionne de membres ; portant en son seul visage la majeste qui resplendissoit en ses faits, dits, gestes et comportemens. Son front estoit eleve, portant marque de gen^rosite, le nez lon^, grand (d’ou par le commun populaire il a este appele le roy au grand nez), dresse toutes-fois selon le juste compartiment de son visage ; ses jeux estoient clairs et flamboyans : sa teste si bien faite que par la figure d’icelle on ne pouvoit juger de lui autre chose q’une grande maturite et sagesse de roy.” The old English chronicler, Hall, also describes him, at the Field of the Cloth of Gold (see No. 342), as “ A goodly Prince, stately of countenance, merry of cheer, brown-coloured, great eyes, high-nosed, big-lipped, fair-breasted and shouldered, small legs and long feet.” 599 Mary Magdalen at our Lord’s Sepulchre ( 383 ) . Holbein? On the right is the sepulchre, in which, through an opening, are seen two angels sitting by the tomb. They are illumined by a sort of supernatural glow, which contrasts with the morning twilight outside. In front is Mary, with a marble cup of spikenard in her left hand ; her right being extended towards our Saviour, who is shrinking back. Behind are a woman and an oldish man, hastening away. In the background the morn is seen just breaking, and Calvary with the crosses in the left distance. The air of startled eagerness of Mary Magdalene is exceedingly well portrayed. On wood, 2 ft. 6 in. high, by 3 ft. 2 in. wide. This is probably the “Table with the picture of our Lord appearing to Mary Magdalen,” in Henry VIII.’s catalogue, which we find again in James II. ’s, No. 520 : — “ Our Saviour appearing to Mary Magdalen in the Garden.” It is attributed to Holbein, and, in the opinion of many good judges, correctly so. It is therefore of considerable interest, as being one of the very few “historical” works of his extant. Hampton Court Palace. 219 Unfortunately it has suffered a good deal of damage, but “ we see the most dis- tinct traces of the master’s hand in the embroidery of the dress of the Magdalen, and in the marble cup.” — (Tom Taylor in The Times , January ioth, 1880.) “ Dr. Albert Zahn, who came over here with the pictures the Queen lent to the Dresden Exhibition, examined the picture with me most carefully. He regretted much that it had not been sent, and is certain that it is a fine Hans of the Basle period.” — (Mr. Redgrave in the Royal Catalogue .) Dr. Woltmann, however, attributed it to Bartholomew Bruyn, a Cologne painter. — (. Fortnightly Review , 1866.) 600 St. Christopher and other Saints ( 612 ) L. Cranach ? In the centre is St. Christopher, with our Lord on his back. On the left are three bishops with emblems ; and on the right three more, one being St. Hubert, with the stag’s head. To the right are also three female and four male saints. On wood, 1 ft. 2 in. high, by 2 ft. 10 in. wide. Charles I.’s cypher is preserved on a scrap of old paper behind, and there is also an indistinct word: — “ Aid . egraf?” “A piece of St. Christopher with many figures ” was sold by the Commonwealth for ^24. 601 Henry VIII. and Jane Seymour; Henry VII. and Eliza- beth of York (308) . . . after Holbein , by R. van Leemput. This is a very precious little copy, executed by Remee van Leemput in 1667, by order of Charles II., after Holbein’s famous fresco at Whitehall. Charles, we are told by Patin, who was in England about 1670, had the copy taken “pour en estendre la posterite s’il faut ainsi dire, et n’abondonner pas une si belle chose a la fortune des temps.” It was lucky he had the foresight to do so, for the original, which was Holbein’s finest work, was destroyed by the fire at Whitehall in 1698. Walpole says Remee was paid ^150 for this copy. Henry VIII. is on the left, standing with his legs apart, and the whole breadth of his shoulders displayed in a front view. Behind him, more to the middle, and on a step above, is Henry VII., whose wife, Elizabeth, is opposite him, on the other side of a pedestal in the centre of the picture. Below her is Queen Jane Seymour, whose portrait here is the most authentic extant. They stand on a rich carpet, and the background is a magnificent piece of Renaissance decoration, with pilasters, niches, and frieze. It is painted on canvas, 3 ft. high, by 3 ft. 3 in. wide. Engraved by Vertue. In the centre of the picture is a pedestal, with the following Latin inscription : — Si jvvat herovm claras vidisse figvras SPECTA HAS MAIORES NVLLA TABELLA TVLIT CERTAMEN MAGNVM LIS QVESTIO MAGNA PATERNE FILIVS AN VINGAT VICIT VTERQVE QVIDEM ISTE SVOS HOSTES PATRI^EQVE INCENDIA S^EPE SVSTVLIT ET PACEM CIVIBVS VSQVE DEDIT. FlLIVS AD MAIORA QVIDEM PROGNATVS AB ARIS SVBMOVET INDIGNOS SVBSTITVITQVE PROBOS CERTE VIRTVTI PAPARVM AVDACIA CESSIT HENRICO OCTAVO SCEPTRA GERENTE MANV REDDITA RELIGIO EST ISTO REGNANTE DEIQVE DOGMATA CEPERVNT ESSE IN HONORE SVO 220 Royal Gallery of Pictures, Prototypvm magnitvdinis ipso opere tectorio fecit holbenivs ivbente HENRICO VIII. And a little below on a plinth is inscribed : — Ectypvm a remigio van leempvt breviora tabella describi volvit CAROLVS II. M.B.F.E.H.R. A 0 DNI. M.DCLXVIII. Along the cornice are written the names: — HENRICVS viii REX HENRICVS VII. REX. ELIZABETHA. R. I ANA SEYMOVR R. The place of the pedestal in the original fresco was occupied either by a window or a fireplace : it is doubtful which. Holbein’s cartoon for the left side is still pre- served at Hardwick, the Duke of Devonshire’s. The original, in which Henry VIII. was so life-like, and stood “ so majestic in his splendour that the spectator felt abashed, annihilated, in his presence,” formed the prototype of many portraits of the King, such as those at Petworth, Mr. Danby Seymour’s, Lord Yarborough’s, and elsewhere. (See on this point, and also for full discussions and criticisms, and everything relating to the subject, Womum’s Holbein , pp. 303-309, and Woltmann’s Holbein and his Time , pp. 392-397.) 602 Joseph, bound, brought before Pharaoh ( 236 ) Lucas van Leyden. This is the “ Piece where Joseph, in a white habit, his hands tied, and brought before a judge, done by Lucas Van Leyden, bought of Sir James Palmer,” in Charles I.’s catalogue, page 10. His cypher, C.R., is behind. In James II. ’s catalogue it is No. 1028 : — “A man bound, before a judge.” On wood, 1 ft. 8 in. high, by 1 ft. 3^ in. wide. 603 Portrait of Froben, Erasmus’ printer . . Holbein. Companion piece to No. 597. Half-length, less than life ; seen in profile, turned to the left. He wears a loose brown cloak, trimmed with fur at the neck ; his hands are wrapped in the folds of his sleeves in front of him. His head is bare. On a table in front are a box for printers’ types and a small ink dab. The background represents a room with a window ; the part immediately behind his head being a marine green. It has been worked up however by Steenwyck, and spoilt. On a ledge below is inscribed : “ Ionnes Frobenivs Typ. PHolbein. P.” On wood, 1 ft. 9^ in. high, by 1 ft. 1 in. wide. (The original height was 1 ft. 5^ in. On the piece of wood added by Steenwyck is Charles I.’s brand.) This picture, and an original companion piece, of which No. 597 is only an old copy, must have been painted by Holbein while at Bale between 1521, the year of his arrival in that town, and 1525, the year of his departure. Erasmus had come to Bale about 1513, for the express purpose of having his works printed by Frobenius, who was renowned for the excellence of his work and his trustworthy character. Plere he lived in the great printer’s house for some years on terms of close friendship. When Holbein arrived, he was immediately employed by Frobenius in designing ornamental blocks for his books, and it was thus that he made acquaintance with Erasmus. Frobenius died suddenly in 1527 from serious injuries to his head by a fall on the pavement. Erasmus, who was in great distress at his death, seems to have secured the portraits, and treasured them as a remembrance of their friendship. He had them hinged together to close like a book, and so arranged that when open the two friends were facing FRO BEN I US. BY HOLBEIN. From a photograph by Spooner and Co. 221 Hampton Court Palace . 603 Portrait of Froben, Erasmus’ printer — continued. each other. Erasmus himself died in 1536 at the age of sixty-nine ; and after that these portraits remained at Basle. About the year 1625, however, Michael Le Blond, a celebrated collector of works of art, who frequently did commissions for the Duke of Buckingham (see Wornum and Sainsbury’s Original Papers, passim ), bought them in that town for 100 golden ducats. From him they passed into the possession of the duke, who gave them to Charles I., as we learn from the following note inscribed in a hand- writing of the time on a bit of paper at the back of this panel : — “ This picture of Frobonus was delivered to his M t by y e Duke of Buckingham (before he went to the) Isle of Bee” (the five words in brackets now illegible ; but see Walpole’s Anecdotes , page 76). They afterwards appear in his catalogue, pages 12 and 13, as : — “The picture of Frobonius, with his printing tools by him, being Erasmus of Rotterdam’s printer and landlord at Basil. Done by Holbein ; ” and “ The picture of Erasmus of Rotterdam, in a high black frame ; done by Holben, fellow to the aforesaid piece of Frobenius, painted upon the right light.” After the King’s execution, they were sold separately by order of the Common- wealth, and fetched larger prices than almost any other pictures. The entry re- lating to them is : — “ Pictures at St. James’s, 66 and 67. Frobenus and Erasmus in two pictures by Holbin, valued at £ 200 ; Erasmus sold y e 24 th May 1650 to M r Milburne for ^ 100. Frobenus sold to Col* Hutchinson, y e 24 th May 1650 for £ 100. ” {Harl. MSS. , 4898. ) At the Restoration they were returned to the Royal Collection, and Patin saw them in 1672 hinged together as formerly. Waagen thought that neither were genuine works of the master ; and he cited the fact that the backgrounds are by Steenwyck in confirmation of this view, adding that that artist’s name and the date 1629 are on the “Erasmus.” Careful search, however, on both panels now fails to reveal anything of the sort. The fact is, the backgrounds were “altered,” as Walpole correctly has it, for King Charles, four inches of wood having been added, also, at the top of the original panels, perhaps to make them fit some old frames. This necessitated the repainting of the back- grounds, “which, instead of some simple foil to the heads, as Holbein commonly supplies us with, now consist of cold minutely elaborated Gothic pillars and arches.” It is the fact, however, that the “ Erasmus” now at Hampton Court, though its pedigree can be apparently traced back to 1628, is certainly not a genuine work of Holbein’s ; while even the “ Frobenius,” though generally admitted to be by him, can scarcely be looked upon as a first-class example of his pencil, even of the early period of his career, when it must have been painted, due perhaps to its being only a drawing on parchment roughly finished as a picture, in which we naturally would not expect to find many of the excellencies of his more mature productions. Under all the circumstances, however, it is certainly an interesting and precious work ; and it is worthy of consideration whether they might not with advantage be placed side by side, if not hinged together, so that the two friends should face each other, as the painter originally intended. For the life and works of Frobenius see Mr. Ch. Wm. Heckethorn’s Printers of Bale , recently published, in which interesting book all the publications of the great printer are enumerated and described. “Froben’s countenance,” says Dr. Woltmann, “is thoroughly ugly. That which, nevertheless, makes the beardless man with his scanty hair, his large round 222 Royal Gallery of Pictures. 603 Portrait of Froben, Erasmus’ printer — continued. forehead and broad mouth, attractive and pleasing, is the trait of kindliness which is so preeminent in his countenance. The character which Erasmus sketches of him is tenderly beautiful. So simple and sincere was his nature, that he could not have dissembled, had he wished. To show kindness to everyone was his greatest delight, and even if the unworthy received his benefits he was glad.” (See Wor- num’s Life and Works of Holbein, pp. 133- 152, and Woltmann’s Life and Times of Holbein, pp. 176-190, to which works I must refer the amateur for a full de- scription and discussion of all the portraits of Erasmus and Froben.) 604 ? Mary, sister of Anne Boleyn {338) ? In an oval ; seen to the shoulders, turned to the left. She wears a black body edged with red braid, and having ermine sleeves. Her headdress is angular-shaped, and is surmounted with a peak, and has a black veil. On her breast is a small cameo. On wood, 1 ft. 3^ in. high, by 1 ft. £ in. wide. This lady, now called a “Lady unknown,” was at one time supposed to be Anne Boleyn. Mr. Scharf, however, believes it is Mary, sister of Anne Boleyn. His authority is an “ inscription on an old copy preserved at Warwick Castle, where it serves as a companion picture to the well-known Anne Boleyn portrait engraved in Lodge.” 605 The Battle of Pavia, February 24th, 1525 (328) . . ? This picture, though of very slight value as a work of art, is historically curious, as giving a contemporary representation of the famous battle. It originally belonged to Henry VIII., in whose catalogue it is found, No. 141 : “A table with the siege of Pavia.” It was afterwards in the collection ot Henry, Prince of Wales (see No. 400), for his cypher, H.P. crowned, is branded behind; and at his death it passed into the possession of Charles I., whose cyphers as Prince of Wales and as King are also found behind. As to the artist of this picture, which is absurdly ascribed to Holbein, see notes to Nos. 331, 337, and 342. On wood, 1 ft. 8 in. high, by 2 ft. 1 in. wide. In the foreground of the picture is shown the battle between the French, who are on the left, under the command of Francis I., and the Imperialists, on the right, under Lannoy, Charles V.’s Regent of Naples, and the Constable de Bourbon. The colours of each side are seen borne aloft, and on the right can be distinguished the Imperial eagle and the Papal tiara and cross keys. The combatants on both sides are wielding gigantic lances, and the ground is strewn with dead and wounded. In the thick of the fight to the left is a figure, hardly pressed, and defending himself valiantly. This is probably intended for Francis I., who, as the old chronicle in verse tells us : — “Courant, cercant, trafant en victoire formee Le roy Fra^ois, puysant ; fust prins la main armee Non point k fer de lance, car a piet s’estoit mis, Mais cargiet par vaillance d’aulcuns ses enemis.” And the King himself describes, in a versified letter, how : — ‘ ‘ Autour de moy en regardant ne veys Que peu de gens des miens . . . Hampton Court Palace . 223 Et la je fus longuement combatu, Et mon cheval mort soubz moy abatu . • • Las ! que diray ? cela ne veulx nier, Vaincu je fuz et rendu prisonnier.” In the middle distance, just behind a dense mass of spears, is a skirmish of horsemen ; and the French artillery, which did terrible execution that day under the command of the famous Gaillon de Genouillac, cannonading the Imperialists. In the background to the left, on an eminence, is a fine house, doubtless meant for the castle and park of Mirabel, where the French rear-guard, under the Due d’Alen^n, was posted. This was the first position attacked by the Imperialists ; and it was Francis’s impetuosity in going to the assistance of his brother-in-law there that led to the defeat. In the centre of the background is the town of Pavia, before which the French are encamped. 606 Portrait of Henry VIII. {326) Holbein? Three-quarters length, less than life-size ; his face seen in full. In front of him is a table with a red cloth, on which his hands are placed, with his gloves in his right hand. He has rings on the middle and little fingers of both hands. He wears a gold embroidered doublet, slashed and puffed with white, and a black jewelled cap, with a white feather. On wood, I ft. 6 in. high, by i ft. 3 in. wide. This is not by Holbein. Sotto Cleeve has been suggested as probably the artist. It was in James II. ’s catalogue, No. 866: — “King Henry VIII. at half-length, with gloves in his right hand,” then at Hampton Court. 607 Holy Family ’ (pp2) Mabuse? The Blessed Virgin is seated with her hands joined ; she is seen in full-faced view, and is dressed in a bluish green vest, with a red mantle. In front the Infant Jesus is sucking at her right breast, and holds the white drapery with His left hand. On the right is an open landscape with a monastic building. On wood, 1 ft. 6 in. high, by 1 ft. 4 in. wide. Charles I.’s cypher is behind this picture. 608 The Father and Mother of Holbein, so called (336) Holbein? Small half-lengths, facing each other, with their hands before them, in simple bourgeois costume ; she in a brown dress trimmed with black braid, and plain white cap, he in black with a fur cape and cap. They are sitting by a window, through which is seen a landscape with a chateau, a Swiss cottage, a church, and some people passing over a bridge. On the window-ledge near the man is his age, 52, and near the woman hers, 35. In the shadow underneath is the date, 15 12. On wood, 1 ft. 1 \ in. high, by 2 ft. i-| in. wide. This picture belonged to Charles I. ; it has the C. R. and crown branded on the panel behind, and in his catalogue it is entered : — “ A picture in a black frame of a German in a furred cap and habit, together with his wife, in one piece, dressed with muslin about her head, in a landskip, half figures less than the life, painted upon the right light. Brought out of Germany by Sir Henry Vane, Treasurer of the Household, and given to the King. Done by some good German painter;” and it appears in James II.’s catalogue. No. 120 : — “An old man in a furred cap and gown, and his wife.” It will be seen, therefore, that there is no genuine tradition of this being a picture 224 Royal Gallery of Pictures. of the father and mother of Holbein, by himself. “Besides, the beardless and somewhat pedantic looking man,” says Dr. Woltmann, “does not bear the slightest similarity with the authentic portraits of Hans Holbein the father, and the treatment does not accord with the works of Holbein the son ” . . . “ Nevertheless,” adds the same learned critic, “ the assumption seems to us by no means so utterly removed from the truth, and at any rate the right family appears to be hit upon. The painting is certainly a work of the Swabian school, and possesses a decided similarity with the works of the elder Holbein, in the simple life-like conception, the thin bright colouring, the whitish lights, and the somewhat feeble hands, which do not correspond with the excellent heads. The distance, with its village and mountains, with a castle near the water, with swans and a bridge, entirely accords with the landscape of the Basilica of St. Paul,” now in the Augsburg Gallery. — ( Works of Holbein , p. 58.) “Dr. Zahn told me that a lady in Dresden had a finer example of this picture, and did not call it a Holbein.” — (Mr. Redgrave in the Royal Catalogue .) 609 Head of Lazarus Spinola (989) William Key. Facing in front, turned to the right. He is in black, with a small frilled close collar ; his hair is short and reddish. Across the top is written : — “ AN. dni. 1566. ASTATIS. 22.” On wood, i ft. 6 in. high, by 1 ft. 1 in. wide. This is “The picture of Lazarus Spindalo, uncle to the late deceased Spindalo, Governor in the Low Countries, being only a head so big as the life ; bought by the King when Prince. Done by Will. Key : ” in Charles I. ’s catalogue, page 6. At the back of the panel is the usual brand — “C.R.” and the crown. We find it again entered among James II. ’s pictures : — “Lazarus Spinola’s Head by Caius ; ” and on a paper label pasted behind, in a handwriting of about that time, is written: — “Lazarus Spinola, Uncle to Spinola, Governor in the Low Countries. By Key.” Key was a Flemish artist, who enjoyed a great reputation in his time, being se- lected to paint, among many others, a portrait of Alva. It is said that during one of the Duke’s sittings, he heard him and the judges plotting the murder of Egmont and Horn, which had such an effect on him, that on his return home he fell ill, and died on the very day of their execution, 5th July, 1568. Others say he died at the sight of the Duke of Alva’s countenance. The editors of Kiigler’s Handbook say they can assign no picture with certainty to him. They probably overlooked this portrait, not being aware of the proofs given above of its authenticity. 610 John Reskemeer of Cornwall (325) Holbein. Seen in nearly a complete profile, turned to the left. In Charles I.’s catalogue, page 8, it is thus described : — “A side-faced gentleman out of Cornwall, in his black cap, painted with a long peaked beard, holding both his hands before him ; some parts of a landskip. Being less than life, upon a defaced cracked board, painted upon the wrong light. Done by Holbein, given to the King by the de- ceased Sir Rob. Killegrew, Vice-Chamberlain to the Queen’s Majesty.” Both his hands, which are admirably drawn, are seen, the left touching the end of his beard, which, like his hair, is red. He wears a dark mantle. “The background is green, of a bluish tone, and is varied by sprigs of vine-leaf very skilfully put in.” Behind is Charles I.’s cipher. On wood (or possibly, according to Mr. Womum, on paper or parchment attached to oak), 1 ft. in. high, by 1 ft. 1^ in. wide. Hampton Court Palace . 225 The original drawing for this is still at Windsor among the famous “ Holbein Heads,” and is inscribed : — “ Reskemeer, a Cornish Gent” It is reckoned one of the earliest of the master’s portraits in this country, 1527 being suggested as its date. John Reskemeer, Reskimeer, Rekymar, Reshemer, Reskemyr, as his name is variously spelt, was the son of William Reskemeer, ‘ ‘ fourteenth in descent from the first of that name who settled in Cornwall, ” and Elizabeth, daughter of Sir J ohn Arundel, of Telveme. By his wife Catherine, daughter of John Trethurff, he had several children, his son William succeeding him. He seems to have been dis- tinguished only by his great possessions in Cornwall, of which county he was High Sheriff in 1557. His seat was Marthyn or Murthyn, one of the eight parks in that county in 1602. A Mr. Reskemar is mentioned in 1527 in the State Papers as belonging to Wolsey’s household, and a reference to John Reskymer, son and heir of John Reskymer, will be found in vol. v. of the State Papers . (Henry VIII.) 61 1 St. Jerome (401) after Albrecht Durer. This is a small painting after the well-known print by Albrecht Durer. The saint is seated at a table writing. Behind him, on the wall, hangs a cardinal’s red hat, and from the ceiling a pumpkin. In front, on the floor, are a lion and a white dog. On wood, io| in. high, by 8 in. wide. A picture similar to this is mentioned in Charles I.’s catalogue, and attributed to Lucas van Leyden. 612 Diana and her Nymphs reposing (42s) Rubens and Snyders. “Diana and two Nymphs, naked, are reposing upon a bank after the fatigues of the chase. The goddess reclines on her back against a tree, and one of the nymphs is recumbent by her side ; the remaining one is more retired on the left ; a broad drapery suspended across the retired scene, serving for a shelter, is raised by the intruding satyrs, who are gazing with avidity upon the sleeping beauties. The implements of the chase, and a great variety of game, are distributed about the foreground.” On canvas, 7 ft. high, by 10 ft. I in. wide. This picture originally belonged to the Duke of Buckingham, as a quotation in the next paragraph proves, and must have been bought at his death by Charles I., as it does not appear in the catalogue of the second duke. A “Diana on her back, by Rubens,” was sold by the Commonwealth to a Mr. Harrison for £\o, doubtless this piece. And we trace it again in James II. ’s catalogue, No. 60 : — “ By Rubens — A large piece, three nymphs sleeping, two satyrs, the landscape of Sny- ders, with dead game.” It must have been painted about 1616, when Rubens frequently employed Sny- ders to paint the still-life in his pictures. At this period it was thought (see letter of Tobie Matthew to Sir D. Carleton, dated Louvaine, February, 1617, printed in Sainsbury’s Original Papers ), that “in the expressing of beasts all alive, or in act either of escape or resistance, Snyders doth come infinitely short of Rubens, and Rubens saith he should take it in ill part, if I should compare Snyders with him in that point. The talent of Snyders is to represent beasts, but especially birds altogether dead, and wholly without any action.” He adds that the piece in which Snyders had had a hand, and which they “liked so well, was a gruppo of dead Birds, in a picture of Diana, and certain other naked Nymphs ” — this one (see notes to Nos. 464 and 704). It is engraved by Earlom. Rubens frequently repeated the subject. G G 226 Royal Gallery of Pictures. 613 Sir Francis Walsingham ( 290 ) unnamed. To the elbows, full-face ; in black, with a brown collar, and over it a ruff. A small black skull-cap, black hair, smooth and closely cut beard. Above is inscribed : “S R Francis Walsingham.” On wood, 1 ft. 10 in. high, by 1 ft. 6 in. wide. The physiognomy of this portrait thoroughly accords with his subtlety of intel- lect, and the craftiness of his politics, in which his methods were rather such as we should look for in a Police detective than an English minister. How he discovered Philip II. ’s intentions with regard to the Spanish Armada is well known. He bribed a Venetian priest to induce a gentleman of the Pope’s bedchamber to take the key of his Holiness’s cabinet from his pocket while he slept, transcribe the king’s letter, and put it back. From this, discovering that Philip intended to raise money for equipping his fleet by drawing bills on Genoa, he contrived to get them protested, and thus delayed the sailing of the expedition for a whole year. The same portrait — except that he holds in his left hand a letter with the direction “ Walsingham” — is engraved in Lodge’s Portraits , as being then (1824) in the collec- tion of the Duke of Dorset. 614 Robert Dudley, Earl of Leicester {28(f) unnamed. Bust, turned to the left. He wears a mauve doublet, decked with gold braid and jewelled clasps, a furred mantle, a lace collar, and a black cap. His hair and beard, which is short and forked, are grey. On wood, 1 ft. 11 in. high, by 1 ft. 6 in. wide. This appears to be a repetition from the whole-length original at Hatfield, which must have been painted after 1587, the date of his appointment to the Lord Stewardship of the Household ; for he holds in that picture the white wand in his hand. 615 Portrait of Sir Peter Carew (2yd) unnamed. Half-length, turned to the left. He wears a sort of loose white leathern doublet, with long perpendicular slits. His cap is black with a white feather. His hair is dark, his beard forked. On wood, 1 ft. 10 in. high, by 1 ft. 6 in. wide. Across the top is inscribed : — “S R Peter Carew Knight 3* Sonne to S r Willam Carew bvried at Waterford in Ierland. an. 1575.” For a notice of him, see the introduction to the Carew State Papers. He was a brother of Sir George; see No. 573 - 616 Queen Elizabeth, with a fan (293) Zucchero? Bust, facing to the left. Her hands are folded in front of her, the right over the left, of which only two fingers are seen. In the right, between the thumb and fore- finger, she holds a fan of white and yellow feathers, which is directed upwards, the handle being jewelled. She wears a black bodice, with white sleeves, embroidered with a black pattern of conventional roses, pinks, acorns, &c. Round her neck is a highly wrought quilled lace ruff ; and she has hand-ruffles. Her headdress of white silk, richly embossed with pearls, rubies, and other jewels, forms a sort of tiara above ; while from it depends behind a gauze veil worked with gold thread and pearls. On her breast are three necklaces of pearls. Her hair is arranged in small crimped curls round her forehead. On wood, 1 ft. 10 in. high, by 1 ft. 6 in. wide. QUEEN ELIZABETH. BY ZUCCHERO. From a photograph by Spooner and Co. Hampton Court Palace . 227 This portrait has generally been ascribed to Zucchero, and doubtless correctly, as it is almost exactly similar to an original drawing by him of the Queen, dated 1575, and still preserved. (See Rogers’ Collection of Original Drawings for a facsimile.) It recalls what Melville, the ambassador of Mary Queen of Scots, tells us, how Elizabeth ‘ ‘ delighted to show her golden-coloured hair, which was more reddish than yellow, and curled in appearance naturally. She desired to know of me what colour of hair was reputed best ; and whether my Queen’s hair or her’s was best ; and which of them two was fairest ? I answered the fairness of them both was not their worst fault. But she was earnest with me to declare which of them I judged fairest. I said she was the fairest Queen in England, and mine the fairest in Scotland. Yet she appeared earnest. I answered they were both the fairest ladies in their countries — that her Majesty was whiter, but my Queen was very lovely. She enquired which of them was of highest stature. I said my Queen. Then saith she, she is too high, for I myself am neither too high nor too low.” — ( Memoirs , p. 98.) She was scarcely less vain of her hands, which we are told were small, and the fingers very long : this is no doubt the reason her hand is so prominent in this por- trait and No. 619, though it is in both cases wretchedly painted. “ In audiences she would pull off her glove, above a hundred times, to show her hands, which were very fine and white.” Of fans she had a large collection j and we find that in 1574 Leicester gave her, as a New Year’s gift, “a fan of white feathers, set in a handle of gold, garnished on one side with two very fair emeralds, and fully garnished with diamonds and rubies,” — which may be the one she holds here. 617 Portrait, misnamed Mary of Lorraine (315) unnamed. Three-quarters length, inclined slightly to the left. Her hands are in front of her, her right holding a small red book, her left touching a jewelled St. Andrew’s cross that hangs on her breast. Her dress is black, but slashed with white at the shoulders, and trimmed with quilled ruffles at the neck and wrists. She wears a black bonnet lined with white. She has rings on the third and forefinger of her right hand. On wood, 3 ft. 4 in. high by 2 ft. 6 in. wide, which is more than its original size, a large piece of wood having been added to it. Behind is a label stating: “This picture was found at St. James’ Palace, Jan. 1852, in a room occupied by the late Honble. Mrs. Lee (? Leigh), and by direction of H.M. Board of Works was cleaned and restored, with instructions for its being placed in the Public Rooms at Hampton Court Palace. July, 1852. J. M. Cox.” The entry in Charles I.’s catalogue, page 167 : “ Item, more in the said room, the King of Scotland, King James V.’s wife, mother to Queen Mary of Scotland,” doubtless relates to this. It was valued by the Commonwealth at £ 2 ioj., and sold to Mr. Morrise, 1 2th November, 1649, for £3. {Inventory , p. 201.) On the front of the picture, to the left, is painted : “ Maria de Loraine par LA GRACE DE DlEV ROYNE DES COSSES FlLLE DE CLAVDE DVC DE GVISSE.” Underneath is a crowned coat-of-arms — or, on a bend gules, three eagles displayed argent — and below the date 1611. The arms appear old, and the date also ; but the inscription is comparatively recent, and is unquestionably a fabrication. The costume and the date would sufficiently confute any attempt to establish it as a portrait of the mother of Mary Queen of Scots, who died in 1560. Besides, “ the quarterings display Hungary, Austria, Burgundy, Barr, and Lorraine, but there is no sign of either France or Scotland.” (The late Sir George Scharf in the Times , May 7th, 1888.) 228 Royal Gallery of Pictures. 618 Portrait of George Fermor (277) unnamed . To the elbows, facing in front, eyes to the right. He wears a black silk doublet with a quilled ruff. His hair and beard are of reddish brown, and close cut ; his eyes grey. On the right is inscribed : — “JEtathfius, 40,” and on the left is his crest — a cock’s head in a marquis’s coronet. On wood, 1 ft. 10J in. high, by 1 ft. 8 in. wide. The crest is that of the Fermor family, and, according to Mrs. Jameson, this is probably a portrait of George Fermor, who was knighted by Queen Elizabeth in 1586. He was the grandson of Richard Fermor, whose life was saved by Will Somers. 619 Portrait of Queen Elizabeth ( 273 ) M. Gerrard. Bust ; only the right hand seen, facing slightly to the right. Her dress is white, embroidered and studded with jewels. She wears a small close ruff, and a thick collar of gold braid with pearls underneath, and an elaborate headdress of red silk trimmed with pearls, with a thick veil hanging behind. Round her neck is the blue ribbon of the Garter, and she holds the “George” in her left hand. The background is whitish. On wood, 2 ft. high, by 1 ft. 5 in. wide. It has been said that this was the last portrait taken of her, which is very likely the case, as she is represented as a very old woman. Hentzer, who saw her in 1598 in her 66th year, thus describes her : — “ Very majestic, her face oblong, fair, but wrinkled ; her eyes small, yet black and pleasant ; her nose a little hooked, her lips thin, and her teeth black. She had in her ears two pearls, with very rich drops ; she wore false hair, and that red ; upon her head she had a small crown. Her bosom was uncovered, as all English ladies have it till they marry ; and she had on a necklace of exceeding fine jewels ; her hands were small, her fingers long, and her stature neither tall nor low.” Mark Gerrard, to whom this is attributed, remained in England long after Elizabeth’s death. 620 Charles Howard, Earl of Nottingham ( 286 ) unnamed. To the elbows, turned slightly to the left. He wears a furred cloak, a quilted pinkish doublet, a collar and ruff of lace, and a black skull cap. His hair is grey, his beard pointed. Above is inscribed : — “ Earle of Nottingham.” On wood, 1 ft. io£ in. high, by 1 ft. io£ in. wide. This is the famous hero who commanded the English fleet in 1588 against the Spanish Armada, and who, as Lord High Admiral, afterwards performed many other brilliant actions. He died in 1624, at the age of eighty-eight ; and this portrait appears to have been painted not very long before that. 621 Portrait of Judge Croke (26/) unnamed. To the elbows, turned to the right. He is in his robes, and wearing an ermine cape, a large quilled ruff, and a dark cap. Above is inscribed : — “ Ivdge Crooke.” On canvas, 1 ft. 10 in. high, by 1 ft. 5J in. wide. This, or a very similar portrait, was engraved as frontispieces to the volumes of his son-in-law’s, Sir Harbottle Grimstone’s, edition of his “ Law Reports ” — the well-known “Cro. Eliz., Cro. Jac. and Cro. Car.” of the Lawbooks — that in the first part (1659) by Robert Vaughan, that in the second by Roland White, with very slight variations. Croke was Speaker of the House of Commons in 1601, and afterwards became a QUEEN ELIZABETH. BY MARK GERRARD (?). From a photograph by Spooner and Co- Hampton Court Palace. 229 Justice of the Common Pleas, and subsequently of the King’s Bench. He was one of the four judges who pronounced against the legality of ship-money. He died in 1642 at the age of eighty-two. 622 Isabella Clara Eugenia, daughter of Philip II. {347) . Sir A. More. To the elbows, facing in front, but inclined to the left. She wears an elaborate dress, embroidered with gold and silver thread, and a quilled ruff, edged with fine lace. On her breast is a chain of bunches of imitation pearls in silver. In her black velvet headdress is a red feather. Her hair is fair, her eyebrows and eyes brown. On canvas, 2 ft. 7 in. high, by 2 ft. I in. wide. For her portrait when grown up, see No. 343. 623 Margaret, Archduchess of Austria (298) ? Nearly half-length, turned slightly to the left. The fingers of both her hands rest on a green ledge in front of her. Her dress is dark green, with reddish fur on the sleeves at the wrists. She has a curious white hood, with a large band of linen in front, plaited like a fan, and drawn over her eyebrows ; this headdress is drawn tight under her throat. Painted on a greenish ground. On wood, 1 ft. 2 in. high, by 10 in. wide. This is entered in Charles I.’s catalogue, page 115, thus : — “ Item the fifth in a white nun’s dressing habit, said to be the Emperor Charles V.’s aunt, sister to his father, who was a nun,” and in James II. ’s: — “A woman’s picture with her veil pleated on her breast, both hands before her.” In the Commonwealth inventory, folio 154, there is “a picture done by the life by Anthony More, in a white dressing,” and also “another of the same being the Duchess of Savoy,” — one of which must be the picture before us. It is probably identical also with “The table with the picture of the Lady Margaret, the Duchess of Savoy,” in Henry VIII. ’s catalogue. Her age appears about thirty, which would give us about the date 1508 as the period when this picture was painted. She had then just been appointed by her father, the Emperor Maximilian, Governess of the Netherlands. She died at Brussels in 1530. Charles I.’s catalogue is in error in calling her a nun : her white habit is perhaps a mourning costume for her second husband, Philibert le Beau, Duke of Savoy, who died in 1 504, or for her only brother, Philippe le Bel, the father of Charles V., who died in 1506. Some verses of hers on her own mourning, and other curious particulars, will be found in Serna- Santander’s Bibliotheque de Bourgogne. The artist is evidently some early Flemish painter. 624 Portrait of a Gentleman (371) unnamed. Life-size, seen to the shoulders ; turned to the right. He wears a furred cloak, a greyish vest, trimmed with gold braid, and a collar edged with a small ruff. Bareheaded, brown hair, beard, and moustache. On wood, 1 ft. 7 in. high, by 1 ft. 2 in. wide. On the back of the panel is Charles I. ’s cypher. He appears about fifty years of age. 625 Portrait of a Young Lady ( 305 ) Sir A. More. A head, turned to the left. She wears a slashed and embroidered dress, with a high collar, and above, a rather large ruff. Her black headdress is ornamented with beads and jewels. Light brown eyes and hair. On canvas, 1 ft. 4^ in. high, by 1 ft. 1 in. wide. Apparently the sister of No. 644. 230 Royal Gallery of Pictures. 626 Cupids Dancing {661) Wouters. On the left are some eleven cupids holding hands and dancing ; on the right, four others, three seated, one playing a flute, another a tambourine, another a drum, and another eating grapes. The background on the left is trees, on the right a distant landscape. On wood, 1 ft. 2\ in. high, by 1 ft. 1 1 in. wide. 627 Charles I. and his Queen dining in Public (294) Van Bassen. This curious picture represents the King seated at a table, to the left, close by a fine chimney-piece ; on his left is the Queen, and at the end of the table Prince Charles. They are being served by gen tlemen-in- waiting with dishes, more of which are being brought in from the door opposite them by attendants. In the right comer is a sideboard, and wine cooling in brass bowls on the floor. Several dogs are running about. At the end of the hall is a raised and recessed dais, where spectators are looking on through some columns. The decoration of the hall is in the classic taste, and is very fine and elaborate. On the walls hang several pictures. On wood, 2 ft. 1 in. high, by 3 ft. 1 in. wide. Though this doubtless belonged to Charles I., it is not found catalogued among his pictures, but in James II. ’s catalogue we find No. 937 : — “A large piece, where King Charles the First and Queen, and the Prince are at dinner.” It is dated over the door, on the right, 1637. Engraved in Jesse’s Memoirs of the Stuarts . (Compare No. 645.) This picture is valuable for the architecture and decoration, and as exhibiting the manners of the time, and the prevalent custom in that age of royalty dining in public. “There were daily at Charles I.’s Court, 86 tables, well furnished each meal ; whereof the King’s table had 28 dishes ; the Queen’s 24 ; 4 other tables, 16 dishes each, and so on. In all about 500 dishes each meal, with bread, beer, wine, and all things necessary. There was spent yearly in the King’s house, of gross meat, 1 500 oxen ; 7000 sheep, 1 200 calves ; 300 porkers, 400 young beefs ; 6800 lambs, 300 flitches of bacon ; and 26 boars. Also 140 dozen geese, 250 dozen of capons ; 470 dozen of hens ; 750 dozen of pullets, 1470 dozen of chickens ; for bread 364,000 bushels of wheat ; and for drink 600 tuns of wine and 1700 tuns of beer ; together with fish and fowl, fruit and spice, proportionately.” (. Present state of London, 168 1.) 628 Elizabeth, daughter of the Archduke Charles ( 281 ) . . , ? (See companion picture of her sister, No. 636.) Bust, facing slightly to the left. She wears a white and gold embroidered dress, with a close ruff. Her hair is of a light brown colour. On canvas, pasted on wood, I ft. 4$- in. high, by 1 ft. I in. wide. Formed into an oval, round which is painted: — “ELIZABETA, ZETATIS SViE I, MENCTS 5, 1 578.” This picture and its companion have been most ridiculously labelled “Queen Elizabeth” and “ Queen Mary,” and attributed to Holbein, who had been dead thirty-five years when they were painted ! The inscriptions leave no doubt that they are the daughters of the Archduke Charles. This one died in her infancy, in January, 1586. (See Mr. Scharf in Archceologia.) 629 Portrait of a Flemish Gentleman (292) . . . Gonzales Coques. (Companion-piece to No. 637.) Three-quarters length, seated, turned to the right, face seen nearly in full. His left hand is on a red table covered with a red cloth, on which are some books ; his Hampton Court Palace. 231 right hangs by his side. He wears a black robe edged with brown for, and long full sleeves. His hair is long and black, and falls on his shoulders ; he has a moustache and an imperiale. Background, a wall and green curtains. On copper, 1 ft. high, by 8J in. wide. The corners are cut off, so that its shape is an irregular octagon. 630 Head of Rudolph II., Emperor of Germany (583) . . . unnamed. This seems to be the picture entered in Charles I. ’s catalogue, page 39, thus : “ Item. Another limned picture, done upon the right light, of the Emperor Rudolphus the second, painted upon parchment being transparent to be seen on both sides, holding against the sky ; given to the King by his Majesty’s apothecary, Mr. John Wolfrumler. Done by Frosley, the Emperor Rudolphe’s limner.” His dress is black ; he wears a small ruff, a black cap with a small feather, and he has brown hair, and a small beard. On parchment, stretched on wood, 7 inches in diameter. “ Rudolphe” is written behind. “Rodolphus the Emperor” was sold by the Commonwealth to Mr. Harrison, 23rd October, 1651, for^i. Vanderdort, who had the care of Charles I. ’s pictures, and compiled his catalogue, had formerly been in the Emperor’s service, and it was probably by his suggestion that the King bought “Mr. Frosley’s Italian collection of pictures,” which is frequently mentioned in his catalogue, and of which pieces are now in this Palace. Rudolph was a great virtuoso ; and when he ascended the imperial throne he took up his residence at Prague, and there devoted himself exclusively to the pastimes of collecting works of art, studying astrology and alchemy, and persecuting the Protestants. When his subjects at last grew tired of him, and dethroned him, and many of his beautiful pictures were dispersed, he put his head out of the window, and cried out : “ Prague, ungrateful city ! by me you have been exalted, and now you reject your benefactor. May the vengeance of heaven blast you and all Bohemia ! ” He died in 1612. 631 Mary Queen of Scots (317) Janet. Less than life, seen to the elbows, facing in front, but turned towards the right ; her eyes, which are hazel, being directed a little to the left (i.e., her own right shoulder), but looking at the spectator. Her dress is entirely white, being that of “La Reine Blanche,” but through its gauzy texture her black bodice and the soft carnation of her skin can be seen. Her cap is also white, and from it a white veil hangs behind, and is seen on her right shoulder. The cap is flattened at the top, and comes just over the forehead, where the frilled lining projects a little ; but at both sides at the ears it is curved outwards ; her hair, which is frizzled in little curls, and of a decidedly reddish colour, filling the space between it and her face, and covering her ears. Her dress is fastened close up to her throat, and hangs in front, so as to completely cover the bust. Painted on a plain dark back- ground. On wood, 1 ft. high, by 9 in. wide. Behind is branded Charles I.’s cypher when prince — C.P. crowned — twice repeated, and also his cypher when king. There is also a small slip of paper, with an inscription half obliterated : — • “ of Janet. Queen Mary of Scotlande, appointed by his Ma- jesty for the Cabinett-roome 1631.” This is therefore one of the two pictures in Charles I.’s catalogue, page 155, de- scribed thus : — “A defaced picture of Queen Mary of Scotland, in her white mourn- 2 32 Royal Gallery of Pictures. 031 Mary Queen of Scots — continued. ing habit ; given to the King by the Lord Marquis of Hamilton, I ft. by 9 in. ; ” and ‘ ‘ Another like unto the aforesaid piece, more curiously done, of Queen Mary of Scotland, in her white mourning habit, in a black ebony frame ; given to the King by the Lord Denby. Said to be done by Jennet ” (same dimensions). It is probably the second of these, as its being placed in the Cabinet Room shows it was thought most valuable. From the Commonwealth inventory we find (folio 484) that “The Queen of Scotts, by Gennett, ” was sold to Mr. Wright, 21st May, 1650, forj£io ioj., but it reappears in James II. ’s catalogue, No. 408 : — “ Mary Queen of Scots, to the waist, by Jennet.” That this is a genuine portrait of Mary Queen of Scots there cannot be the slightest doubt, the original drawing, with which it accords in the very smallest particulars, being now in the “ Bibliotheque Sainte-Genevieve,”and one of the two portraits chosen by M. Niel among hundreds of others as affording the most trust- worthy likeness of her (see the text to his Portraits des Personnages Illustres , tom. i., where a facsimile of it is given). The artist was doubtless Janet (Franjois Clouet), and in Waagen’s opinion it is a fine original work. Unfortunately, M. de Laborde could “neither confirm nor contest” his judgment, as his visit here had taken place long before his researches. Though it does not come up to our ideal of the Queen, it is nevertheless one of the most agreeable of the many portraits extant of her. There are replicas or copies at Castle Howard (Lord Carlisle’s), and another (where?) formerly in the collection of Dr. Wellesley at Oxford. (As to the ques- tion of the genuine portraits of Mary, see especially M. Feuillet de Conches’ Causeries cCun Curieux, iv., pp. 406-460, and Gaedeke’s Maria Stuart , Heidel- berg, 1879. See also note to No. 560.) Mary’s first husband, Francis II. (see next picture), died, it will be remembered, on the 5th December, 1560, leaving her a widow at the age of eighteen, “au bel avril de ses plus beaux ans.” This was the first and bitterest grief in the unhappy life of this cruelly persecuted woman. For many weeks she was so overcome that she shut herself up and would see no one, and it was during those first gloomy days of her mourning that she composed the touching verses BrantOme has preserved to us, and among which are these two stanzas : — J’ai au cceur et & l’ceil Un portrait et image, Qui figure mon deiiil Et mon pasle visage, De violettes teint, Qui est l’amoureux tient. . . Si en quelque sejour Soit en bois ou en Pree Soit pour l’aube du jour, Ou soit pour la vespree, Sans cesse mon cceur sent Le regret d’un absent. . . The pallor of her face, to which she here makes allusion, is seen plainly enough in this picture ; and Brantome mentions how at that time her grief showed itself “ par sa pasle teint ; car des lors qu’elle fut veufve je ne l’ay jamais veu changer en un plus colore.” He remarks also on her “grand deiiil blanc, avec lequel il la faisoit tres beau voir ; car la blancheur de son visage contendoit avec la blancheur de son voile, & qui l’emporteroit : mais enfin l’artifice de son voile perdoit, et la neige de son beau visage effa£oit l’autre. ” Ronsard also addressed “cette Deesse en habit d’un mortel” in an exquisite Hampton Court Palace , 233 631 Mary Queen of Scots — continued. poem, entitled Fantaisie. In it he refers to a picture, similar to this, which he kept in his study opposite one of her youthful husband. “ Un crespe long, subtil, et delie Ply-contre-ply retors et replie, Habit de dueil, vous sert de couverture Depuis le chef jusque a la ceinture, Qui s’enfle ainsi qu’un voile, quand le vent Soufle la barque, et la single en avant. De tel habit vous estiez accustree Partant, helas ! de la belle contree Dont aviez eu le Sceptre dans la main, Lors que pensive, et baignant vostre sein Du beau crystal de vos larmes roulees Triste marchiez par les longues allees.” And further on he speaks of her eyes : — * ‘ Dous, beaux, courtois, plaisans, delicieux, Un peu brunet, ou la delicatesse Rit, non aux verds qui sont pleins de rudesse.” For some months she remained in retirement, till in August, 1561, she left “ la belle France ” for ever. Her departure is thus pathetically narrated by Brant ome in his charmingly naive old French : — “ La galere estant sortie du port et s’estant esleve un petit vent frais, on comme^a a faire voile. . . . Elle, sans songer a autre action, s’appuie les deux bras sur la poupe de la galere du coste du timon et se mist a fondre en grosse larmes, jestant tousjours ses beaux yeux sur le port et le lieu d’ou elle estoit partie, pronoi^ant tousjours ces tristes paroles : ‘ Adieu, France ! adieu, France ! ’ ” In four days she reached the land of brown heath and shaggy wood. 632 Francis II. of France when Dauphin (316) . . . Janet. Less than life, seen to the elbows ; turned towards the right, but the face seen nearly in full. He wears a black doublet, laced with gold braid in front ; and with lappets at the shoulders. His collar is high up his neck, and trimmed with a small wavy-pleated frill. His cap, which is a little on one side to his left, is ornamented with gold buttons and pearls, while a white feather hangs over his right ear. His eyes are brown, his nose somewhat aquiline, and his cheeks very fat. Painted on a dark olive-green ground. On wood, 1 ft. high, by 9 in. wide. That this was in Charles I.’s collection we may conclude from the fact of “A Francis the Ilnd, King of France by Gennett, valued at £40,” which had belonged to him being found at the Restoration in the possession of a certain John Cade, who had to give it up. (Hist. Commissioners' Report, 1879.) But it is not traceable in Charles I.’s own catalogue ; though we do find “ a limning of Janet’s doing ” of the Dauphin, of which the description accords with this, and which, with its companion miniature of Mary Queen of Scots, is still preserved at Windsor. The critics — Waagen, Niel, Feuillet de Conches, Mrs. Mark Pattison, Gaedeke, &c. — are all unanimous in pronouncing this a fine, and indeed one of the finest, original works of Francois Clouet (Janet). H H 234 Royal Gallery of Pictures . 632 Francis II. of France when Dauphin — continued. It represents Francis when Dauphin, about the age of fourteen, and is there- fore intermediate between the two drawings in the “ Bibliotheque Nationale” at Paris, reproduced in Niel’s Portraits. The characteristics of the earlier of the two, “cette face bouffie par la scrofule, ce crane encore tendre et aplati, sous lequel se developpent deux joues demesurement elargies par les infiltrations de la lymphe,” are seen here in diminished intensity indeed, but still salient enough. His short career was in fact little else than one long illness. “ Sa sante delicate, sa complexion malsaine l’obligeaient de se derober aux jeux et aux occupations de son age ; il se mouchait et crachait sans cesse ; la fievre le consumait ; son visage blafard annoncait assez la maladie qui le possedait.” This dreary existence was lightened indeed for a brief space by the love of his angelic Queen, “qui brillait comme une perle exquise au sein de la petite cour ; ” but this happiness, which would have more than compensated for all his misery, and which, as a French writer remarks, has blended an ineffaceable glory with his name — was terminated by his death on the 5th of December, 1560, at the age of eighteen, after a reign of eighteen months, and a married life of two years and a half ! Ronsard, as we have seen (note to last picture), had portraits of Mary and Francis which he placed opposite each other ; and in the charming poem to the Queen, already cited, he thus mentions the one of her husband : — “ Droit au devant de vostre portraiture J’ai mis d’un Roy l’excellente peinture Bien jeune d’ans, qui jamais n’eut le cceur Ny l’ceil blesse d’amoureuse langeur : Et toutefois & luy voir le visage, Chacun diroit qu’il aime vostre Image, Et qu’allume des rais de vostre jour, II se consume et s’escoule d’amour En sa peinture, et que son pourtrait mesme Comme amoureux en devient froid et blesme . • • En son pourtrait vous diriez qu’il souspire, Et que muet ne vous ose rien dire . . . Mais hors des dents la voix ne peut passer, Le mort tableau luy oste la parole, Et la peinture en larmes toute molle En devient palle, et retient la couleur De l’amoureux tout palle de douleur, Qui se tourmente, et par souspirs desire Estre entendu, et ni le peut dire.” It should be observed that Mrs. Mark Pattison refuses to acknowledge this portrait as one of Francois II. (see Renaissance of Art in France, i., 336), chiefly on the ground that “the meagre profile which slants across the coins of Francis suffices to show that this energetic boy, with the strong arched nose, is not the Dauphin Francois.” But a reference to the drawings in M. Niel’s book, and the miniature at Windsor, and especially to the autolithographs in Lord Ronald Gower’s Three Hundred French Portraits , will show that this argument will not avail. Indeed, one of the crayons reproduced by Lord Ronald, which is inscribed, PHILIP II. OF SPAIN. BY SIR A. MORE. From a photograph by Spooner and Co. Hampton Court Palace. 235 032 Francis II. of France when Dauphin — continued. in a contemporary handwriting, possibly by Janet himself, “ Lc feu roy franfois estant dauphin may not improbably be the original drawing for this very portrait. It should be noticed, also, that though the verses quoted in this note are believed to relate to Francis, and are not inappropriate to him, yet the context suggests that the portrait was one of his brother Charles IX. 633 Philip II. of Spain ( 291 ) Sir Antonio More? Half-length, less than life ; turned to the left. He wears a dark doublet edged with white fur, puffed out at the elbows, and ornamented with bunches of pearls. He has close tight cuffs at the wrists, and a small collar-ruff. His right hand rests on the corner of a table covered with a red cloth, his left grasps the jewelled hilt of his sword. He is bareheaded ; his hair light brown, and his short beard and moustache of a lighter shade still. Round his neck is a chain. On wood, 2 ft. 1 £ in. high, by 1 ft. in. wide. Charles I.’s catalogue mentions this portrait at page 119, thus : — “The picture of King Philip II., when he was young, in a black cassock lined with white fur, with two hands, half-figure so big as the life, in a wooden frame. A Whitehall piece.” By the Commonwealth it was sold, 1st March, 1652, to Mr. Hunt for ^4 ; but reappears in James II. ’s catalogue, No. 33 : — “King Philip of Spain to the waist, hand upon a sword.” The term “ A Whitehall piece,” applied to this picture, means that it belonged to the old royal collection previous to the accession of James I., and we may therefore assume that it belonged to Queen Mary. From the old catalogues being silent as to the painter, there appears to have been no tradition on this point. Subsequent to James Il.’stimeit was assigned to Janet, but is now, with more probability, attributed to Sir Antonio More. It represents Philip about the age of twenty-seven, the time of his marriage with Mary. 634 A Startling Introduction Henry Pot. On the left is a lady in a black robe and yellow satin skirt, curtseying with a sad expression to a gentleman who is standing in front of a chimney-piece, having ap- parently come down the chimney. His hands are held up with an air of astonish- ment. His hat lies behind him ; but his sword and cloak are on a chair behind the lady. Behind her also are two dogs, one a greyhound, which seems to be snarling at the intruder. In the background between them is a table covered with a rich table-cloth. On the chimney-piece is a coat of arms carved in stone, and the mono- gram HP. On wood, 2 ft. high, by 2 ft. 6 in. wide. This belonged to Charles I., for we find his cypher branded at the back of the panel ; but it is not found in his catalogue. It is probably, however, the picture called “A souldier making a strange posture to a Dutch lady, by Bott,” which was sold by the Commonwealth to Mr. Treasurer Jones, Nov. 2nd, 1649, for £*]. (See Inventory , p. 205.) Both the subject of this picture, and its painter, have given rise to much perplexing diversity of opinion. Some have called it “ a rehearsal,” or a “scene in a play, *' adding — to make it more interesting — that the actor is Charles I ; while others call it “a strange introduction.” No explanation, however, yet suggested seems satisfactory; but the following is worth noticing : — “I was told by Lady Emily Ponsonby that at Lady Newburgh’s, at Slindon in Sussex, there is a similar 236 R oyal Ga llery of Pictures. picture, and that the tradition is that it represents an Earl of Derwentwater, who made nine offers of marriage to a former Lady Newburgh, and being rejected and denied her presence, descended the chimney to make a tenth, when he was accepted.” — (Mr. Redgrave, late Surveyor of Her Majesty’s pictures, in the Royal Catalogued) As to the painter, some have attributed it to Poelemberg, others to Palamedes, others to Peter de Codde, while in Waagen’s opinion it is by Mytens. But the real artist is most likely Henry Pot, whose initials are inscribed in a monogram on the chimney-piece, and whose name is further suggested by the misnomer “ Bott” in the Commonwealth inventory. This supposition is confirmed by the fact that Pot, who was bom at Haerlem in 1600, was known to Charles I., and painted his and his queen’s portraits. He was probably in England some few years. (See Descamp’s Peintres Flamands, Hollandais^ &c.) 635 Allegorical Picture of Queen Elizabeth ( 301 ) . L. da Heere. The Queen appears on the left-hand side, emerging from a palace. In her left hand she holds the orb of empire, and in her right a sceptre; on her head is the royal crown. She wears a dark dress, covered with jewels, the underskirt in front being a sort of diaper-work of pearls. Behind her are two ladies-in-waiting, hold- ing her train. In front of her are the three goddesses, represented as thunderstruck at the sight of her ; Juno, who lets fall her sceptre, and one of her shoes ; Minerva armed, who holds a flag in her hand, and is gazing with astonishment at the Queen ; and Venus, unrobed, who drops her roses, and to whom Cupid, having thrown away his bow and arrows, clings for protection. The ceiling of the palace from which the Queen comes is richly decorated with Tudor roses and other badges, and the motto : “ Dieu et mon Droit.” In the background is a view of Windsor Castle. On the stone to the right, about two and a half inches from the bottom, are the date 1569 and the painter’s monogram, “ H. F.” On wood, 2 ft. 1 in. high, by 2 ft. 9 in. wide. On the frame, which is evidently the original one, is the inscription : — “ Juno potens sceptris et mentis acumine Pallas ; Et roseo Veneris fulget in ore decus ; Adfuit Elizabeth , Juno perculsa refugit ; Obstupuit Pallas erubuitque Venus : ” probably by the painter himself, who dabbled in verse. This interesting picture is found in Charles I.’s collection, and was sold under the title : — “A piece of Queen Elizabeth, Venus, Juno, and Pallas” to Mr. Hunt and Mr. Bass, 1st March, 1652, iox £2. “ Venus and Pallas, and Queen Elizabeth coming in ; by De Cheere,” i.e. Da Heere, was in James II. ’s catalogue, No. 934. Although it is signed with Da Heere’s monogram, and is traditionally known as his work, Mr. Tom Taylor (see Times , May 1st, 1866) attributed it to Girolamo da Treviso, who had been dead twenty-four years (see No. 224), adopting the peculiar, but scarcely just method of criticism, that it was too well painted to be by Da Heere. It was doubtless painted about October or November, by order of the Queen herself, to whom it is as flattering in the allegory as it is in the likeness, when the court was at Windsor, whence it moved to Hampton Court for Christmas. Elizabeth was then thirty-six, and had been on the throne twelve years. It was the time of the rising in the North under the Duke of Norfolk. STARTLING INTRODUCTION. BY H. POT. T?mu7 a. AhotooraPh by Spooner and Co. Hampton Court Palace, 237 636 Mary Christierna, daughter of the Archduke Charles ( 282 ) . — ? (See companion picture, No, 628.) Bust, facing in front, eyes directed to the left. She wears a light red dress, with yellowish sleeves, embroidered with gold ; a small linen ruff ; and a headdress trimmed with pearls. Her hair is of a fine flaxen colour. On canvas, pasted on wood, 1 ft. 4? in. high, by i ft. I in. wide. Formed into an oval, round which is painted: — “maria cristierna ^tatis sv^e 3 mensis 6 1578.” This was formerly called a portrait of Queen Mary, but it is evident from the inscription that it is Mary Christierna, or Christina, daughter of the Archduke Charles of Austria. As she was born on the 10th of November, 1574, this must have been painted in the month of May, 1578. She afterwards married in August, 1595, Sigismund Batthori, Prince of Transylvania, and died without issue in April, 1621. 637 Portrait of a Flemish Gentleman (274) . . . Gonzales Coques. (Companion piece to No. 629.) Three-quarters length, turned to the right ; seated. His left hand holds his gloves, his right is on his hip, supporting his cloak. He is dressed in black, and has a broad collar over his coat. He has long hair, but his face is shaven. Above is a green curtain. His age seems about thirty. On copper, 1 ft. high, by 8 in. wide. 638 A Dying Saint — A Sketch (jpp) Vandyck. An old man lies dying on a couch, which is represented across the picture, the head on the left. Round him are gathered some six monks in their habits, two of them kneeling at his feet, the others kissing his hands. On wood, 1 1 in. high, by 9 1 in. wide. This is a fine sketch en grisaille. Behind is the signature : — “ A. van Dyk 689 Lord Darnley and his brother, Charles Stuart ( 318 ) L. da Heere. They are standing side by side, both facing in front ; Darnley is on the right, rest- ing his right hand on his brother’s right shoulder, and holding a pair of gloves and a white embroidered handkerchief in his left hand. He is dressed in a close fitting dress, and has a watch hanging from his neck. His brother, who scarcely comes up to his waist, is in a long black skirted dress, down to his feet ; he holds his cap in his left hand, and rests his right on his hip. They stand on a raised dais in a long gallery or hall, with windows in semi-classic style on the right. Behind them, to the right is a table with a green cloth, on the cross rail of which is Da Ileere’s monogram. On wood, 1 ft. 3 in. high, by 2 ft. 1 in. wide. At the top is inscribed : — “Thes be the sones of the Right honerables THERLE OF LENOXE AND THE LADY MARGARET’S GRACE COUNTESS OF Lenox and Angwyse. Henry Steward Lord Darnley & Douglas .etatis 17. Charles Stewarde his brother ^etatis 5.” On the front part of the dais is the date, 1563. This interesting picture belonged to Charles I., from whose collection it was sold at the Commonwealth : — “The Lord Darnley with his brother at length in little, sold to Mr. Murray as appraised, 23rd Oct., 1651, for^6.” (Inventory, folio 142.) He also had a larger, similar picture, which was formerly here, but was sent by command of the Queen to Holyrood. This one is the original and the best. The head of Darnley was engraved by Vertue from this picture. 238 Royal Gallery of Pictures. The inscribed date is contemporary, and perhaps the inscription also ; as Darnley was eighteen on December 7th, 1563, the picture was probably painted before that month. He and his parents were then in London, whence he set out in the spring of 1565 to join his father at the court of Mary Queen of Scots. His brother Charles married, in 1574, Elizabeth Cavendish, by whom he had a daughter, the ill-fated Lady Arabella, and died in 1577. 640 Christina, Duchess of Tuscany? {302) Sir A. More? Life-size, seen to the shoulders ; face turned slightly to the right. She wears a brown dress, cut square in front, and underneath a bodice of a brighter shade, em- broidered with gold braid worked in wavy lines, edged with a small collar ruff, and open at the throat. Her hair, eyes, and eyebrows are brown. On wood, 1 ft. 3 in. high, by 11 in. wide. Charles I.’s cypher — C.R. crowned — is at the back of this panel, and it is probably “ The Grand Duchess of Tuscany, born out of the house of Lorraine, wife to Ferdinand Grand Duke of Florence. A White- hall piece,” entered at page no of his catalogue. It has often been called a por- trait of Queen Mary from its supposed, but not very decided likeness to her. 641 Portrait of a Gentleman (384) Sir A. More? Small half-length, turned to the right. His right hand rests on a seat, his left is on his hip. He wears a close-fitting black doublet, with a small collar ruff of the time of Philip and Mary or soon after. His hair is reddish and close-cropped ; he has a short beard and moustache. On wood, 1 ft. 3! in. high, by ii£ in. wide. 642 Catherine, Daughter of Philip II. of Spain? { 343 ) . Sir A. More? Seen to the elbows, facing in front, turned slightly to the left. She is gorgeously attired in a dress embroidered with gold and silver, and wears a large quilled ruff of fine lace. Her headdress is trimmed with red flowers and pearls and a white feather. On her breast near her heart hangs a curious jewelled ornament, repre- senting Cupid drawing his bow. Her hair, eyebrows, and eyes are dark brown ; her lips and cheeks apparently rouged. On canvas, 2 ft. 6 in. high, by 2 ft. wide. 643 Children of the King and Queen of Bohemia (311) . Poelemberg. This is described in Charles I.’s catalogue, page 124, as : — “The picture of the Queen of Bohemia’s children, painted in a landscape, as if they came from hunting, being little entire figures. Done by Polemburch, painted in Holland. ” They stand all seven in a row, and are attired in most unsportsmanlike, semi- classical costume ; with bare legs, arms, and shoulders, and bareheaded. To the right are stags, hares, and other game, and hounds, spurs, arrows, &c. ; in the background on a hill a ruined castle. The eldest is Prince Frederick, who is seen standing on the right, in profile, and holding a boar’s head ; he was drowned at the age of fifteen in Haarlem meer. Next to him is Prince Charles Lewis, with the very scantiest amount of drapery, grasping a spear in his right hand ; he afterwards became Elector Palatine. Behind him, with his hand on his shoulder, stands Rupert (compare No. 762). Next in blue, seated, is the Princess Elizabeth, holding her sister Louisa, who died Abbess of Maubuisson, by the hand. Close by, with a hawk on his right hand, is Prince Maurice, the youngest but one, who was lost while cruising in the South Seas in 1653. And lastly, seated on a branch of a tree, in red, a little to the front, holding a bird on her right forefinger, and with her left on her bosom, is the youngest, Princess Sophia, the ancestress of our present most gracious Hampton Court Palace. 239 sovereign. The picture was doubtless painted at their hunting seat at Rhenen, near Utrecht. On canvas, I ft. 3^ in. high, by 2 ft. 2 in. wide. “The Queen of Bohemia’s children, in a landscape, by Polemberg,” was sold, 1 8th Nov., 1651, to Mr. Decritz, for £25. 644 Portrait of a Young Lady {306) Sir A. More. Bust, turned to the left. She wears a dark close-fitting dress, with a quilled ruff of rich lace, close up her throat. Her headdress is richly ornamented with pearls and other jewels. On canvas, 1 ft. 4^ in. high, by 1 ft. 1 in. wide. She appears to be the sister of No. 625. 645 The King and Queen of Bohemia dining in Public (272) Van Bassen. This is substantially the same picture as No. 627, excepting some slight variations. On the wall, over the entrance to the raised alcove at the end of the hall, are the letters E. and F. crowned, the initials of the king and queen. A curious incident, for which there was historic warrant, is introduced into this picture. As the gentleman carver is carving a dish opposite their majesties, he is attacked by the queen’s favourite monkey, which springs upon his breast, and makes him present a most ludicrous appearance. This mishap actually occurred at Prague on the first occasion that the queen, to allay the jealousies of her new subjects, employed only Bohemians to wait upon her. The man was so frightened, that he gave a yell and fled from the room. B. Van Bassen was “ a very neat painter of architecture” employed by Charles I. These are the only pictures by him in the royal collection. 648 Exterior of a House with Figures (662) . ... G. Dow. A figure in purple robes, with a turban on his head, dressed like one of the priests painted by Rembrandt, whose pupil Gerard Dow was, is directing a young man’s attention to the statue of a warrior placed near a door. Behind is an old woman looking at them. On wood, 1 ft. 5 in. high, by 1 ft. 2\ in. wide. Signed in the lower left-hand corner, “ G. Dov in a monogram. 647 Landscape with Cattle (386) Adrian Vandevelde. In the centre is a red cow, on the right another, on the left a third, lying down, and a sheep beside it. On a hill behind, a man lies asleep under a sort of tent. On canvas, 2 ft. high, by 1 ft. 10 in. wide. Adrian Vandevelde was a pupil of Wynant’s, and painted very different subjects to his brother William Vandevelde the younger. His style has much affinity with Paul Potter’s. 648 Perspective Piece — Christ with Martha and Mary ( 283 ) J.D. deVries. This is described in Charles I.’s catalogue: — “A prospective piece, done by Hans de Uries, the figures thereon done by Blocklandt, where Christ is sitting with Mary, and three figures more, sitting by a green table.” They are on the left, Mary at Christ’s feet, while to the right is an opening to a kitchen where is seen Martha attending her household duties. In the background to the right is an open gallery or cloister. On the sill of the archway is the signature : — “ Hans (in a monogram) Vries, 1566.” On wood, 2 ft. 10 in. high, by 3 ft. 9 in. wide. Be- hind are the cyphers of Henry Prince of Wales, and Charles I. Jan Fredeman de Vries (who is to be distinguished from De Vries, a landscape painter in the seventeenth century) was one of the earliest perspective and archi- 240 Royal Gallery of Pictures . tectural painters of the Netherlands. He chiefly studied classical design, which accounts for the splendid but inappropriate decoration of this interior, where the figures are, as they were indeed meant to be, subordinate. There is a very similar picture by his scholar, Steenwyck, in the Louvre. Anthony de Montfort Blocklandt was an able scholar of Frans Floris. 649 Garland of Roses, &c., round a Frame ( 429 ) . D. Seghers. Hyacinths, orange blossoms, and jasmine are also inserted. They are arranged round a frame which is usually painted with a Saint’s head (compare No. 658). On copper, 2 ft. 10 in. high, by 2 ft. wide. Signed in the lower left-hand corner, “ D. Seghers, Soc. Jes .” The signature here decides that the orthography of this artist’s name is not Zegers or Zeghers, as some have written it, nor Segers, as it is spelt by the Antwerp Museum Catalogue, which contains the best account of him. He is the greatest master of flower-painting of the Flemish school, and in his day his works were eagerly sought after by all the monarchs of Europe. This is perhaps “The troop of Province roses, Done by the Jesuit Pater Seager, in Antwerp, bought by the King of Mr. Endymion Porter ” — in Charles I.’s catalogue, page 7. “A festoon with roses by the Jesuit,” valued by the Commonwealth at ^30, was sold for ^33, 23rd March, 1649. The Antwerp Museum recently gave ^140 for a piece similar to this. (See note to No. 658.) 650 Adam and Eve caressing, Satan behind ( 1089 ) . A. Van de Werf. They are beneath trees in the Garden of Eden ; she seems shrinking from his caresses. Satan behind on the right glares at them. On canvas, 1 ft. 7 in. high, by 1 ft. 2\ in. wide. Of Van de Werfs naked figures Sir Joshua Reynolds remarks that “ they appear to be of a much harder substance than flesh, though his outline is far from cutting.” He attributes this to the “want of transparency in his colouring, from his admitting little or no reflexion of light.” 65 t Landscape, with a Rainbow ( 415 ) Wouters. In the foreground are some sheep, and behind them a man in a red coat plough- ing, with two oxen and a horse. In the background on the left the sun is setting in a stormy sky. On wood, 1 ft. 2$ in. high, by 1 ft. 6 in. wide. Behind is Charles I.’s brand — C.R. and the crown ; and we find in the Com- monwealth inventory (folio 165) that : — “ A landscape of one, ploughing, by Wouters,” was sold, 19th Jan., 1650, to Mr. Houghton, for £\o. In James II. ’s catalogue. No. 150, it reappears : — “A Landscape with a man at plough in it,” again attributed to Wouters. In recent times it has been attributed to Rubens, but it is certainly not worthy of him, and the old catalogues are doubtless correct in assigning it to Wouters, a second-rate scholar of his. 652 A Perspective piece — A Garden ( 341 ) Steenwyck. In James II.’s catalogue, No. 656 : — “A small round piece of perspective with a fountain. By Steenwick.” In the foreground are several figures, one playing a guitar. In the distance are an arcade and classic columns. On copper, 4* in. diameter. (Compare No. 655.) 653 The History of Argus (686) F. Floris. Argus is seated on the left, his forehead filled with eyes, almost all of which are closed, having been lulled to sleep by Mercury, who is sitting by his side, playing 241 Hampton Court Palace. his pipe. Above is shown Jupiter in the clouds sending Mercury down. In the centre foreground Io is shown transformed into a cow, while more to the right Mercury is seen stealing away with the head of Argus. Beyond, in the far distance, Juno is putting the eyes in the tail of the peacock. Other incidents of the myth are shown in various parts. On wood, 3 ft. high, by 2 ft. wide. This belonged to Charles I. , as his brand is at the back of the panel. Meleager and Atalanta {668) after Rtjbens. She is sitting under a tree, with crimson drapery over her knees ; he is presenting her with the boar’s head, his foot resting on its decapitated body. Cupid is in front. Implements of the chase are by. On wood, 2 ft. in. high by 1 ft. 7 in. wide. This is a copy of the picture at Munich, of which there is a replica at Dresden, dating from about 1635 (Max Rooses 5 Rubens , iii., p. 1 19). It may be identical with No. 484 m James II. ’s catalogue : ‘ * Venus and Adonis,” with which title it is labelled. Architecture — The Angel delivering St. Peter {655) . Steenwyck. They are in a large vaulted chamber, the Angel leading St. Peter up the steps in front. On a pillar near them is a lighted lamp, and one in the distance. On copper, 4! in. diameter. This is ascribed, as well as No. 652, to Steenwyck the elder. It is the “ small round piece of perspective and St. Peter in prison by Steenwyck,” No. 655 of James II. ’s catalogue. Perspective piece — The Woman taken in Adultery {433) . P. Neefs. The figures by old Franks. The scene represents a fine Gothic cathedral ; the arches of the nave semicircular, those of the aisles pointed. In the centre, Christ, who faces to the left, is stooping down to write on the pavement ; the woman is in front of him, and he is sur- rounded by a group of apostles and pharisees. On the left a man is entering, carrying a basket in both his hands. On wood, I ft. 4 in. high, by I ft. 9 in. wide. The back of the panel is branded with Charles I. ’s cypher. It is perhaps the ‘ ‘ Large piece, of Perspective, where the woman taken in adultery is brought before Our Saviour; by Stanwyck,” in James II. ’s catalogue, No. 683. Windsor Castle (644) Verdussen. The castle is on the right, the terrace finishing at Winchester Tower. The town at the foot of the hill is seen on the left, also an old footbridge. In the foreground is a gamekeeper with two dogs. On canvas, 2 ft. 8 in. high, by 3 ft. 6 in. wide. The only artist of this name I can find anywhere mentioned is John Peter, “ an excellent painter of subjects in which animals formed the principal objects,” who flourished from 1743 to 1763. Garland of Roses round the Madonna ( 424 ) . D. Seghers. The roses are red and yellow, and on them are a bee, a white butterfly, and a tiger moth. In the centre is a head of the Madonna painted en grisaille on a car- touche. On wood, 2 ft. 9 in. high, by 1 ft. 9 in. wide. Signed in the lower left- hand corner : — “ Daniel Seghers , Soc. Jesv. 1651.” Compare No. 649. Seghers is said to have cultivated the flowers he painted at the Jesuit’s house at Antwerp, where he lived. “ In painting red roses he em- ployed colours which have remained unchanged, while the roses of every other flower-painter have either turned violet or faded altogether.” Cornelius Schut usually did the heads for Seghers’ festoons, I I 242 Royal Gallery of Pictures. 659 Magdalen praying by Candlelight ( 422 ) . . Godfrey Schalcken. She is seen in a half-length, facing to the left, seated at a table, with her eyes upturned to a crucifix. In her left hand she holds a skull. The candle is in front of her on the table. On canvas, 1 ft. 9 in. high, by 1 ft. 5^ in. wide. 660 Lot and his Daughters — A Night-Piece (37s) . . . Schalcken. One sister is seen in front on the right, the light which comes from the left shining full on her bare bosom. In her left hand she holds a vase of wine. Lot also has a cup of wine. On canvas, I ft. 5 in. high, by 1 ft. i£ in. wide. En- graved in mezzotint by Smith. Schalcken was a pupil of Gerard Dow’s, but he imitated his careful finish only in night pieces. Everything and everybody he painted was by candlelight. When he came to England he drew a portrait of William III., making him hold the candle till the tallow ran down his fingers. “He was a great master,” says Walpole, “ if tricks in an art, or the mob could decide on merit ; a very confined genius when rendering a single effect of light was all his excellence. ” 661 A Hermit in a Cave — A Night-Piece (364) J. P. Van Slingelandt. His hands are clasped in devotion, the moonlight shining on his face. In front of him are a large book, a skull, and an hour-glass. On wood, 1 ft. 3^ in. high, by 11 in. wide. Slingelandt was an imitator of G. Dow, and as far as mere execution of detail is concerned, may be considered to have surpassed him. He is said to have spent three years over his masterpiece at the Louvre, and would devote weeks to finishing a bit of lace. This is all that can be said in favour of him, yet hundreds of pounds are given for his works. 662 A Dutch Merrymaking (636) Molenaer. A group of some twenty figures on a hill, singing, playing, talking, and flirting. In the background are a farmhouse and a landscape. On canvas, 3 ft. 6 in. high, by 2 ft. 6 in. wide. There were several artists of the name of Molenaer, probably relations, who flourished between 1625 and 1660, and who painted somewhat in the same style. This is probably the work of Jan Miense Molenaer. 663 Cupid and Psyche (206) Vandyck. He, with a bow in his hand, and his quiver dropped by his side, is advancing towards her, who lies on the ground sleeping. Near her right hand is “ the casket of beauty” which Venus had ordered her to fetch from the palace of Proserpine, Psyche opened the box out of curiosity and was overcome by an infernal sleep , from which Cupid awakened her. In the background are a large tree and a land- scape. On canvas. In James II. ’s catalogue, No. 159 : — “ A large piece of Cupid and Psyche, with a landscape. By Vandyck.” It is said to be the last picture painted by Vandyck, and certainly looks unfinished. It is found in the Commonwealth inventory : — “ A piece of Psyche by Vandyck ; sold for ^110.” 664 Portrait of Holbein ? ( 322 ) by himself l To the elbows, facing in front. In his hands he holds a slip of paper. He wears a furred cloak, with red sleeves. Reddish brown hair, but none on his face. Painted on a green ground. On wood, 2 ft. high, by 1 ft. 9 in. wide. CUPID AND PSYCHE. BY VANDYCK. From a photograph by Spooner and Co. 243 Hampton Court Palace, It is a question whether this is Holbein, or by him. It corresponds in size with “The picture of the painter, called Sotto Cleeve, said to be his own picture, done by himself, in a black cap and furred gown, painted upon a greenish ground, upon a board ; bought by the King,” in Charles I.’s catalogue, page 153. Waagen thought it a genuine “ Holbein by himself,” and assigned it to his middle period, remarking that it is admirably modelled, and decidedly one of the best of his portraits by himself. But neither Mr. Wornum nor Dr. Woltmann in any way endorse this opinion. It bears, however, no small resemblance to the sketch at Basle, though older. 665 Head of Maximilian, Archduke of Austria (529 ) .... unnamed. A high black hat, furred coat, and short ruff. His whiskers and beard, which are grey, are cut short. On the canvas is painted : — “ maximilianvs arch, avstr.” 1 ft. 10 in. high, 1 ft. 6 in. wide. No. 957 in James II. ’s catalogue : — “ Maximilian to the waist, black cap and ruff.” It is doubtless a copy from some larger picture, and is probably Maxi- milian, third son of the Emperor Maximilian II., who was born in 1558, and who was elected to, but afterwards deprived of, the throne of Poland. He died in i6ii. (See Coxe’s House of Austria.') 666 Face at a Window, misnamed Will Somers (329) . Bust ; face seen in full, grinning through a lattice-window. He wears a black cap and dress. Both his hands are seen, and he is tapping on the glass with his right. On wood, 2 ft. 4 in. high, by 2 ft. wide. The history of this picture illus- trates the way in which false names are given to portraits. The first record of it is in the Commonwealth inventory, where it is entered as being at Oatlands, and sold to Mr. Houghton, 16th of January, 1651, for ^3, under the title: — “One looking through a casement,” without any artist’s name. We next find it in James II. ’s catalogue, No. 137 : — “The picture of a fool in a black cap, looking through a window,” attributed to Holbein ; and from that the step was natural to call it “ Will Somers.” It bears in fact no resemblance to the authentic portrait of him. (See No. 340.) Nor is it by Holbein; on the contrary, it is believed to be a work of the seven- teenth century. Behind is Charles I. ’s brand, and also Prince Henry’s. Engraved as Somers by R. Clamp. (Woltmann’s Holbein , page 303, and in the Fortnightly Review . ) 667 Portrait of Sir Nicholas Bacon ( 268 ) unnamed. Bust, turned to the left, but eyes directed to the right. He wears a black dress, a large quilled ruff, and a black sugar-loaf hat. He has a grey forked beard. On wood, 2 ft. io£ in. high, by 1 ft. 5^ in. wide. Across the top is inscribed : — “Nicholas Bacon.” Sir Nicholas Bacon was bom in 15 10, and went to the Bar in 1537. At once on Elizabeth’s accession he was appointed Lord Keeper, an advancement which he probably owed to the friendship of Cecil ; and the Queen always reposed the greatest trust in him, regarding him, according to Camden, “ as the very oracle of the law.” Towards the close of his life — the period when this portrait was painted — he grew very fat. To this he alludes in a letter to Elizabeth, excusing himself for writing instead of coming to her, saying, “ not of an unwillinge harte and mynde but of an unhable and unwieldie bodie, is the onely cause.” He knew also how to 244 Royal Gallery of Pictures . combine flattery with a jest on his own corpulence. “ No, madame,” said he, when the Queen was visiting him and observed that his house was too small for him, “ my house is not too small for me, but your Majesty has made me too large for my house.” His illustrious son says of him that “he was a plain man, direct and constant, without all finesse and doubleness, and one that was of a mind that a man in his private proceedings, and in the proceedings of state, should rest on the soundness and strength of his own courses, and not upon practice to circumvent others.” It should be observed that this picture bears little resemblance to other portraits of Sir Nicholas (compare especially the one in the National Portrait Gallery) ; but resembles rather those of Lord Chancellor Ellesmere. 668 Head of boy, unknown (528) unnamed. Bust, to the left, but the face turned round to the front. He wears a brown coat showing a bit of white shirt at the throat, and a dark cap. He has long reddish hair. On wood, 1 ft. 7^ in. high, by 1 ft. 3 in. wide. In James II. ’s catalogue, No. 417, this is attributed to Rubens. Behind is written in ink, “ Anthony Laffeur ” (?). 069 Musicians (659) Peter de Hoogh. A lady is sitting in the centre playing on a lute, behind her is a man playing on a violin, and to the right is another lady with a lute, her back turned to the spectator. These figures are inside a room. On the left is an open door near which is a hound in shadow. Outside is a man seated in the sun. Signed in the lower left- hand comer, “ P. D. Hoogh , 1647,” or 1667. On canvas, 1 ft. 8£in. high, by 1 ft. 1 1 in. wide. 670 Architectural Night-Piece — St. Peter in Prison (700) . Steenwyck. St. Peter is in front kneeling to the angels ; behind them is a candle on a step, and soldiers are sleeping in various parts of the prison, which is a large stone vaulted chamber. On wood, 2 ft. high, by 2 ft. 3 in. wide. There were several similar “ Night-pieces ” of St. Peter in prison, by Henry Steenwyck the younger, in Charles I.’s collection, most of which are now here. (See Nos. 683, 737, &c.) He was a painter in the service of the King, who much admired his works. R. Symonds records in his diary that Poelemberg did the small figures for Steenwyck’s perspectives. (See MSS. notes in B. M. copy of the Kensington catalogue.) 671 Soldiers on the March ( 413 ) Borgognone. A trumpeter is sounding his trumpet to call the troops together. They are marching along a pass over the mountains, which rise on the right with rocks and waterfalls. On canvas, 1 ft. 3J in. high, by 1 ft. 1 in. wide. 672 Cattle in a Landscape ( 786 ) M. Carr£. Two red oxen stand under a tree in the centre ; besides them are sheep, an ass, and a goat ; behind, a woman seated in the shadow of a bam, and cattle watering to the right. On canvas, 3 ft. high, by 3 ft. 10 in. wide. Michael Carre was a pupil of Berghem’s, and is said to have resided in England. 673 Christ Blessing little Children ( 362 ) Huens ? Our Lord is standing at the door of the Temple to the right, surrounded by His FACE AT A WINDOW. BY AN UNKNOWN ARTIST. From a photograph by Spooner and Co. Hampton Court Palace. 245 disciples, and a group of mothers and children. On the left a disciple is directing others to Christ. The background is a classic building with Roman arches. On copper, 5 in. high, by 7 in. wide. 674 “ A Landscape-piece of a Den of Lions ” ( 376 ) . . R. Savery. So entered in Charles I.’s catalogue, which adds, page 155, that it was “ sent to the King by his nephew, the Prince Elector, and done by Savery.” The lions are lying in a tangled mass of underwood ; above, in the trees, are several parrots and other birds. Behind is the King’s cypher and a label inscribed : — “ This Picture sent to the King by Prince Charles , Elector Palatine. Done by Rowland Savery .” And it is signed in front in the lower right-hand corner: — “Roelant savery. 1622.” There are, besides, the following entries : — “A Piece of Lyons done by Savarrio. Sold to Mr. Wright, 7th June, 1650, for ioj.” — in the Commonwealth inven- tory (folio 486) ; and “A landscape with several lions and fowls by Rowland Savery,” among James II.’s pictures, No. 517. For this painter, see No. 695. 675 Still-Life — A Fruit-piece (934) De Heem, The articles are on a table, and consist of a white cloth, a tart in a silver plate, a nautilus shell with grapes, a peeled lemon, and apricots. On wood, 1 ft. 10 in, high, by 2 ft. 7 in. wide. 676 Whole-length portrait of a man — A sketch {234) . F. Hals. Facing in front, his left hand on his hip, his right holding a stick. He wears a drab suit, a large broad-brimmed yellow hat, and gaiters and shoes of the same colour. The background is a red curtain ; behind, on the left, are seen two figures. On canvas, 2 ft. high, by 1 ft. 7 in. wide. An admirable sketch. 677 Landscape, with Ruins, Goats, and Sheep (643) . . Paul Brill. In the foreground to the left are some shepherds tending goats ; to the right women drawing water ; in the background ruins and a castle. On canvas, 2 ft. 8 in. high, by 3 ft. 6 in. wide. Paul Brill, who was born at Antwerp in 1556, holds an important position in the history of land scape -painting. “ He was the first to introduce a certain unity of light in his pictures, attaining thereby a far finer general effect than those who had preceded him.” Waagen observes that he exercised a considerable and beneficial influence over Rubens, Annibale Caracci, and Claude Lorraine. 678 Landscape, with Cattle (9 83 ) . . Herman Van Swanevelt. In the foreground to the left is a goatherd with goats ; in the centre cattle, and in the right distance water, at the brink of which are more cattle. On canvas, 1 ft. 8 in. high, by 2 ft. wide. This landscape and Nos. 694, 727, are considered to be among the best works of this Dutch scholar of Claude’s. “Few artists have surpassed him in the suavity and tenderness of his tints, or the delicate ‘degradation’ of his aerial perspective.” — (Bryan’s Diet. ) 679 Landscape with the Gate of a Town ( 81 ) . . . Jan Breughel. In the centre is a gateway leading to a village, from which a woman and a man on horseback are coming. On the left in the foreground a man is kissing a woman, 246 Royal Gallery of Pictures. and in the distance a chateau. In the right distance a village with figures. On copper, 5^ in. high, by 7§ in. wide. Jan Breughel was the second son of Peter Breughel the elder. He is commonly called “Velvet” Breughel, on account of the exquisite softness and finish of his work, to distinguish him from his father, “Peasant” Breughel, and his elder brother, “ Hell ” Breughel. (See note to No. 748.) Jan principally painted land- scapes with animals and flowers ; there are several specimens of his work here. 680 The Judgment of Paris { 86 ) Rottenhammer. Paris is seated under a tree, and is giving the apple to Venus. Minerva is stand- ing with her back to the spectator, removing her drapery. On the left, behind the tree, Juno advances. A river god and water nymph are seen in the left foreground. In the left distance are the chariot-horses of the sun ; and other gods in the right distance. On wood, n^in. high, by 10^ in. wide. 681 Soldiers in a Landscape { 434 ) N . Borgognone. Five or six soldiers in cuirasses stand on a rock which rises up on the right. One of them in a hat with feathers is directing their attention to something in the distance. On canvas, 1 ft. 3 in. high, by 1 ft. I in. wide. 682 A Laughing Boy ( 34.6 ) F. Hals? A head, turned to the right, the face thrown upwards, the eyes directed down- wards ; he is laughing and showing his teeth. He wears a brown dress with a broad lace-edged collar tied with red strings. His hat is a large black one, with a white feather and broad brim turned up. On wood, 1 ft. 7 in. high, by 1 ft. 3 in. wide. This is perhaps the “ Young Man’s picture laughing, by young Quentin,” entered in the Commonwealth inventory, folio 486, as sold to Mr. Wright, 22nd March, 1650, for £ 6 . 683 Perspective Night-piece — St. Peter in Prison ( 40s ). . Steenwyck. He and the sleeping guards are lying in a vaulted cloister on a stone pavement ; a lamp hangs from the groining. It corresponds with the “ Perspective piece of the Imprisonment of St. Peter, where three watchmen, whereof one lying along, and two others also sitting asleep, painted on the wrong light. Done by Steenwyck,” in Charles I.’s catalogue, page 15. At the back of the panel is his cypher. On wood, 1 ft. 8 in. high, by 2 ft. 2 in. wide. (Compare Nos. 465, 670, 737, &c.) 004 Flowers, Weeds, and Insects ( 82s ) . ... M . Withoos. Brambles, thistles, a lily and a rose ; also on the right shepherd’s purse, and on the left a hedgehog, and various insects. On canvas, 3 ft. 7^ in. high, by 3 ft. 4J 1 in. wide. Signed below near a wheat-ear : — “ M. Withoos. Mirsuoort (?) A 0 . 1665.” Charles II. must have acquired this picture, for it is designated in James II. ’s catalogue. No. 768 : — “a piece with thistles and flowers, a hedgehog in it, by Withoos.” This very rare painter, of whom Waagen and other editors of Kugler’s Hand- book remark that they are unable “ to quote a specimen of his art in anj r public gallery,” was a scholar of Otto Marseus van Schriek, and belonged to a small group of Dutch painters who flourished in the latter half of the seventeenth century, and who “took pleasure in representing all kinds of plants upon a dark background. Hampton Court Palace . 247 with butterflies and other insects about them, and below, between mushrooms and other such undergrowth, snakes, and lizards, and toads and frogs, sometimes fighting with each other.” His works met with great favour, and very large prices were given for them. Of the truth and precision of his pencil this, and two other pieces here, Nos. 692 and 702, are sufficient evidence. They seem to be almost unique examples of him in England. 685 Landscape, with Figures ( 236 ) . . . Bartholomew Breenberg. Open scenery with a few trees, and half-a-dozen male and female figures playing at Blind-man’s Buff. In the distance is a river. On wood, 1 ft. 2 in. high, by 1 ft. in wide. This has long been ascribed to Paul Brill, but at the back of the panel are Charles I.’s cypher and a tom slip of paper with an inscription in a handwriting of that time, on which are the letters “ B art. omP half obliterated. It is probably, there- fore, the “ Landscape of Bartholomew,” sold by the Commonwealth to Mr. Jasper, 22nd Nov. 1649, for £6 (No. 1122), which appears in James II. ’s catalogue, No. 398 : — “A landscape with small figures, by Bartolomeo.” Breenberg at first studied under Poelemberg, but afterwards went to Italy and adopted the style of that country. The landscape before us is in his earlier Dutch style. 686 Satyr and Nymph, dancing (pp7) Poelemberg. On the right is a satyr apparently asleep, and a nymph is looking at him ; on the left is another satyr with a nymph ; and in the centre others dancing. The back- ground is rocks and a hilly landscape. On wood, 1 ft. 3^ in. high, by 2 ft. I in. wide. Behind is painted : — “ Huic poelenburgo vix par est Magnus Apelles picta docet vatys multa tabella modisP Although the works of Poelemberg — “the sweet painter of little landscapes and figures ” — are stated to be “very scarce,” there are a considerable number in this collection (see Index), most of which he must have painted for Charles I. during his residence in England. 087 Battle-Piece — Troopers Plundering ( 407 ) . Wouvermans. To the right are an officer on a white horse and a woman kneeling to him in sup- plication. Other horsemen are seen behind, to the left, plundering ; on the right is a village. On wood, 1 ft. 6 in. high, by 2 ft. 2\ in. wide. Behind is the inscrip- tion : — “VAN PHLS WAVWRMAN.” This picture is No. 1078 of James II. ’s and No. 222 of William III.’s Hampton Court catalogue. 088 The Elements— Water (qj) . Breughel and Rottenhammer. In the centre, somewhat to the left, at the foot of some trees, is seated a nymph or goddess in loose red drapery, holding in her right arm a cornucopia filled with water plants, corals, and sea weeds ; with her left hand she pours out water from a large shell. To the right a river-god is also pouring out a stream from an urn ; and into the pool formed thereby, various kinds of fish are leaping ; around are also aquatic fowls and plants. This is one of a series of four pieces representing the four elements. (See Nos. 703, 721, 739.) They are each on wood, 1 ft. 6f in. high, by 2 ft. 7$ in. wide ; and 248 Royal Gallery of Pictures . behind each are Charles I.’s cypher — CR. crowned, and slips of paper inscribed in a handwriting of the time : — “ Bought by the King for Oatlandes House Gallery In James II. ’s catalogue, No. 240, they are called : — “A set of the Four Seasons,” — an erroneous title, which they have borne till recently. Their correct designation is that under which they appear in the Commonwealth inventory : — “The Four Elements appraised at ^15, and sold, 18th Nov. 1651, to Mr. Decritz and others,” the last part of the entry, however, being erased, and the words “ Reserved for his Highness’ service ” substituted. The landscapes were painted by Jan, called “ Velvet ” Breughel, and exhibit the delicacy and softness for which he was distinguished. The figures, which are about six inches high, and the birds, fish, and other animals are ascribed to Rotten- hammer. The exquisite finish of every little detail, especially in the scales, fins, and eyes of the diminutive fish, and in the scrupulous rendering of every little leaf and seed of the fruit, is something quite marvellous. As now placed they can scarcely be appreciated. 689 Portrait of a Gentleman, unknown (1098) unnamed. He is seen to the elbows ; facing to the front, but turned slightly to the right. His dark dress has gold buttons in front ; and on his breast is the collar and lamb of the Golden Fleece. He wears a large quilled Spanish ruff, and a small black bejewelled cap. His hair is light, his eyes blue, and he has a small, tumed-up moustache, and peaked beard. On canvas, 1 ft. 9J in. high, by 1 ft. 1 in. wide. This is an unknown portrait. Across the top is an obliterated inscription, in which seem to occur the letters : — “ DAV ANO sthc . . . — which may afford a clue to the person represented. 690 Stacking a Hayrick (387) Wouvermans. To the left are a tumble-down cottage and a woman sitting by the door with two children. To the right a man on a hay-cart is stacking a hay-rick, on which stand two men ; two horses are close by. On wood, 1 ft. 3 in. high, by I ft. wide. Signed in the lower right-hand comer with the painter’s usual monogram. No. 1083 in James II. ’s catalogue was : — “A cottage with horses and a hay cart, by Wouvermans,” — doubtless this piece. 691 Flowers — Roses, &c., in a Vase (819) . M. van Oosterwyck:. The vase, which is of glass, and in which are carnations, roses, &c., stands on a marble table ; and a small shell is close by. Along the edge of the table in the left-hand corner is inscribed : — “Maria van Oosterwyck, 1689.” On wood, 1 ft. in. high, by 1 ft. 2\ in. wide. This and No. 700 are good specimens of Maria van Oosterwyck, a lady painter and a scholar of De Heem’s. “ In my opinion she does not occupy that place in the history of the art of her time which she deserves, which may be partly owing to the rarity of her pictures, especially in public galleries. For although her flower-pieces are weak in arrangement and often gaudy in the combination of colour, yet she represents her flowers with the utmost truth of drawing, and with a depth, brilliancy, and juiciness of local colouring unattained by any other flower painter. ” — ( Waagen, ) Hampton Court Palace. 249 692 Flowers and Insects ( 821 ) M. Withoos. The flowers are blue convolvuluses on which are several white butterflies ; and below a small green snake. On canvas, i ft. 6-f in. high, by I ft. 3^ in. wide. Signed just above the highest green leaf : — “ M. Withoos .” This is a thoroughly characteristic specimen of this rare painter (see note to No. 684). 693 Nymphs in a Landscape, bathing (427) Dietrich. On the left is a fountain sculptured with bacchanalian figures ; several nymphs are bathing in the pool of water flowing from it ; other figures behind. On canvas, I ft. 4^ in. high, by 1 ft. Ii£ in. wide. Dietrich was a German artist who flourished in the middle of the eighteenth cen- tury, and imitated various styles ; this being after the manner of Poelemberg. 694 Landscape — Venus presenting Cupid to Diana (129) . Swanevelt. In the centre foreground is a large tree beneath which is a group of Diana and her nymphs, to whom Venus, with her son Cupid, is coming. Trees on the left, and a hilly landscape in the right distance. On canvas, 3 ft. 2 \ in. high, by 4 ft. 4^ in. wide. (See note to No. 678.) 695 Landscape — A Waterfall (775) R. Savery. On the right are rocks with the water dashing over them ; to the left trees, and figures approaching the pool below. On wood, 2 ft. 1 in. high, by 3 ft. 2 \ in. wide. Roelandt Savery was much employed by the Emperor Rodolph, who sent him into the Tyrol to study the wild scenery which he loved to sketch. 696 A Penitent received into the Church {357) Baroccio. In the middle is an altar, and on the steps thereof a naked figure is kneeling to a monk attired in a black habit. On canvas, 2 ft. high, by 1 ft. 1^ in. wide. 697 Destruction of the Children of Niobe (557) . . . Rottenhammer. Below are the children grouped to the right and left, and in the centre, one rush- ing forward. In the clouds above are Apollo and Diana shooting. Painted in an oval. On canvas pasted on wood, 1 ft. 3f in. high, by 1 ft. 8f in. wide. In James II.’s catalogue, No. 529 : — “The story of Niobe’s children shot out of the clouds. Rothenhamer. ” 698 Landscape — Rocks and a Lake {566) .... Everdingen. The sky is cloudy and dark, the scenery fine and grand ; with rocky mountains to the right. On the lake is a little boat with three figures in it, and not far off a house. On wood, 1 ft. high, by 1 ft. 4 in. wide. We find this among James II.’s pictures, No. 41 1 : — “ A landscape very neat, by Everdingen.” This landscape is a fairly characteristic specimen of a Dutch master of whom there are but few examples in England. He painted in the style of Savery and Jan van Goyen, and was fond of depicting the sublime in nature — rushing torrents, tempestuous skies, lofty mountain peaks, dark sheets of water. 699 Judith with Holofernes’ Head (88) . after P. Veronese by Teniers. To the right is Holofernes’ headless body lying on a couch. In the centre Judith gives the head to her maid. Behind are figures and a pavilion. On canvas, 1 ft. 5 in. high, by 2 ft. wide. K K 250 Royal Gallery of Pictures, 700 Flowers and Insects ( 820 ) ....... M. van Oosterwyck. The flowers, which are white and red roses, nasturtiums, &c. , are in a glass vase standing on a table. On wood, 1 ft. 6 in. high, by 1 ft. 2\ in. wide. On the edge of the table : — “Maria van Oosterwyck, Anno 1686.” 701 The Conversion of St. Paul {yo) V. Malo. A spirited composition of twelve figures. Amidst the dark clouds Christ appears as an irradiating light on the group ; horses and men all exhibit the greatest affright and confusion ; St. Paul, who with his horse has fallen to the ground, is being held up by two attendants. On copper, 1 ft. 6 in. high, by 2 ft. 2 in. wide. Signed in the left corner : — ■“ Vincent malo inven.” There was a “little Whitehall piece of the Conversion of St. Paul” in Charles I.’s catalogue, page 12 1 ; which was sold by the Commonwealth, 23rd October, 1651, to Mr. Houghton for £1. Vincent Malo was a disciple of Rubens. 702 Still-Life — Flowers in a Glass Vase ( 822 ) M. Withoos. The flowers are roses, marigolds, nasturtiums, &c. On the table also are a skull, an enamelled watch with a gold chain, and an old book with vellum binding and tattered leaves. On canvas, 1 ft. 6 in. high, by 1 ft. 3! in. wide. Signed in the lower right-hand comer : — “J M. Withoos ,” the f. M. and W. in a monogram. (See No. 692.) 703 One of the Elements — Air (86) . Breughel and Rottenhammer. To the left is a nymph, in loose red drapery spangled with stars, floating on a cloud, and holding a bunch of feathers in her right hand ; in her left she has a sphere. She is attended by three Cupids. On the ground and in the air are eagles, peacocks, and all kinds of birds. The chariot of the sun is seen in the heavens. (See note to No. 688.) 704 A Wild Boar Hunt (959) Snyders. To the right near a tree is the boar, attacked by a pack of hounds. One mounted on its back has hold of its right ear ; another is seizing its left ear ; others its hind legs ; while to the left are two others on their backs, spotted with gore and half killed ; the heads of others are seen coming up. On canvas, 6 ft. 9 in. high, by 1 1 ft. 6 in. wide. This was in James II. ’s catalogue, No. 802 : — “The hunting of wild boars by Snyders. ” There are similar pictures at Vienna and in the Louvre. It is a fine specimen of those spirited compositions of lion, stag, and boar hunts, to which Snyders devoted his matured genius, and for which he became so greatly celebrated. In his earlier time, as we have seen {vide note to No. 612), he was not thought capable of any great excellence in this line ; but afterwards even Rubens greatly admired them, and condescended to paint the figures in them. In his treatment he stands alone : — “ He represents the actual hunting of wild animals by dogs ; he seizes upon the actual struggle for life and death, as the main interest to which other incidents should be subordinate. Fire gleams in the eyes, and life and energy in every limb of the animals. The painter was familiar with the boar, which was hunted and occasionally brought to market from the forests of Flanders and Brabant.” (See The Magazine of Art, where this composition is engraved.) 705 Portrait of the Count of Hoogstraaten (868) unnamed. To the elbows, turned to the left. He is in armour of steel, ornamented with Hampton Court Palace . 251 elaborately wrought breast-work, and wears a small ruff. He is bareheaded, and has red curly hair and a short beard. Round his neck hangs the lamb of the Order of the Golden Fleece. His right hand is just seen. On wood, i ft. n in. high, by i ft. 8Jin. wide. Across the top is inscribed : — “ Le Conte de Hoogh- strat. ” Anthony de Lalaing, Count of Hoogstraaten, was one of the chief leaders in the revolt of the Netherlands against the Spanish. In 1568 he was cited before the Blood-Council, and in the same year was killed in battle. He was a firm friend of the Prince of Orange, and a brave, high-spirited man. This portrait and companion ones of the leaders in the war of Dutch Independence, Nos. 706 and 713, were probably brought over to England by William III. ; for we do not find them in James II. ’s catalogue, and the names are inscribed, in a handwriting of that time, on slips of papers behind. There are a series of portraits of these heroes at Amsterdam, from which perhaps the panels before us are replicas or old copies. 706 Portrait of Maurice, Count of Nassau (866) unnamed. Bust, facing to the right. He is in armour of steel ornamented with rich brass- work, and wears a small ruff. Over his shoulders is a red scarf. He has light hair and a short trimmed beard. On canvas, 1 ft. 1 1 in. high, by 1 ft. 8£ in. wide. Across the top is painted : — “ Mavrice Conte de Nassav.” Motley gives the following account of Prince Maurice at the age of forty- two, in 1609, when he was in the full flower of his strength and his fame. “ He was of a noble and martial presence. The face, although unquestionably handsome, offered a sharp contrast within itself : the upper half all intellect, the lower quite sensual. Fair hair growing thin, but hardly tinged with grey, a bright, cheerful, and thoughtful forehead, large hazel eyes within a singularly large orbit of brow ; a straight, thin, slightly aquiline, well-cut nose — such features were at open variance with the broad, thick-lipped, sensual mouth, the heavy pendent jowl, the sparse beard on the glistening cheek, and the moleskin-like moustache and chin tuft. Still, upon the whole, it was a face and figure which gave the world assurance of a man and a commander of men.” — (. Life and Death of Bar nev eld ^ i., 29.) 707 George Villiers, first Duke of Buckingham ($88) C. Janssen. Half-length, facing in front, but inclined to the right. He is dressed in the full robes of the Garter, with the collar and “George,” a crimson cloak lined with white silk, a broad turned-down lace ruff of three tiers. He has long chestnut hair, and a peaked beard and moustache. On canvas, 2 ft. 6 in. high, by 2 ft. I in. wide. Behind is a label with the date 1816, and a note “ From Lord Stowell.” This appears to be a replica of part of the full-length at the Grove. James I., who, as Clarendon said, “of all wise men living, was the most delighted and taken with handsome persons and fine clothes,” gave his favourite the Garter in July, 1616, not long after he had first been introduced to him. It was doubted at the time ‘ ‘ that he had not sufficient livelihood to maintain the dignity of the place,” but the King soon supplied the deficiency by grants of land and pensions and offices ; and Villiers, who loved magnificence in dress as much as his master, took care to please his eye by his splendid costumes. “It was common with him,” says an old writer, “at an ordinary dancing, to have his clothes trimmed with great diamond buttons, and to have diamond hat- 252 Royal Gallery of Pictures. bands, cockades, and earrings ; to be yoked with great and manifold ropes and knots of pearl ; in short, to be manacled, fettered, and imprisoned in jewels ; insomuch, that at his going over to Paris, in 1625, he had twenty-seven suits of clothes made, the richest that embroidery, lace, silk, velvet, gold, and gems could contribute : one of which was a white uncut velvet, set all over, both’ suit and cloak, with diamonds valued at fourscore thousand pounds, besides a great feather, stuck all over with diamonds.” Of his extraordinary beauty, which won him the favour of two kings, we have numerous testimonies : — “ He had a very lovely complexion; he was the hand- somest bodied man in England ; his limbs so well compacted, and his conversation so pleasing, and of so sweet a disposition.” A diarist also notes : — “I saw every thing in him full of delicacie and handsome features ; yea his hands and face seemed to me especiallie effeminate and curious.” 708 Portrait of a Man unknown (914) unnamed. Bust ; face seen in full, turned slightly to the right. He wears a simple black dress, with a plain turned-down broad linen collar, apparently of the time of the Commonwealth. On canvas. 709 Supposed Portrait of Shakespeare (2/p) unnamed. Half-length ; face directed slightly to the left. He wears a dark-green coat, trimmed with gold braid ; the sleeves open all down the arms, the buttons and loops being unhooked, except at the elbows. Round his waist is a belt for his sword, the hilt of which he grasps in his left hand ; in his right he holds a dagger. His hose are crimson. He has a lace ruff, hand ruffles, long brown hair, a small moustache and a peaked beard. From his left ear, which is pierced, hang black strings. Above is inscribed: — “ ALtat. suce. 34.” On wood, 2 ft. 5 in. high, by 2 ft. wide. Except for the supposed resemblance of this picture to the authentic portraits of Shakespeare, for which reason it was bought by William IV., I believe there is no ground for its bearing the name it does. Certainly, it is rather a truculent version of the “gentle Bard of Avon.” 710 Supposed Portrait of Raphael ( 278 ) by himself ? Head, life-size, turned to the right, but the eyes looking to the front. He is dressed in a simple black dress, showing a large portion of his white shirt beneath. On his head is a plain black cap. lie has long brown hair falling over his shoulders; his eyes are also brown. In the right distance is seen the tomb of Cecilia Metella. On the two buttons in the front of his coat is inscribed, round one : — “ Raphael,” round the other “sanzio.” On wood, 1 ft. 4$ in. high, by 1 ft. 4^ in. wide. There is some doubt with regard to the history of this picture, as it is stated in the Royal Catalogue that it was given to George III. by Lord Stowell ; but this is doubtful. It is more probably “ Raphael’s picture in a black habit and black cap, done by himself” in James II. ’s catalogue, No. 123, which seems identical with the “ Man with a black cap by Raphael,” sold by the Commonwealth to Mr. Hook and others for ^30 ( Harl . MSS. 4898, No. 1170), and which had therefore belonged to Charles I. Although almost every possible opinion was expressed by the pre-Morellian connoisseurs as to this picture — some considering it a genuine portrait of Raphael THE DUKE OF BUCKINGHAM. BY JANSSEN. From a photograph by Spooner and Co. Hampton Court Palace. 253 by himself ; others a portrait of Raphael, but not by himself ; others not a portrait of Raphael, but by him ; others neither a portrait of him nor by him — there can be no longer any doubt but that the signature is a forgery like that on the similar portrait of a youth with a swollen nose, wearing a black cap, at Munich, and that this strange personage with two glaring eyeballs and a stumpy nose is certainly not Raphael, and that the painter had nothing to do with him or his school. — C. Phillips. The statement that the Munich portrait is by the same hand as this so-called Raphael “is, I think, very unlikely. Then, as now, inferior painters were plentiful enough, and as far as mediocrity goes, the Hampton Court portrait is a worthy pendant to the one at Munich.” — Morelli’s Italian Painters , iL, p. 109. 71 1 Sir Theodore Mayerne, Physician to James I., Charles I., and Charles II. {264) after Rubens ? Bust, turned to the left, eyes directed to the front. He is dressed in black, with a round black skull-cap, and a white collar. He has a thick snowy white beard. On canvas, 2 ft. 6 in. high, by 2 ft. 1 in. wide. This head seems to be a copy after the half-length now belonging to the Royal College of Physicians, in which the doctor holds a skull in his left hand. There is another portrait of him by Rubens, which is traced in the master’s own inventory, and which was formerly at Cleveland House. It was engraved by Faber and W. Elder. Sir Theodore Turquet de Mayerne was a native of Geneva, of a noble French family, a Huguenot, whose father had fled to that city. He was originally physician to Henri IV., but on the assassination of that monarch he came to England. Here he attended Prince Henry in his last illness, and, being appointed principal phy- sician to James I., was knighted in 1624. “ His skill in chemistry far exceeded that of any of his contemporaries, and he was the first who had the boldness to apply the mineral specifics which form the basis of the modem pharmacopoeia. But his application of chemistry to the composition of pigments, which he liberally com- municated to the painters who enjoyed the royal patronage, to Rubens, Vandyck, and Petitot, tended most essentially to the promotion of the art, and its eventual perfection. From his experiments were discovered the principal colours to be used for enamelling, and the means of vitrifying them.” — (Dalla way’s notes to Walpole.) 712 Sir Theobald Gorges {287) unnamed. Bust, turned a little to the left. He wears a black dress with silver tinsel and buttons, and a small plain collar. He has long brown hair and earrings. On the left is a coat-of-arms, only partially seen. On the right is a scroll with the motto : “ Virtutis prcemiii non fortunes Elimosina.” On wood, 1 ft. iof in. high, by 1 ft. 5^ in. wide. Theobald Gorges was knighted on the 27th of June, 1616. I suppose the name is correct, but the picture is not unlike George Clifford, Earl Cumberland. 713 Portrait of the Count of Brederode (867) unnamed. Bust, facing in front. He wears steel armour, ornamented with fine brass-work, and a small white frilled collar or ruff turned over the gorget. He has reddish hair, beard, and moustache. Round his neck is a long chain. On wood, 1 ft. 1 1 in. high, by 1 ft. in. wide. Behind, on a scrap of paper, is an old obliterated inscription : — “ Br . d . ro . . 254 Royal Gallery of Pictures. This is Henri, Comte de Brederode — “the bold, debauched Brederode, with hand- some, reckless face and turbulent demeanour,” — as Motley says ; and “ a madman if there ever were one,” as a contemporary expresses himself. He was one of the first to sign the famous “Compromise,” and was the individual chosen to present the “ Request” to the Duchess of Parma, Governess of the Low Countries, which was the beginning of the revolt against the Spanish Dominion. 714 Portrait of the Due D’Aumale (869) unnamed. To the elbows, facing in front. He is in steel armour, ornamented with gold, with a plain collar over the gorget. His hair is grey, but his moustache and thin beard are brown. On wood, 1 ft. 10 in. high, by 1 ft. 8J in. wide. Across the top is painted : — “Le Dvc Davmale.” I presume this to be Claude II. de Lorraine, Due D’Aumale, who took such a glorious part in the defence of Metz when besieged by Charles V. in 1552, but who sullied his fame by advocating the massacre of St. Bartholomew, and the murder of Coligny. He was killed at the siege of La Rochelle. 715 Dutch Boors regaling (395) Egbert Hemskirk. Four figures seated round a table, playing cards and drinking with large tankards. One is seated on a tub ; four other figures are in the room. Above, from an arched opening, a man is receiving a bottle ; another by him is smoking. On wood, 1 ft. 1 in. high, by 11 in. wide. Signed : — “ E. H. 1681 ?” 716 Head of a Youth ( 372 ) unnamed. Turned to the left, face seen in three-quarters, turning round at the spectator. He wears a brown dress, with a folded linen ruff. His hair is short and light brown. On canvas, I ft. 7 in. high, by 1 ft. 2 in. wide. 717 Still-Life — Oranges, Oysters, Grapes (428) Cuyp ? The objects, which consist of a whole and half orange and peelings, two bunches of grapes, some open oysters and shells, a glass and plums in a plate, and a large red wine-glass, and a glass flagon, are all on a table covered with a cloth. On wood, 1 ft. 9 in. high, by 1 ft. 4 in. wide. This is ascribed to Cuyp, by whom is meant, I suppose, Jacob Gerritsz Cuyp, the father of the great landscape painter ; but it seems rather in the style of De Heem. (See Nos. 469 and 675.) Perhaps it is the “piece with a Rhenish wine-glass by De heim,” sold by the Commonwealth, 7th May, 1650, in this Palace, to Mr. Leemput for ^11. ( Inventory , folio 305.) 718 Dead Game and Flowers ( 374 ) Jan Weenix. To the right are lying a partridge and a pigeon. Behind are a belt with a large brass buckle and a small brass pan hanging from a tree, by which are convolvuluses and other flowers. On canvas, 1 ft. 10 in. high, by 1 ft. 7^ in. wide. Signed in the lower right-hand comer : — “ y. IVeenix f. 16? 8.” The signature indicates that this is a work of Jan, the son and scholar of Jan Baptist Weenix, the painter of landscapes and animals. He eventually excelled his father in the second of these lines, and, in fact, in sporting subjects of this sort — dead horses, pheasants, partridges, swans, with hunting implements, &c., as ac- cessories — is regarded as the greatest master that the Dutch, or indeed any other school, ever produced. Hampton Court Palace. 255 719 Nymphs in a Landscape, Bathing ( 430 ) Poelemberg. In front are five semi-nude female figures, three of them seated ; behind, some six others are bathing. The background is a mountainous landscape and a clear sky. On wood, I ft. I in. high, by I ft. 4J in. wide. This was in James II. ’s collection, No. 1072, and William III.’s, No. 220. 720 A Landscape {567) Cornelius Huysman. In front are two figures at the edge of a brook, which flows past a mill or farm behind on the left. On the right are some trees and a roadway. On canvas, 11 £ in. high, by 9 \ in. wide. 721 One of the Elements — Fire (94) . Breughel and Rottenhammer. To the left are four nymphs, the principal one in loose red drapery, seated, and holding a cornucopia and an apple ; she is attended by the others, one holding aloft an armillary sphere, another a lighted torch, and the third pouring water from a jar into a stream. In the foreground to the left are cooking utensils, fruits, and vegetables, and a monkey handling some roots ; to the right various fish, ducks and other aquatic fowl plunging into the water. Background, trees and a landscape. (See note to No. 688.) 722 A Small Landscape (342) P. F. Ferg. A man on horseback, who is in the centre on the piece, is coming along a road, and speaking to two women and a child. On the right is a tomb, on the left a tree. On copper, 3^ in. high, by 4^ in. wide. Ferg was an imitator of the style of Breughel, who came over to England about 1720. His works, especially his diminutive ones on copper, such as this, were much admired, and still fetch high prices. He died in the streets of London from want and exposure in 1740. 723 The Discovery of Callisto by Diana (360) .... Poelemberg? On the left is Callisto, who is seized by two nymphs ; on the right is Diana with attendant nymphs. On copper, 8 in. high, by 8 in. wide. In Charles I.’s catalogue, page 165, was : — “ A little landscape piece of Poelem- berg, being where Diana is haling Calista by the hair, where four other nymphs are looking on, being very little entire figures, 8 in. by 8 in.” — evidently this. In James II. ’s catalogue it is attributed to Rottenhammer, and his name is written in a handwriting of the time on the back of the copper, behind the wood. In more recent times it has been ascribed to Breughel. 724 Nymphs and Satyrs (359) Poelemberg. On the right a nymph is reclining, and a satyr sitting by her is offering her wine, while another pours it out for him. Behind them are other nymphs and satyrs playing on pipes and sporting. In the middle is another nymph with her back turned, dancing ; on the left another borne on the backs of two satyrs. On wood, 6| in. high, by 9f in. wide. 725 Saint Francis praying (436) Teniers. The saint is represented in his habit in a cavern. He kneels in front of a piece of rock, on which is a skull, which he is touching with his left hand ; his right is on his breast. His eyes are upturned. The background is rocks with foliage, and a 256 Royal Gallery of Pictures. sky with clouds is seen through the opening of the cave. On canvas, 11^ in. high, by 9^ in. wide. On the rock beneath, and about an inch to the left of the skull, is his signature : — “D. Teniers.” This is probably a copy from some Neapolitan or Spanish picture. 726 Jonah under the Gourd (676) M. Heemskirk. The prophet is seated on the left, looking to the right, beneath the gourd which grows behind and over him ; he is under the side arch of a bridge, which spans a river. In the background further up the river are another similar bridge and the faint outline of Nineveh. On wood, 1 ft. 4 in. high, by 2 ft. 9 in. wide. Inscribed on the pillar of the arch in the centre of the picture : — “ &° 1561 iftHartgttbS Van f^eemffterck Jnbentor.” In James II. ’s collection, No. 206 : — “ A Landscape with ruins. The Story of Jonah, by Hemskirk.” 727 Venus and Cupid escaping from Diana (132) . . . Swaneveldt. Diana and her nymphs are slumbering under some trees on the right, while Venus with Cupid in her arms, followed by another child, is in the centre foreground flying away from them towards the left. A mountain and woods in the background. On canvas, 3 ft 2 in. high, by 4 ft. 5^ in. wide. 728 A Sea Port and Ruins ( 120 ) . . . . O. Viviani and Jan Miel. The entrance to the port is through a ruined triumphal arch in the Roman style. In the centre foreground a man is shoeing a horse, and travellers are looking on. To the right is an ass tethered. To the left people with boats are going off to a round tower at the end of the mole. Shipping is seen in the offing. On canvas, 2 ft. 8 in. high, by 4 ft. 2 in. wide. Ottavio Viviani was a painter of architecture who flourished about the middle of the seventeenth century ; he is to be distinguished from Codagora Viviani, an inferior artist who painted similar subjects. The figures are ascribed to Jan Miel, a Flemish painter who settled in Italy and adopted the style of Bamboccio . (see No. 472) ; compare No. 829. 729 A Saint’s Head (409) G. Dow? Less than life, turned to the left. He wears a brownish coat, and has black hair and a grey beard ; his head is encircled with the aureola. On canvas, 1 ft. 6 in. high, by 1 ft. 3 in. wide. 730 Sketch for the Portrait of Madame de Cante Croix (423) . Vandyck. Full-length, standing ; turned to the left, the face to the front. Her left hand hangs by her side, the right holds an apple against her bosom. Her dress is all black with rich lace cuffs, and open at the bosom. Her hair is curled in front, and short behind. She wears a necklace of pearls. Behind her is a red curtain, and a landscape to the left. On wood, 1 ft. 3 in. high, by 1 ft. wide. This is the original sketch for the beautiful picture at Windsor of Beatrice de Cusance, Princess de Cante Croix. The name St. Croix usually given is erroneous. (For an account of the original and the engravings, &c., see Smith’s Catalogue Raisonne, i., 379, and iii., 67 ; see also Lady Theresa Lewis’s Clarendon Gallery , iif, 395-) Hampton Court Palace . 2 57 731 Dead Game ( 365 ) Weeninx. Two dead partridges lie on the ground. Behind and somewhat above them are two cases, tassels, and other articles ; on the ground in front an old-fashioned powder-flask. Background : trees, and a landscape on the right. On canvas, i ft. 10 in. high, by i ft. 7^ in. wide. 732 Grapes (414) Varelst. A stalk with leaves and two bunches of white grapes and a white butterfly. On canvas, I ft. 6 in. high, by 1 ft. 2 in. wide. This was in James II.’s catalogue: — “Two bunches of grapes with a white butterfly by Varelst.” (For this painter, see note to No. 191.) 733 A Witch with Cupids ( 352 ) A. Elzheimer. Described in Charles I.’s catalogue, page 215: — “A little piece, whereon is painted a witch riding upon a black ram-goat in the air, with a distaff in her hand ; four little cupids in several actions ; said to be done by Elshamer, before he went to Italy, from a print of Albert Durer. Painted upon the right light. Given to the King by Sir Arthur Hopton.” It was sold by the Commonwealth under the title “The Fates of Elzheimer, four boys” — to Mr. Jasper, 22 November, 1649, for £3 (. Inventory , No. 1031.) On wood, 5J in. high, by 4 in. wide. 734 Landscape, with Goatherds ( 338 ) P. Brill. To the right are a shepherd with a herd of goats, and a woman with a distaff, under some trees. In the distance is a country, and in the foreground another shepherd bringing in a stray goat. On wood, 4J in. high, by 5^ in. wide. On the back of this panel is a monogram composed of the letters H. P. M. , surmounted by an earl’s coronet ; this probably belonged, therefore, to Henry Mordaunt, Earl of Peterborough. It is doubtless the ‘ ‘ small landscape with goats, by Paul Brill” in William III.’s Kensington catalogue, No. 107. 735 Nymphs and Satyrs dancing (361) Poelemberg. To the left is a naked woman holding a tambourine over her head and dancing, and in the background a group of satyrs carrying another nymph ; on the right are other nymphs and satyrs reclining, and a satyr climbing a tree and throwing fruit to those below. On wood, in. high, by 9^ in. wide. In James II.’s collection, No. 497. 736 An old Woman with a Book, asleep (419) . . . G. Dow. She is seated in an armchair, facing to the left ; her elbows are on the arms of the chair ; the book lies open upon her knees. Her left hand is on the arm of the chair ; her right, with her spectacles, touches the book. Near her are an earthen- ware pot and two dogs. The open page shows an illustration and a large initial S. On wood, 10 in. high, by 8 in. wide. In James II.’s catalogue : — “ No. 532. By Dowe. An old woman asleep with a book in her lap. ” 737 Night-Piece — The Angel delivering St. Peter (393) . Steenwyck. In the centre is the angel awakening St. Peter ; the guards, asleep, lie in various parts of the spacious vaulted chamber, which is lit by a hanging lamp. On wood, 1 ft. high, by 1 ft. 3^ in. wide. (See No. 670.) 258 Royal Gallery of Pictures, 738 “ Lot and his two daughters” ( 431 ) Poelemberg. So entered in James II. ’s catalogue, No. 1074. One daughter is sitting by her father, the other stands by holding up a rose. The background is rocky scenery. On wood, 1 ft. I in. high, by 1 ft. 5^ in. wide. 739 One of the Elements — Earth (85) . Breughel and Rottenhammer. In the centre is seated a nymph in loose crimson drapery ; she is attended by two cupids and two bacchanalians who offer her fruit. In the foreground are all sorts of flowers, fruits and vegetables, with two guinea-pigs nibbling at some beans, two monkeys handling turnips and carrots, and also rabbits, squirrels, and a goat. In the background are figures engaged in country pursuits, and a town in a valley with a church spire. (See note to No. 688.) 740 Interior of a Hall, with figures (p7j) Van Deelen. It represents a large hall in the Roman style ; at the end is a doorway, with a view into a garden. Near a column a king and queen are standing, and three persons are kneeling to them, presenting merchandise. On wood, 2 ft. high, by 2 ft. 6 in. wide. In Charles I.’s collection, for his cypher is branded behind. Dirk Van Deelen was a pupil of Frank Hals. His subjects were alternately interiors and exteriors of buildings in the antique taste. 741 Interior of a Farm — Loading a Donkey (369) . . Teniers The farmer, standing in front of the door to the left, is asking a woman, who is stooping over a tub getting vegetables, to load the donkey. A boy holds up a basket on one side. In the background are cows ; in the foreground jars, vegetables, and poultry. Between a duck and a hen is a stone on which is the signature: — “ D. Teniers, f.” 742 Louis XIV. Crowned by Victory {383) . . . Van der Meulen. He is attired as a Roman General, and holds a sceptre in his right hand : above in the clouds is a figure of Victory, or Fame, who holds a wreath of laurel over his head. His horse is cream-coloured. Painted in an oval. On copper, 8 in. high, by 7 in. wide. In the old catalogues it was attributed to Mignard. 743 Landscape — A Shepherd and Ruins (400) .... Poelemberg. The shepherd has something in his hand, which he is examining ; a cow in the centre background is straying away ; two others are in front. On a slip of paper, behind, “by Polemberg.” On wood, 9J in. high, by 7 in. wide. This is a companion piece to No. 723, as it is stated to be in Charles I.’s catalogue, page 166 : — “The other fellow-piece of the said Poelembourg in a landscape wherein are painted some old ruins, whereby some herdkeepers of goats, sheep and kine, bought by the king.” 744 Still-Life — A Book, Silver Vase, and Watch (982) Roestraten. These articles, and also several medals and coins, are on a table. The elaborate work of the silver vase is wonderfully rendered ; the watch is a silver one, enamelled. The book, over which hangs a gold chain, is open ; the title-page shows a Hampton Court Palace. 259 print of a lunatic, and above the title : — “ Democritus de Insanis.” Below are the lines : — “ Homo a Nativitate morbus est, Totus Mundus disperiens vanitas.” On the edge of the table is the signature : — “P. Roejlrate On canvas, 2 ft. 6 in. high, by 2 ft. I in. wide. Peter Roestraten was a native of Haarlem, and a student of Frank Hals, whose daughter he married. He came over to England in Charles II. ’s reign, and painted excellent still-life pieces. Sir Peter Lely is said by Walpole to have been very kind to him, and to have introduced him to the King ; but he adds that, “ it does not appear that he was encouraged at court, nothing of his hand appearing in the palaces or royal catalogues,” — a statement repeated in all recent books in the face of this admirable signed work, and another by him, also here, No. 552; and Kugler’s editors persist in saying there is no work of his in any public gallery ! There is a similar piece to the one before us at Belvoir Castle. Roestraten hurt his hip at the Fire of London, and went lame for the rest of his life. “ Graham says, that having promised to show a whole-length by Francis Hals to a friend, and the latter growing impatient, he called his wife, who was his master’s daughter, and said, ‘There is a whole-length by Hals.’ ” 745 “ Sea-Piece — a drawing in black and white ” ( 1082 ) . Vandevelde. Thus described in James II. ’s catalogue, No. 390. The royal arms of England are on the stern of one of the vessels. In the offing are several little boats. Signed in the lower left-hand corner : — “ W. v. Velde, f 1682.” On canvas, 8^ in. high, by 12% in. wide. (See the companion sketch, No. 754.) 740 Landscape, with Peasants and a Horseman { 38 s) J. Wynants. A man and woman, with baskets, &c., are seated by the roadside on the left. A man on horseback, who appears to be taking aim at a bird, and who is attended by a gamekeeper on foot, is coming along the road, which winds round a sandy bank. On the top of the bank is a tree ; at its base lies a withered trunk. In the back- ground are a flat country and a watery sky. Signed below : — “ jf. Wynants. 1669.” On canvas, 1 ft. 3 in. high, by 1 ft. 7 in. wide. In this small work of this admirable master we have an “open country,” a “sandy bank,” a “winding road,” and a “ withered tree,” all of which are given as indications of his second period. The figures in his landscapes were often added by other artists, such as P. Wou- vermans, Adrian Vandevelde, and others, who were his scholars : those in this piece have been attributed to Lingelbach, who most frequently assisted Wynants in this way. His works are highly prized, as much as ^500 having been given for compositions smaller and inferior to this. 747 A Battle-Piece ( 660 ) J. Parrocel, A soldier on a white horse is riding across the picture from left to right ; opposed to him is a knight in armour, with a red cloak. Other horsemen are fighting behind. On canvas, 1 ft. 8 in. high, by 1 ft. 3^ in. wide. Parrocel was a famous painter of battle-pieces patronized by Louis XIV. 260 Royal Gallery of Pictures. 748 Massacre of the Innocents (940) . P. (the younger) Breughel. Described in Charles I.’s catalogue, page 141 : — “ A piece of the Slaying of the Innocents ; said to be of the old Brugell, the soldiers being all in Boor’s habits. A Mantua-piece. ” The scene is a Dutch village with the snow lying thick on the ground and the roofs of the houses. To the left is a woman kneeling to, and imploring mercy of a soldier ; to the right another running away from a soldier with a knife, and clasping her baby in her arms. Various similar incidents are shown, such as soldiers battering in doors, &c. On wood, 2 ft. 3 in. high, by 3 ft. 3 in. wide. As this was a “ Mantua-piece ” it is evidently the identical “ quadro con il mar- tirio di Innocenti, opera di Brugel ” — in the Duke of Mantua’s catalogue, compiled in 1627, and still preserved. (See D’Arco’s Notizie , p. 1 66.) Behind it is King Charles’s cypher. It appears in the Commonwealth inventory also as: — “An old Winter-piece of Herod killing of Children in Bethlehem, by Brugell, sold to Mr. Mallery, Dec. nth, 1649, for £3 5j.” — and in James II.’s catalogue, No. 204,- as : — “ A winter piece, frost and snow, killing the children in Herod’s time, by Breughel. ” There is a composition similar to this, though larger, in the Brussels Museum, by Peter Breughel the elder. This is probably a copy from the original by his son, P. Breughel the younger, commonly called “Hell” Breughel: Waagen assigned it decidedly to him. 749 Interior of a Church (935) Steenwyck. In the centre a priest is advancing from an altar, above which is a statue. On the left two figures are lighting another into the vault, with burning torches. On canvas, 2 ft. 8 in. high, by 3 ft. 7 in. wide. “An inside of a church by Steenwyck j the figures by Poelemberg — very fine ” is mentioned by Symonds in his Diary as having belonged to Charles I. It is probably the “perspective of Steenwyck,” valued at £23 by the Commonwealth, and found at the Restoration in the custody of Arthur Samwell (Jth Report of Hist. Commission , 1879). 750 The Woman Taken in Adultery {373) Dietricy. Christ is in the centre, pointing with His right hand to the woman who kneels in front of Him, and turning round to a group of Pharisees behind Him. Behind her are other figures and an altar. On canvas, 2 ft. 4 in. high, by 2 ft. 9 in. wide. 751 Small Landscape— in a circle (388) Holbein ? Just beyond the immediate foreground is a brook, over which is a small wooden bridge leading out of a grove of trees to a cottage or farmhouse. On the bridge is a woman driving a cow and an ass. A tall tree is in the centre, and behind it a hedge which a labourer is clipping. In the distance is a bluish landscape. On wood, 9f in. high, by 8£ in. wide ; diameter of the circle, 8 in. In Charles I.’s collection, though not in his catalogue, for his cypher — C. R. and the crown above — is branded at the back. “A delicate picture by one of the older Netherlandish painters, commonly termed a Holbein.” — (Waagen.) “Evidently the work of Henri de Bles.” — (Woltmann in The Fortnightly Review, 1866.) Henri de Bles, a Fleming, in his treatment of landscape was a follower of Hampton Court Palace. 261 Joachim Patenier, and his pieces exhibit extreme neatness and finish. He is supposed to have died about 1550. His pictures are said to be always authenticated by an owl, which he always introduced, but which is not found here. 752 “ Woman Milking a Goat, with several other figures” (. 433 ) . Berchem. So entered in James II.’s catalogue, No. 944. Behind the woman are another goat and a sheep ; and a farm in the background. On wood, 7 in. high, by 9^ in. wide. 753 Fantastic Representation of Hell (941) J. Bos. This are one of those indescribably grotesque medleys of devils and damned, in which certain painters of the Dutch School delighted. In the centre is a large head with open jaws, emblematic of Satan or Hell, into which all sorts of forms are passing. To the left are seen the Gates of Hell, which Christ is breaking open. In various corners are nondescript figures — half bestial, half human — seizing the damned and plunging them into fires and boiling cauldrons, or hanging them on gallows. Various incidents, apparently indicative of the vices, are shown in one group of demons playing cards. All round are hung detached arms, legs, heads, and bits of flesh. On wood, 2 ft. 8 in. high, by 2 ft. wide. Behind are Charles I.’s cypher and a small slip of paper with this note : — “ 1636. This picture painted by J eronimtis Boss was given to the King by the Earle of Ar undell, Earle Marshalle, and Embassador to the Emperor abroad.” Two pic- tures by Bosch that had belonged to the King, were sold by the Commonwealth ; one, “A dream of Jeronimo Bosse,” to Mr. Haughton, 22nd October, 1651, for £ 6 ; and another, “Christ going into Limbo,’' to Mr. Wright, 21st May, 1650, for £10 10s. The entry, No. 273 in James II.’s catalogue, no doubt relates to this : — “ A piece of conjuring with several deformed figures in it.” Of Hieronymus van Aeken, or Jerome Bosch as he is usually called, from his native town, Herzogen- Busch (Bois-le-Duc), scarcely anything is known. Having been born in 1450 (though some say 1460 or 1470), he is one of the earliest painters in the Netherlands, and his taste is entirely un-Italianized. He may be regarded as the founder of the school of painters of incantations and grotesque scenes of devilry, to which “Hell” Breughel belonged. (See No. 748.) His “Temptations of St. Anthony,” at Antwerp, and his “Last Judgment,” at Berlin, are his master- pieces in this line. But that he was not incapable of more refined work, is evident from his picture at Madrid, and in the Due d’Aremberg’s Gallery at Brussels. In England, specimens of Bosch are very rare. 754 A Sea-Piece, Man-of-War — a Sketch (. 1081 ) . . W. Vandevelde. On the left is a large man-of-war, with her guns out. Signed in the lower left- hand corner: — “W. v. Velde.” (See No. 745.) 755 Sea-Piece — A Calm {1083) W. Vandevelde. On the left is a large man-of-war, with boats approaching. Other vessels to the right and behind. Signed in the right-hand corner with the painter’s monogram. On canvas, 1 ft. in. high, by 1 ft. 7 in. wide. 756 David with Goliath’s Head (238) Vandyck. David is standing, looking over to the left. His left hand points to some flaming tents or cottages, his right is placed on the head of Goliath, which rests on a leopard’s skin on a rock. He wears purplish drapery about his loins. On canvas, 2 ft. 5 in. high, by 2 ft. 1 in. wide. 262 Royal Gallery of Pictures. 757 Sir John Leman, Lord Mayor in 1616 (904) ? Three-quarters length, standing facing to the front. His right hand rests on the arm of a chair, his left holds to his waist a pair of gloves with richly worked tops, lie is in his scarlet robes, with a dress trimmed with brown fur underneath, and an all-round ruff. He has a short grey beard and hair. Round his neck hangs a gold chain. In the upper left-hand corner his coat-of-arms is painted : — Azure, a fess between three dolphins embowed. Argent. The helmet of a squire, and above, his crest — a lemon tree. Over that is written “Anno Domini, 1616; ” and beneath his arms, ‘VEtatis svze 71.” On canvas, 4 ft. 1 in. high, by 3 ft. 6 in. wide. No painter’s name was formerly given to this picture ; but it is now ascribed to F. Zucchero, though it cannot possibly be by him, he having left England some thirty-five years or more before 1616, and dying in that very year in Ancona. This portrait, of which there is a replica at Christ Church Hospital, Newgate Street, must have been painted in the latter months of 1616 ; for on the 29th of October, in that year, John Leman of Gillingham, in Norfolk, was sworn in Lord Mayor of the City of London. The pageant on that occasion is perpetuated in a very rare tract entitled: — “ Chrysananaleia, The Golden Fishing; an Honour of Fishmongers ; applauding the advancement of Mr. John Leman, Alderman, to the dignitie of Lord Mayor of London, taking his oath in the same authority at West- minster on Tuesday, being the 29th day of October, 1616. Performed in hearty love to him, at the charges of his worthy brethren the Ancient and Right Worshipfull company of Fishmongers. Devised and written by A[nthony] M[undy], Citizen and Draper of London.” (See Nichols’s Progresses .) Among the many sights and devices of the show, was ‘ * a singular cmblemc, corresponding with the creast and cognizance of the Lord Mayor, and bearing an especiall morality beside ; a Leman-tree in full and ample forme, richly laden with the fruit and flowers it beareth.” Nichols adds in a note: — “From Heylyri s Help , by W. Wright, we find that Sir John Leman’s arms were : Azure, a fess between three dolphins embowed. Argent. That his crest was a lemon tree is fresh in- formation,” but we find it on this canvas. Another prominent episode was a person representing Sir William Walworth, who always makes, or should make, his appearance when a Fishmonger is sworn Lord Mayor. A few days after, on the 4th of November, he and the aldermen in their scarlet robes, attended at Whitehall for the creation of Charles I. as Frince of Wales. On Saturday the 9th lie entertained the Knights of the Bath, newly made in honour of His Highness’s creation, with a supper and a play at Drapers’ Hall. But “some of them were so rude and unruly, and carried themselves so insolently divers ways, but specially in putting Citizens’ wives to the squeak : so far forth, that one of the sheriffs broke open a door upon Sir Edward Sackville, which gave such scandal that they went away without the banquet, though it was ready and prepared for them.” Such uproarious festivities quite upset old Leman, who had to take to his bed. He was well enough, however, to be knighted at Whitehall on March 9th, 1617. He lived at Amboise, in Huntingdonshire, which he bought of Sir Oliver Cromwell, affirming it the “cheapest land he ever bought, and yet the dearest Sir Oliver ever sold.” 758 A Child Firing a Cannon ( 382 ) ( Withdrawn.) unnamed. JAMES STUART, THE OLD PRETENDER. BY B. LUTI. From a photog raph by Spooner and Co. Hampton Court Palace . 263 759 Portrait of James Stuart the Pretender (664) . . B. Luti, Half-length ; facing in front, inclined to the right : his right hand only is seen. He is in the robes of the Order of the Garter, of which the jewel hangs on his breast, and has a long full-bottomed wig, a lace cravat and cuffs. On his left is a table on which is the royal crown of England. The background is grey, with a red curtain. On canvas, 3 ft. 3 in. high, by 2 ft. 6 in. wide. The canvas is new. Behind was formerly this inscription : — “ Ja?nes son of James II. ; by the Cavaliere Benedetto Luti, from the Cardinal of York's collection at Frascati." (Note in the Royal Catalogue .) This picture and No. 839 were bequeathed to George III. by Cardinal York, the old Pretender’s son, and the last of the Stuarts, who died in 1807. It was no doubt painted at Rome, some time between the year 1718, when Prince James accepted the asylum in the Eternal City offered him by the Pope, and the year 1 724, when Luti died there. In 1 720 he was married to the Princess Sobieski, and at the end of the same year the young Pretender was born. The Pretender’s countenance has that heavy, sodden appearance, and that weak dejected look, which were due partly to his inert character, partly to his mis- fortunes, and not less to the debauched and indolent life he led. His person, indeed, was never impressive ; and even an adherent, writing of the events at Perth in 1715, admits : — “I must not conceal, that when we saw the man, whom they called our King, we found ourselves not at all animated by his presence, and if he was disappointed in us, we were tenfold more so in him. We saw nothing in him that looked like spirit. He never appeared with cheerfulness and vigour to animate us. Our men began to despise him ; some asked him if he could speak.” Gray the poet gives a similar account of him some years after : — “ He is a thin, ill-made man, extremely tall and awkward, of a most unpromising countenance, a good deal resembling King James II., and has extremely the air and look of an idiot, particularly when he laughs or prays ; the first he does not do often, the latter continually.” Horace Walpole observed that “ enthusiasm and disappoint- ment have stamped a solemnity on his person, which rather creates pity than respect.” 760 Danae { 1130 ) after Titian by Gennaro ? Full-length, life-size ; recumbent, her head to the left. Her arms are out- stretched to receive the shower of gold. Four cupids sport around and catch the coins, and behind is an old woman with outstretched apron. On canvas, 5 ft. high, by 6 ft. 11 in. wide. This is perhaps the “Danae in a golden shower, a copy” which was sold by the Commonwealth for^io; or the “Danae with a golden shower by Gennaro,” No. 253 of Queen Anne’s Kensington catalogue. 761 Portrait unnamed ; James I. when young ? (goo) . unnamed. Half-length, facing in front. His right hand is in his doublet, his left on his waist. He is dressed in a white silk doublet, slashed and braided with gold ; and over that a brown cloak, also trimmed with gold. He has a large all-round quilled ruff, and a black cap with a jewelled band round it. On canvas, 2 ft. 10 in. high, by I ft. 10^ in. wide. “When lined by Buttery in 1877, it was found to have been cut down. On the right of the head, above, was ‘ ex Scotorum ’ ; evidently part of an inscription.”— (Mr. Redgrave in the Royal Catalogued) 264 Royal Gallery of Pictures, The costume determines that it must be King James, and not Lord Darnley ; and the colour of the hair and the physiognomy confirm this. It is perhaps “ King James to the waist,” No. 939 in James II. ’s catalogue. Compare the still younger portrait in the National Portrait Gallery. 762 Prince Rupert when a boy ( 370 ) Mirevelt. Full-length ; facing to the front, but inclined a little to the left, with his right foot forward. He is dressed in yellow silk trunk hose and doublet, braided and slashed with silver and trimmed at the waist with red bows. He has yellow stockings tied with small red sashes and bows below the knees, white shoes with large rosettes, a turned-down lace ruff, and linen cuffs edged with lace. His left hand is by his side, his right on the corner of a table covered with a green cloth, on which is a large hat with a red feather. He is bareheaded, his hair is light. He stands on a turkey carpet, and behind him hangs a blue curtain. His height is about 3 ft. 6 in. Prince Rupert, the third son of Elizabeth, daughter of James I., and the Elector Palatine, was born at Prague on the 19th of December, 1619, about a month after his mother had been crowned Queen of Bohemia. He was scarcely one year old when his parents had to fly from their newly acquired kingdom, and wander with their children from place to place till they settled at the Hague. There the early years of Prince Rupert were passed, amidst the misfortunes and anxieties that harassed “The Queen of Hearts ; ” and there this portrait, in which he appears as a boy of five or six years old, must have been painted, about 1624. He was then a lively, intelligent boy, delighting in all sorts of sport and martial exercises, full of fun and mischief, and yet a universal favourite. Even at this early age could be seen the germs of those high qualities which he afterwards displayed, that inquiring scientific spirit to which we owe mezzotint engraving, “ Rupert’s drops,” and many other scientific discoveries, and that generous impetuosity which will make his name ring for ever in history like the echo of a romance. To England he was already devotedly attached. “ Ah ! ” said he, when out hunting one day in Bushey Park at Hampton Court, during his first visit to Charles I. in 1632, “ I wish I could break my neck, for then I should at least leave my bones in England.” Fifty years afterwards the second part of his wish was fulfilled, and he now lies by the side of his mother in Henry VII. ’s chapel. This picture has been attributed to Mytens, but I suspect erroneously. For in Charles I.’s catalogue, page 10, is this entry : — “The picture at length of the Prince Elector’s brother, Prince Rupert, in his minority in a yellow habit and blue curtain, so big as the life upon a straining frame. Done by Michael Johnson Mirevelt.” Besides, Mytens could have had no opportunity of meeting Prince Rupert at so early an age, as he was settled in England when the Prince was at the Hague. But Mirevelt, on the contrary, did visit that city about the time in question, and had already in 1621 painted the Prince’s elder brother (see Sainsbury’s Original Papers concerning Rubens, p. 291), and to judge from Charles I. ’s catalogue, painted most of his other brothers as well. In James II. ’s catalogue it is merely entered, No. 1005, as : — “ Prince Rupert, when he was a child,” without any painter’s name. 763 James in his Robes — Whitehall behind { 514 ) . Vansomer. Full-length, standing ; facing in front. He wears royal robes of crimson, lined with ermine. In his right hand he holds the sceptre, in his left the orb ; on his head is the crown ; on his breast the collar and jewel of the Garter, and by his side JAMES I. BY VANSOMER. From a photograph by Spooner and Co. Hampton Court Palace. 265 a sword, attached by a pearl-studded belt. His hair and beard are short and thin. He stands on a rich carpet. On canvas, 7 ft. 4 in. high, by 4 ft. 10 in. wide. Through a lattice window on the left is seen the Banqueting House at Whitehall, which was begun in 1619, and finished in 1622. As Vansomer died on January 5th, 1621, this portrait must have been painted before the building was complete. Inigo Jones’s Banqueting House, it is well known, formed only the central portion of one wing of a projected gigantic palace which, if completed, would have been the largest and finest in the world. “Little did James think that he was raising a pile from which his son was to step from the throne to the scaffold. ” 764 Anne of Denmark, Queen of James I. (591) . . Vansomer. Full-length, standing, facing in front. Her left hand rests on a table covered with a red cloth, and has a bracelet of rubies and diamonds ; her right, which holds a feather fan, rests on her farthingale, and has a bracelet of five rows of pearls. Her dress is white, figured with flowers, with a tight bodice, having a bow at the bosom, and an immense farthingale. Her hair is dressed off the face, raised up rather high, and powdered with jewels ; she has pearl earrings and necklace. Be- hind her head is a stand-up ruff, on which, on one side, is the letter S crowned (for Scotland), on the other the letter E crowned (for England), and behind the letters, apparently, F. H. S. also crowned, (? for France, Hibernia, and ? ), and from each a pearl hangs down. In the background is seen the west fa9ade of St. Paul’s, built by Inigo Jones. She stands on a floor of white marble. On canvas, 7 ft. *j\ in. high, by 4 ft. 10 in. wide. “Queen Anne, at length; with a prospective by Vansomer,” was sold by the Commonwealth for £i$. The farthingale which the Queen wears reminds us that in spite of the King’s edict against them, and the order that no one would be admitted to masques in one, fashion and the example of the Queen triumphed. In the National Portrait Gallery is a head similar to this, in which the jewels on her stand-up ruff seem to be : — S for Sophia of Mecklenburg, her mother ; C. with a 4 within the curve, doubtless denoting Christian IV. of Denmark, her brother; and behind the sacred monogram I. H. S. The symbols are perhaps the same here. 765 Elizabeth, Queen of Bohemia (650) . Honthorst or Jansen. Full-length, standing, facing to the left. Her right hand rests on the back of a chair, her left is by her side and holds a green feather fan. Her dress is red em- broidered with silver, with a high waist ; her bodice is small and cut low, showing the bosom ; it is trimmed with three rows of pearls at the top. Round her neck is a large turned-down ruff ; and she has hand-ruffles. Her hair is dressed off the forehead, decked with pearls and surmounted with a small crown. From her neck hangs a black cross crowned. From her left earring hangs a plaited lock of dark hair, hanging on the shoulder ; her own being light. Her left arm has a scarf of black stuff gathered into a large rosette below the shoulder. On canvas, 6 ft. high, by 4 ft. 2 in. wide. On the right-hand side is inscribed : — “ELIZABETH WIFE TO FREDERICK PRINCE PALATINE KING OF BOHEMIA.” This portrait is attributed to Deryke, an artist bom ten years after it was painted ! This ridiculous mistake arose from part of the above inscription having become indis- tinct, so that the latter part of the word FRE-DERICK, was taken for the painter’s name. The lock of hair and the mourning band relate either to her champion, Christian, Duke of Brunswick, who died in 1626, or to her husband, who died in 1632. M M 266 Royal Gallery oj Pictures. 766 Portrait of Peter Oliver, Miniature Painter (104) . Hanneman. Half-length, turned to the right, facing in front. He wears a large loose cloak, a little of his white collar showing, and his right hand enveloped in the folds and held across his breast, the forefinger extended. His hair, which is long and bushy, and his beard are brown. On canvas, 3 ft. 6 in. high, by 1 ft. 10 in. wide. “A picture of Peter Oliver, done by the life,” was in James II. ’s catalogue, No. 107. This is the portrait engraved in Walpole’s Anecdotes , and there said to be from a picture by Vandyck, though it is not stated where the original is. Walpole himself mentions only a portrait of P. Oliver by Hanneman, then at Kensington, which is the one before us. As Hanneman was the most successful of all the imitators of Vandyck, and particularly in the airs of his heads, the engraver perhaps drew his plate from this picture, and attributed it by mistake to the great master. In any case, it is an admirable portrait, and would do honour even to him. Of Hanneman little of interest is known. He was one of the many Flemish painters who were attracted to England by Charles I. ’s patronage of the arts ; during his stay of sixteen years here he painted many portraits ; afterwards he drew one of Charles II. when in exile in Holland. Peter Oliver was the eldest son of Isaac Oliver, the great miniature painter in Queen Elizabeth’s reign, whose fame and skill he rivalled in those of James I. and Charles I. After his death, which occurred not long before the Restoration, his widow, though loath to part with his works, consented, from a fine feeling of loyalty, to sell them to Charles II., telling him to name his own price ; venturing afterwards, however, to express her indignation at their being all given away to his mistresses, the salary, which the poor woman had been promised by way of payment, was cruelly stopped. 767 Portrait of Cornelius Ketel the Painter (354) . ... by himself Bust, to the left, but his head turned round and facing in front. He wears a dark coat, and plain white collar. His hair is brown, and he has a small beard and moustache. On wood, 1 ft. 3^ in. high, by 1 ft. 6 in. wide. This is called “ Ketel, by himself,” but there does not appear to be any tradition warranting this name ; it is certainly, however, like authentic portraits of him. Ketel was in England from 1573 to 1581, during which time he did many por- traits, and was employed by Queen Elizabeth to paint the “strange Island man and woman,” brought to England by Sir Martin Frobisher. At one time he adopted the fanciful notion of painting with his fingers, beginning with his own portrait ; and afterwards undertook to paint with his feet, an antic which the public, who thought “the more a painter was a mountebank the greater was his merit,” vehemently applauded. 768 Henry Cary, 1st Lord Falkland {586) .... after C. Jansen. In an oval ; seen to the shoulders ; turned slightly to the right, but face seen nearly in full. He wears a dark coat with a broad lace collar. His long brown hair falls on his shoulders. On canvas, 2 ft. 7 in. high, by 2 ft. 1 in. wide. This is the father of Lucius Cary, the great Lord Falkland. ' He was the only son of Sir Edward, Master of the Jewel-house to James I., and was united in that office with his father. He was knighted by the Earl of Essex in Ireland in 1599 ; was M.P. for Hertfordshire from 1602 to 1620, when he was created a Scotch PORTRAIT OF DANIEL MYTENS. BY HIMSELF. From a photograph by Spooner and Co. Hampton Court Palace. 267 peer. From 1622 to 1629 he was Lord Deputy of Ireland, and in 1633 he died of breaking his leg on a stand in Theobald’s Park. He is described as “a most accomplished gentleman and a complete courtier.” (See Nichol’s Progresses for references. ) 769 James I. ; from the Picture at Ham House (295) . . . F. Read. Seated 5 in his robes ; turned to the right. His arms rest on the chair ; to the right is a table oh which is his hat. Above, to the left, a coat-of-arms and the motto “Beate Pacem.” On paper? 1 ft. in. high, by 9f in. wide. There is a similar picture in the National Portrait Gallery. 770 Portrait of Mytens the Painter ( 106 ) by himself. Half-length, turned to the left. He wears a black coat and a fine lace ruff. His hair is brown, and he has a small moustache and peaked beard. Painted on a grey ground. On wood, 2 ft. 4 in. high, by 1 ft. 1 1 in. wide. This has been known for many years as “A Portrait of a Dutch Gentleman, by Van der Heist ” ; but there are several reasons for believing this to be an erroneous designation. In the first place, though Charles I.’s cypher is branded at the back of the panel, showing that it was in his collection, yet neither in his cata- logue (1639), nor in the Commonwealth inventory of his goods taken ten years after, is any work of this painter mentioned ; nor even in James II. ’s catalogue. Nor, again, is it likely King Charles should have possessed, in 1639, a work of a painter who was then very young, and quite unknown. Besides, as has been fre quently pointed out, this portrait, though fine, is too feeble for the master. A search, however, among the old catalogues at once enables us to suggest its correct title. In Charles I.’s catalogue, page 126, is the entry : — “ Done by Daniel Mytens. Above the door, the picture of Mr. Mytens, done by himself, to the shoulders ; done on the right light ” (i.e. the light from the spectator’s left). No measurements are given in Bathoe’s printed edition ; but the original Ashmolean manuscript has the dimensions, 2 ft. 6 by 2 ft. 3, erased, and 2 ft. 4, by 1 ft. 1 1 , subjoined, the exact size of the panel before us (note in the Royal Catalogue). Then we find that ‘ ‘ Myten’s picture by himself, ” was sold at the Commonwealth to Mr. Hunt and Mr. Bass, 1st March, 1651, for £ 6 ; and it reappears in Queen Anne’s Kensington catalogue, No. 267 : — “ Mytens’s, a painter’s head, in black with a ruff.” At that palace it seems to have remained till Walpole’s time, who particularly mentions “ Mytens’s own head” as being there. The tradition of its true name must have been lost, if not before, at any rate when the Kensington pic- tures were moved to Hampton Court in William IV. ’s reign. There are a great many specimens in this palace of Mytens’ skill as a portrait- painter ; and some of them, especially Nos. 44, 330, and 405, are so excellent that we are not surprised to hear his works have been often taken for Vandyck’s. In 1880 the Antwerp Museum gave ;£ 1,000 for a charming portrait of a lady by him. He appears to have been in England even as early as 1618, and was patronized both by James I. and Charles I. King James gave him a pension of ^50 a year for life (worth what ^500 a year would be now-a-days), “for his better encouragement in the art and skill of picture drawing.” Charles I. added £20 more, and paid him large sums besides, giving him ^125 for executing a copy of Titian’s great Venus. When Vandyck arrived and was appointed the King’s principal painter, Mytens “ in disgust asked his Majesty’s leave to retire to his own country ; but the King learning the cause of his dissatisfaction treated, him with much kindness, and told 268 Royal Gallery of Pictures. him that he could find sufficient employment both for him and Vandyck.” He seems to have been equally kindly treated by his great rival, who afterwards painted his portrait among the great artists of his country. A comparison between the print after that portrait and the panel before us strongly confirms the notion that this is the original “ Mytens, by himself.” He was still in England in 1633, for he drew two pictures of the King in that year ; though Walpole limited his stay to 1630. (See Carpenter’s Notices of Vandyck and his Contemporaries , p. 41, and Sainsbury’s Original Papers concerning Rubens , p. 356-8. ) 771 Head of a Bishop ( 242 ) Parmigiano? Profile to the right. He has a long white beard and hair, and on his head a jewelled mitre. Part of his cope is seen on his right shoulder. On paper ? pasted on wood, 1 ft. 6* in. high, by 1 ft. $ in. wide. Probably the “ Bishop with a white mitre,” sold by the Commonwealth to Mr. Bass and others, 17th December, 1651, iox £2 [Harl. MSS. No. 903). HIS is a small, dark room, with a door on the left into the King’s Second Presence Chamber, with another opposite, into “ The Eating Room,” and with a third into the next gallery. 772 Lot and his Daughters ( 843 ) after Guido. A copy of the picture now in the National Gallery. 773 Joseph and the Chief Butler and Baker (844) .... unnamed. Joseph, in a yellow and blue robe, sits on the left, facing to the right, his legs crossed ; the butler and baker are lying before him. On wood, 2 ft. 1 in. high, by 3 ft. 4f in. wide, formed into an oval. 774 Prometheus Chained to the Rock (536) . . . Palma Giovine. Prometheus lies with his head to the left, his arms chained to the rock. The vulture is perched on him, and devouring his entrails. On canvas, 6 ft. high, by 5 ft. 1 in. wide. This belonged to Charles I. , appearing in the Commonwealth inventory of his goods as : — “ Prometheus chained to the rock, by young Palma ” — sold to Mr. Bass and others, 17th December, 1651, for ,£25. In James II. ’s catalogue it is No. 786 : — “ Prometheus with the vulture tearing him,” again attributed to the master. 775 Portrait of George II. when young? (p^d) ..... unnamed. Three-quarters length, turned to the right, in armour. His right hand on his hip, his left on a helmet ; the ribbon of the Garter over his left shoulder, and the “ George ” on his right side. Rocks to the left, sky to the right. 270 Royal Gallery of Pictures. 776 Full-length Portrait of Edward IV. (S 2 3) Belchamp. Full-length, in a long red robe edged with fur ; turned to the left, and seen in profile ; the face shaven. He wears a black cap with a medallion, and has yellow shoes or slippers and red stockings. The forefinger of his left hand, which is partly enveloped in the folds of his cloak, is extended, the sleeve hanging by his side ; his right hand is held up in front of his breast. Above, to the right, is a red curtain ; below is some sculpture. Behind him is a table with the crown, sceptre, and globe of empire. In the background on the left is a view of a garden with a vase of flowers. His height is about 6 ft. 6 in. On canvas, 8 ft. 8 in. high, by 6 ft. wide. This is a picture made up for Charles I. by his copyist Belchamp, probably from some ancient original, perhaps in distemper on the walls of a church, or in an illuminated manuscript. It appears in the Commonwealth inventory, entitled : — “ King Edward at length appraised at ^15,” but not sold ; and in James II. ’s cata- logue, No. 868 : — “At Hampton Court, King Edward, at length, in a gown and black cap, side-faced, by Belcom.” Walpole, Granger, and their editors are all wrong in saying that the engraving in Rymers’ Fcedera, which is placed unnamed at Henry IV. ’s reign, though believed to be a likeness of Edward IV. , is from this picture ; for the king is there shown in a half-length, full face view, with his hands in front of him. It is per- haps, however, from the old panel portrait now at Windsor. Other portraits of this king are (or were) on panel, at Queen’s College, Cambridge, at Hatfield, and at Donnington ; in distemper at the Chapel Royal, Windsor ; in a manuscript in the Library at Lambeth ; and in stained glass at Canterbury and Little Malvern Priory. It would be interesting to know whether the original from which this adaptation was made, is extant. The face is apparently the only part that Belchamp borrowed, the rest of the picture, and especially the background, being in the taste of the copyist’s own time. 777 Mary, Sister of Charles II., Princess of Orange ($29) . Hanneman. Half-length, facing in front, turned slightly to the left. She wears a white dress, over which is a mantle of feathers, from under her right arm across to her left shoulder, where it is buckled. On her head is a turban with pearls and a red feather. She rests her left arm on a stand, aud holds in her two hands a thin switch. She has long curls. On canvas, 3 ft. 1 1 in. high, by 3 ft. 3 in. wide. This portrait has been long unnamed, but it is doubtless identical with : — “ The Princess of Orange in a feathered mantle, half-length, by Hanneman,” No. 94 of James II. ’s catalogue; that is, Charles II. ’s sister, whose favourite painter Hanneman was. She was bom in 1631, and was married to the Prince of Orange at ten years old. From 1642 till the Restoration she lived at the Hague ; and it was there this portrait must have been painted, and evidently after the death of her hus- band, which occurred when she was only nineteen. She herself died after the Restoration at Whitehall on Christmas Eve, 1660, of small-pox. * ‘ Her tender love and zeal to the King in his afflictions,” says Walker, “ deserve to be written in brass, and graven with the point of a diamond. ” 778 The Apostles at the Tomb ( 54.J ) Van Orley? The tomb is in the centre. St. John is on the right, kneeling ; the others to the left. On the plinth of the tomb is painted ‘ ‘ jacobvs nabelvs je re proprivs.” On canvas, 5 ft. 3 in. high, by 5 ft. 6 in. wide. In James II. ’s catalogue, No. 744: — “The Resurrection of Our Saviour, two figures standing by the Sepulchre.” Hampton Court Palace. 271 779 Duns Scotus writing ( 550 ) Spagnoletto? Seated, turned to the right, but his head looking over his right shoulder at a book behind him on the left, from which he is transcribing. On the table in front of him are sheets of paper and writing materials. On canvas, 5 ft. 6 in. high, by 5 ft. 4m . wide. “ A piece being Scotus writing ” was in James II. ’s catalogue, No. 784. This represents the theologian either writing his defence of the Immaculate Con- ception, or his translation of the Scriptures ; of which task the legend says that he swore never to eat till he had finished it, and that he died of hunger at the last chapter ; and he looks emaciated enough here. The contests between his adherents, the “ Scotists,” and those of St. Thomas Aquinas, the “Thomists,” was one of the acutest in the Middle Ages. But at the Reformation he was consigned to oblivion ; and Henry VIII., who would have nothing to do with his books, ordered his Commissioners to the Universities to “utterly banish him for ever, with all his blind glosses ; ” and they had the satisfaction of reporting, that at their second visit, all the quadrangles were full of leaves of “ Dunce.” 780 View of a House and Garden at Cleves (846) . . . Oldenburg. In the centre foreground is a fountain, and leading from it a small avenue of trees up to a house. A man comes down it towards the fountain ; a man with a dog and gun and a woman are on the right, and further to the right, another figure. To the left is a man with dogs. This is one of the “ Five large landscapes, with several houses of Prince Maurice in them, by Oldenburg,” Nos. 787-791 in James II. ’s catalogue ; this one being specifically referred to in Queen Anne’s Kensington catalogue, No. 184: — “A Prospect of Cleves, with a fountain; by Oldenburgh.” Another is close by, No. 785 ; the other three are at Windsor. On canvas, 7 ft. 2 in. high, by 6 ft. 4 in. wide. 781 A Magdalen (849) Sir P. Lely. This is merely one of Lely’s “beauties,” who happens to be in a cave, and is examining with curiosity a crucifix and death’s head. She wears the usual loose satin drapery, and her left hand holds it up, with the air of veiling a glowing bosom, which in effect is allowed to be only too much revealed. On canvas, 6 ft. high, by 4 ft. wide. In James II. ’s catalogue, No. 1215 : — “A Magdalen, half-length, by Lely.” 782 Sea-piece — A Battle by Moonlight (850) Parcelles. To the left the moon breaks through the clouds and illumines two men-of-war seen firing into one another on either side ; also two smaller vessels with lights at stem and stern, and boats, &c. On wood, 1 ft. 4J in. high, by 4 ft. 1 in. wide. 783 A Woman with a Helmet (85 z) Pordenone ? Half-length, the head turned to the right. In her hands she holds a helmet to the left of the picture ; on her head is a twisted green scarf, and over her forehead a frontlet on which the letters “ P. R.” are evident. On canvas, 3 ft. high, by 2 ft. 6 in. wide. Pronounced “not genuine” by Messrs. Crowe and Cavalcaselle. We can trace it in the Commonwealth inventory, entitled : — “A sybil with a head-piece in her hand,” sold to Mr. Decritz, and others, November, 1651, for^6. It was recovered from Decritz at the Restoration (see 7 th Rep. Hist. Com.), and is found among James II. ’s pictures, No. 216: — “A woman’s picture in a red garment with a helmet.” 272 Royal Gallery of Pictures, 784 Interview of Henry V. with Princess Katharine of France ( 852 ) . Kent. They meet in the centre, he in armour and the robes of the Garter, she in blue. Armed men grouped around ; tents behind. On canvas, 2 ft. 6 in. high, by 2 ft. wide. Signed in lower right-hand comer : — tt W nt . Kent pinx*.” The visitor can judge of Kent’s capacity for painting from this and its companion E iece, No. 788, and in architecture from the grotesque bastard Gothic, with which e has disfigured the “ Clock Court ” of this palace. Yet, in his day he was a much admired “aesthetic,” whose “oracle was so much consulted by all who affected taste, that nothing was thought complete without his assistance. He was not only consulted for furniture, as frames of pictures, glasses, tables, chairs, &c., but for plate, for a barge, for a cradle. And so impetuous was fashion, that two great ladies prevailed on him to make designs for their birthday gowns. The one he dressed in a petticoat decorated with columns of the five orders ; the other, like a bronze, in a copper-coloured satin, with ornaments of gold.” History repeats itself — with a slight variety. 785 Palace of Prince Maurice of Nassau, at Cleves (£55) . Oldenburg. In the centre distance is an old palace, with high pitched roofs ; to the right of it the spires and gables of a town. Beyond are seen a winding river and a far-off horizon. In the foreground is a road, on which is a sportsman with dogs. On canvas, 7 ft. 2 in. high, by 10 ft. 11 in. wide. (See No. 780.) 786 Judith with the Head of Holofernes (£54) Guido ? Judith is coming out of the tent, and holds it back with her left hand ; in her right is the head. The old woman is behind on the left. On canvas, 6 ft. 3 in. high, by 6 ft. \ in. wide. It was in James II. ’s catalogue, No. 785, and ascribed to Guido. 787 The Destruction of Popery by the Evangelists (£s£) • • unnamed. On the ground lies an aged pope in his robes, wearing the tiara ; near him are parchments and papal bulls, and two heads labelled, “ ypocrysia” “avara.” The four evangelists are standing over and stoning him. On the left is one carrying a huge rock on his right shoulder, labelled, “ ioannes ; ” next is one with a stone labelled, “ matthea,” held over his head, about to be dashed down ; next is a figure with a stone held to his waist in his left hand, and another held above his head in his right hand, labelled, “ lvca ; ” and on the right is St. Mark. Painted in monochrome. On wood, 2 ft. 1 1 in. high, by 2 ft. 3 in. wide. This is called in the recent catalogues :■ — “The Destruction of Property by the Evangelists ” ! It belonged to Charles I., as his cypher is behind ; and it is in the Commonwealth inventory, No. 304: — “ Four Evangelists, being of Queen Anne’s (i.e. the King’s mother) pictures,” sold to Mr. Clarke, April 26th, 1650, for £2. “A piece being four men stoning another, black and white,” is among James II. ’s pictures, No. 978. 788 Marriage of Henry V. and the Princess Katharine (£57) . . Kent. They stand in the centre, in Westminster Abbey ; he, in blue, is putting the ring on her finger, who is in white. To the left is a bishop, and around priests, attendants, soldiers, spectators, &c. Signed and dated 1725. (See No. 784-) Hampton Court Palace. 273 789 Diana (545) after Titian. Half-length ; her right hand on the head of a hound, her left holding an unstrung bow. 790 Diana (860) Simon Vouet. She is in a yellow dress with blue drapery, and is shown reclining. On the left, near her feet, are two dogs. Her right hand is extended, her left holds an arrow, near which is a quiver. On the quiver is an indistinct inscription : — “ Simon Vovet , F. PARIS” and something else, which may be a date, and is perhaps 1641, the date of his death. On canvas, 3 ft. 5 in. high, by 4 ft. 10 in. high. Vouet was a French painter of eminence in the reign of Louis XIII. He decorated several palaces at Paris, and is best known by his altar-piece at St. Eustache. 791 Lucretia ( 862 ) unnamed Half-length, facing slightly to the right, plunging the dagger in her right breast. Her left hand holds her drapery up to her waist. A plaited lock of her hair falls on her breast. Suggested by Mr. Redgrave, in the Royal Catalogue , to be a copy of the time of Kneller, N N ommumcatton jpCBBTOT various times this has been called “The Gallery of Admirals,” Q?£| fl “ The Portrait Gallery,” and “ The Mantegna Gallery.” Its OF fSH g original name, given it by Sir Christopher Wren, was the Com- BEtSiyicjl munication Gallery, on account of its connecting the king’s and the queen’s apartments. It forms the west side of the Fountain Court, and is 104 feet long, by 14 feet wide. 'ticiumplj of Itiliuss OCacsfar. BY ANDREA MANTEGNA. In this room are now appropriately arranged the famous nine pictures of “The Triumph of Julius Caesar,” Mantegna’s greatest and richest work, the glory of Hampton Court, and one of the most precious artistic treasures of the English Crown. They were originally begun about the year 1485 by Mantegna, for his patron Lodovico Gonzaga, Duke of Mantua, who had already conferred several favours on him, and who, in February, 1492, when the “Triumph” was completed, further rewarded him with a fresh grant of land. For Mantegna, it was evidently his most absorbing work, and between the dates above given, except for a short stay at Rome, he applied himself with the greatest energy and assiduity to this magnificent creation — “ the most important example,” as Waagen has observed, “ of that enthusiasm for the grandeur of the ancient Roman world, which prevailed in Italy in the fifteenth and sixteenth centuries, and which this master worthily represented.” 2 7S Hampton Court Palace . Mantegna’s “ Triumph ” — continued . “ By the enthusiastic study of the Greek sculptures in the studio of his master, Squarcione, Mantegna had formed his eye for a refined and definite conception of nature in form and action, and endeavoured in this triumphal procession, with remarkable success, to reconcile the laws of ancient sculpture with those of painting, and the diversity of nature. Notwithstanding a certain severity in the forms, there is great variety and animation in them, — elevated, noble, powerful, robust, and even common figures and heads, are intermingled with such delicate, slender, and youthful characters, as are rare, in such measure, even in later masters. The movements, though duly restrained, have much freedom and animation, and the variety and beauty in the positions of the hands are extremely admirable. The small folds of Greek sculpture predominate in the drapery, yet it is treated with taste, and, far from exhibiting any stiffness or appearance of imitation, has something animated. As regards the colouring, as is proved by the parts not painted over, these pictures must have produced an effect like that of the antique paintings : the general appearance was light, the draperies especially con- sisting of light gleaming materials, of variegated hues ; for instance, yellowish with violet shadows, greenish or pale blue, with white lights ; the background has throughout a light horizon. In the execution we do not know whether most to admire the inexpressibly rich and elegant details, or the light and intelligent touch of the brush.” — (Art Treasures , ii.) Messrs. Crowe and Cavalcaselle, too, criticize them in an equally laudatory strain : — “His treatment was the reverse of that which marked the frescoes of Padua, more akin to that of the portraits in the Castle of Mantua ; he no longer drew with a black incisive line, nor modelled with inky shadow ; his contour is tenuous and fine, and remarkable for a graceful and easy flow ; his clear lights, shaded with grey, are blended with extraordinary delicacy ; his colours are bright and variegated, yet thin and spare, and of such gauzy substance that they show the twill throughout. In the countless articles of common use in ancient times, in the statues, shields, helms, and breast- plates, forming the peculiar feature of these pictures, we think we see Mantegna copying the treasures of the rich collection which Lorenzo de’ Medici and Francisco Gonzaga admired and envied, and exhausting the catalogue of antiquities discovered throughout Italy. His horses, kine, and elephants are natural, his costumes accurate, to a surprising degree. He was the only artist of this period, not excepting the Florentines, who was pure and accurate in the attempt to reproduce the resemblances of bygone times. . . . With a stern realism, which was his virtue, he multiplied illustrations of the classic age in a severe and chastened style, balancing his 276 Royal Gallery of Pictures. Mantegna’s “ Triumph ” — continued. composition with the known economy of the Greek relief, preserving the dignity of sculptural movement and gait, and the grave masks of the classic statuaries, modifying them, though but slightly, with the newer accent of Donatello .” — ( History of Painting in North Italy , i., 404, &c.) Unfortunately they are now very dilapidated, having been coarsely painted over, it is said by Laguerre, in the time of William III., the colours being faded, and the surface injured by injudicious cleaning. The purpose for which these pictures were originally intended has been sometimes misconceived. They are not properly called cartoons at all, that is, they were not designed as models for frescoes or tapestries, but were painted in tempera on twilled linen, with the object of being stretched on frames, and affixed to the wall as a frieze. In this manner they are believed to have originally decorated a gallery or hall in the Duke’s Palace of St. Sebastian at Mantua, and to have formed a continuous procession along one side, eighty-one feet long, as they now do here. It was doubtless thought that in this way they would be better preserved, and besides, be movable. Indeed, as early as 1501, we learn from a letter of Sigismund Cantelmo to the Duke of Ferrara, that a theatre, which had been tempo- rarily fitted up in the Ducal Castle at Mantua, as the interior of a classical dwelling-house, for the performance of Latin plays, was decorated with six pieces of Mantegna’s “ Triumph.” Between each picture were flat pilasters, faced with arabesque reliefs, with simulated capitals, evidently the same as those which appear in the old engravings as separating each picture, and a specimen of which can be seen in the seventh picture. From that period they remained at Mantua till the year 1628, when Daniel Nys, Charles I.’s agent in Italy, took advantage of the Duke’s being involved in war and in want of money, to treat for their purchase: for they had been reserved when the rest of the Mantuan collection had gone to England. “ The best informed persons,” writes Nys to Lord Dorchester, “ told me that I had left the most beautiful behind, and that, not having the ‘ Triumph of Julius Caesar,’ I had nothing at all. This touched me to the core ; I did not dare say anything for fear his majesty knowing it might feel aggrieved, and I, in part, dissembled with Sig. Lanier, who, before his departure, had treated for the marbles and statues of the Duke, with some pictures which had been discovered in certain secret chambers. They de- manded for these pictures 10,000 half-doubloons of Spain, and for the statues, 50,000 half-doubloons, but it did not appear to Sig. Lanier or to myself that we could give ^10,000 sterling. So the matter rested.” But in the meanwhile the Queen- Mother of France is in treaty for them ; TRIUMPH OF JULIUS C.ESAR (FOURTH PICTURE). BY MANTEGNA. From a photograph by Braun , Clement <2r= Cie. Hampton Court Palace . 277 Mantegna’s “ Triumph ” — continued. and when Nys hears of this, he agrees, without waiting for the King's direc- tions, to pay ,£10,500 for the marbles and the pictures that remained, and especially for “The Triumph” of Mantegna, “a thing,” as he writes, “rare and unique, and its value beyond estimation.” “ But Nys gets himself into trouble ; he thinks to do his majesty a great service, he has taken neither percentage nor brokerage, and he is sure he shall attain both honour and thanks by his contract, for no other Prince in Europe possesses such works of like rarity and beauty. He draws upon Burlamachi, the Rothschild of King Charles I/s day, for the amount which he has already paid ; Burla- machi will not accept his bills, the money not being provided for by the King ; disputes arise, and litigation is spoken of ; the English ambassador is referred to, and Nys sends an agent into England to represent the truth of the business. After considerable delay, all the works of art are sent to England,” — the marbles going by sea, the pictures by land. (See Sains- bury’s Original Papers, pp. 321-330.) These pictures are found in the catalogue compiled for the Duke of Mantua, in 1627, thus: — “9 quadri grandi dipintivi il trionfo di Cesare di mano del Mantegna stimati scuti 150 limo 1 . 8100.” They do not, how- ever, figure in Charles I/s catalogue, as they were placed, on their arrival, at Hampton Court, and there was no catalogue made for the King of his pictures here. It has been frequently stated that they were sold by the Commonwealth for £1,000. This is inaccurate. They were valued at ,£1,000 in Sept., 1651 (see Inventory of Hampton Court Pictures ), but not sold, the Council of State ordering that “ before the pictures at Hampton Court, of the ‘ Triumphs of Caesar ’ be sold, the Council to be in- formed what is bid for them” (see State Papers). They are afterwards noted as : — “Reserved for His Highness’ use,” i.e., Cromwell, who, to his honour be it remembered, also rescued Raphael’s cartoons. On August 29th, 1653, the Council of State resolved that they should “be sent to Sir Gilbert Pickering, for him to take copies of them ; ” and on Sept. 8th, an order came down “To the Keeper of the Wardrobe at Hampton Court, to deliver to Sir Gilb. Pickering the pictures called ‘ The Triumph of Caesar/ to be used for taking copies of, and then restored.” At the Restoration they appear in Thomas Beauchamp’s Inventory of the Goods of the late King reserved by order of the Council of State. Since then they have remained here; and, after having been judiciously arranged by William III. in the Queen’s Gallery, and then inappropriately removed by George I., to make way for Le Brun’s tapestries, to the Public Dining Room, they were finally hung about fifty years ago in this gallery, which, allowing of their 2 yS Royal Gallery of Pictures . Mantegna’s “ Triumph ” — continued. being placed in a continuous line, is admirably adapted for their recep- tion. Each picture is nine feet square, so that the whole series is eighty-one feet long. It has been found prudent to cover them with glass, though it some- what interferes with their being seen. Some varieties in the points of sight are accounted for by the pilasters by which they were divided. There are reduced copies at the Belvedere, and small copies on copper at Schleissheim. As to engravings, the most famous are the very rare woodcuts in chiaroscuro executed by Andrea Andreani in 1599, which Goethe criticized with such enthusiasm in his well-known essay. There is a set in the British Museum. Mantegna himself also appears to have etched plates of part, if not the whole ; the fifth, sixth, and seventh compart- ments being still extant. Mrs. Jameson adds that they were also engraved about 1712 by C. Huyberts for Samuel Clarke’s edition of Caesar’s Commen- taries. They were engraved also, not long ago, for The Architect. First Picture. This represents the beginning of the Procession, and shows, first, the trumpeters sounding a triumphal march on their long trumpets, to which are appended tablets inscribed “s. p. q. r.”; next, Roman soldiers bearing aloft smoking censers on long poles, a bust of Roma Victrix, and pictured representations of the conquered cities. Though this has been almost entirely repainted, yet the banner beneath the Roma Victrix, part of the yellow drapery of the trumpeter nearest the spectator, the buskin of the next figure to the right, the gold body-piece of the Ethiopian, and part of the skirt and sleeve of the standing figure on the extreme right, should be noticed as being in part preserved. Second Picture. On the left is a magnificent triumphal car, the wheel and ornamental work remaining comparatively intact, on which stands a large statue of a man holding a long staff under his left arm. Behind come men on horseback drawing other cars, in which are statues of the gods and goddesses taken from the temples ; and by their side walks a man carrying a beautiful bust of Cybele. His blue jacket and red scabbard are uninjured. Following these are a great quantity of captured arms, breastplates, spears, shields, &c., and a tablet with the inscription: — “Imp. Julio Caesari ob Galliam devict. militari potentia triumphus devic- TRIUMPH OF JULIUS (LRSAR (FIFTH PICTURE). BY MANTEGNA. From a photograph by Braun ^ Clement dr 5 Cie. 279 Hampton Court Palace . Mantegna’s “ Triumph ” — continued. tus invidia spreta superata.” In the background is seen Roman architecture. Third Picture. In this we have similar cars bearing like trophies to those in the last picture, and also four men carrying aloft, on stretchers, costly vases and urns filled with coin. The shield in the left-hand trophy, with a fight of centaurs, satyrs, and others about a female, and the orna- ments of a shield in the centre of the picture, are designated by connois- seurs as the only parts of this picture not painted over. Fourth Picture. Other men follow bearing similar spoils, accom- panied by one who carries a large vase in his arms; next come oxen decorated with wreaths for sacrifice, by which, in the foreground, is a figure of a handsome boy, with fair flowing hair, he having his right hand on one of the bullocks, and his head is turned round to the front. The grace and beauty of this head is very striking, the outlines having fortunately been preserved, though the lights on the cheek, hair, and neck, have been retouched. Just behind come more trumpeters, their instruments labelled: “s. p. Q. R. ivlivs c/esar” and “ivlio c^esari. d. p. p. p.” Fifth Picture. On the left is the head of a musician, whose trumpet is seen in the foregoing picture. Next comes another bullock led by a woman, who turns her head round to the front. Behind come four elephants, richly caparisoned, with baskets of fruit and flowers on their heads, and flaming candelabra of incense on their backs ; boys driving them, and attending to the candelabra, are also mounted on their backs. This is one of the best preserved pictures of the set. In some places the over-painting has fallen off, and discloses the original colouring ; this being especially the case with the heads of the elephants, and the Indian sheep. Rubens’ free copy of this, made when he was at Mantua in 1606, is now in the National Gallery. Sixth Picture. Here we have more vases and precious vessels, carried on stretchers by four men. The hair of the first facing to the left, and his yellow hose, and bits of his head, are intact. These are followed by men bending under the weight of large trophies, carried on long poles ; the head of one of the men, groaning under his burden, and also the trophy he carries, are uninjured. Behind are seen a viaduct and a column. Seventh Picture. Next follow the captives: men walking with their hands tied in front of them, their countenances expressing a noble dis- regard of the jeers of the populace, women of equally dignified demeanour, carrying their babies, or leading their daughters by the hand. On the right are some of the crowd mocking the captives with grotesque and 28 o Royal Gallery of Pictures . Mantegna’s “ Triumph ” — continued. insulting gestures. Behind are the windows of a prison, with heads peep- ing through the gratings ; further in the background, to the right, a large building where spectators are seated. The pilaster of the prison is similar in design to those that formerly separated the pictures. “ Here,” says Goethe, “we must deem the painter worthy of all praise, in that he has introduced no warrior or leader, no hero of the adverse army : their arms, indeed, have we seen carried by fathers of families, venerable councillors and magistrates, aged or portly citizens, these only are led in triumph ; and thus the whole story is told : the former lie low in death, the last still live to suffer.” Eighth Picture. The musicians and singers who always accompanied a Roman triumph, follow: first, a youth playing on a lyre; then two blowing trumpets ; and next a youth with a tambourine. Behind them march more Roman soldiers, bearing eagles and other emblems on long staffs. Ninth Picture. Lastly comes Julius Caesar himself in a magnificent triumphal car, bearing in his left hand a long palm branch, and in his right a sceptre. Behind him stands a winged figure of Victory crowning him with a wreath of laurel. In front a man holds aloft a medallion with the device: — “veni, vidi, vici”; behind are men bearing braziers of incense, and all around boys holding branches of laurel. The beautiful arabesque work of the car, which is in tolerable preservation, is worthy of notice. In the distance is shown a triumphal arch. On the hind-quarters of the horse is Mantegna’s monogram, though it has probably been renewed. 792 William III. when a Boy [546) unnamed . Full-length, facing in front. His right hand is on his hip ; his left holds a staff, which he "rests on a table, on which is his helmet. He is bareheaded, long hair falls on his shoulders. On canvas. (Compare No. 571.) 793 Supposed Portrait of Jane Shore (901) unna??ied. Three-quarters length, facing to the left. Her hands are crossed in front of her. Her dress is crimson, overlaid with black. She also wears a dark mantle, and a very large quilled ruff, a black hat, and pearls in her headdress. On wood, 3 ft. 3 in. high, by 2 ft. 6 in. wide. Above is painted “ baker’s wife, mistress to a king ; ” but this inscrip- tion is comparatively modern. In any case, it cannot, of course, be a genuine SIR JEFFREY HUDSON, THE DWARF. BY MYTENS. From a photograph by Spooner and Co. Hampton Court Palace. 281 portrait of Edward IV. ’s mistress, as the style and dress are of the latter part of Queen Elizabeth’s reign. But it may possibly be a made-up picture from some ancient original. Perhaps the “ Jane Shore ” sold by the Commonwealth for £ 2 , 23rd of December, 1651, was this panel. A similar one, though smaller, is at Eton, probably a copy from this. 794 Portrait of an old Man with a large beard {703) .... unnamed. Half-length, seated ; facing in front. His right hand on the arm of the chair, his left, which is gloved, holding a spear over his shoulder. His hair and beard, which is long, are white. On canvas, 3 ft. 8 in. high, by 3 ft. \ in. wide. 795 William, Duke of Cumberland ( 789 ) Zeeman? Small full-length ; turned to the right. His right hand points in that direction, his left is on his breast. He wears a red coat, leather boots to the knees, and a long wig. On canvas. This has usually been called “ Frederick, Prince of Wales ; ” the name above is suggested in the Royal Catalogue. He was his brother. 796 Portrait of a Lady, Unknown ( 928 ) unnamed. Three-quarters length ; dressed in a long rich bodice, embroidered with gold and colours. Her left hand on the back of a chair ; her right by her side. Canvas. 797 Triumph of Julius Caesar {873-881) Mantegna. {See above.) 798 Sir Jeffrey Hudson the Dwarf {892) Mytens. Full-length, standing, facing in front. He is dressed in red, and his hat, of the same colour, lies on the ground at his feet. His right hand is by his side, his left is on his waist. His hair is fair ; his height, 2 ft. io£ in. In the lower left-hand comer is a label, with the words “ Godfridus Hudson Nanus ” and a date, indistinct but probably 1630. On canvas, 7 ft. high, by 4 ft. 9 in. wide. In Charles I.’s catalogue, page 90, is found: — “The picture of Jeffrey the Queen’s dwarf, in a landskip, at length. Done by Dan Mytens ; and the landskip by Cornelius Janssen;” and in the Commonwealth inventory, folio 147 : — “Geoffrey Nanus at length in a landscape ; done by Mittens. Sold to Mr. Grinder for £\o.” “ He was born at Oakham in Rutland in 1619, and about the age of seven or eight, being then but eighteen inches high, was retained in the service of the Duke of Buckingham, who resided at Burley-on-the-Hill. Soon after the marriage of Charles I., the King and Queen being entertained at Burley, little Jeffrey was served up to table in a cold pie, and presented by the Duchess to the Queen, who kept him as her dwarf. From seven years of age till thirty he never grew taller ; but after thirty he shot up to three feet nine inches, and there fixed.” “A poem, called Jeffreidos was written by Davenant on a battle between him and a turkey-cock ; he was celebrated in a diminutive little book called The Newe Yeares Gift ; and employed by the Queen on a mission to France. Jeffrey, thus made of consequence, grew to think himself really so. He had borne with little temper the teasing of the courtiers and domestics, and had many squabbles with the King’s gigantic porter. At last, being provoked by Mr. Crofts, a young gentleman of family, a challenge ensued, and Mr. Crofts, coming to the rendezvous armed only with a squirt, the little creature was so enraged that a real duel ensued, and the appointment being on horseback, with pistols, to put them more on a level, O O 282 Royal Gallery of Pictures. Jeffrey, with the first fire, shot his antagonist dead.” He was afterwards taken prisoner by a Turkish rover, sold as a slave into Barbary, made a captain in the King’s army, and imprisoned on account of the Popish plot. He died in prison at the age of 63. (See note in Walpole’s Anecdotes. See also Peveril of the Peak , in which Scott introduced him so effectively.) There is said to be a repetition of this at Holyrood ; there was also a portrait of him at Wentworth Castle ; and he figures in the picture of the Queen and her family by Vandyck at Petworth. At Burley-on-the-Hill is a supposititious picture of him, which is probably Lord Francis Villiers. 799 Portrait of a Gentleman (918) Kneller? ( Withdrawn .) 800 Portrait of a Lady (921) unnamed. Half-length, seated ; a red rose in her right hand ; her left arm on a pedestal. On canvas. 801 Portrait of a Lady {922) unnamed. Three-quarters length, standing ; turned to the right. She is dressed in a long loose red dress, with open sleeves, showing a white undersleeve. Her right hand is by her side, her left rests on a spaniel, which stands on a table by her. She wears a high ruff open in front, and a pearl necklace. On canvas, 3 ft. 8| in. high, by 3 ft. 4 in. wide. Apparently in James II. ’s catalogue, No. 456 : — “A woman’s head ? in red with a shock dog.” 802 Portrait of a Lady {gig) unnamed. ( Withdrawn.) 803 Sir John Parker (288) Jeronimo Custodis. Half-length ; slightly to the left. His right hand is raised, holding up a drawn sword, his left is on his hip. He is in armour, and wears a collar-ruff ; he is bare- headed, rather bald, and has a moustache and small peaked beard. On wood, 2 ft. 7 in. high, by 2 ft. in. wide. On the right-hand side is a coat-of-arms, with a crest of a dog on a cap of main- tenance, and beneath : — “Anno Dni. 1589.” On the left-hand side is the motto : “Pro Fide et Patria.” Signed in the upper left-hand comer: — “ Jeronimo Custodis. Antverpien. Fecit. io° AugufiyP Nothing is known of this bad painter. 804 Supposed Portrait of Fair Rosamond (pj7) unnamed. Half-length ; nearly a profile to the left. In a yellowish dress, with a collar-ruff of the period of Philip and Mary ; the bodice is edged with ermine and black braid. Her hair is fair, and she wears a gauze covering over it, and has pearl earrings. On canvas, 2 ft. 65 in. high, by 2 ft. i\ in. wide. This cannot be considered even an adaptation, much less a copy, of any original portrait of Henry II.’s mistress. “It might as well have been called ‘Helen of Greece.’ ” 805 Portrait of an Italian Gentleman (903) . ... G. Penz. Described in King Charles I. ’s catalogue, page 135 : — “Item. A young man’s pic- ture without a beard, sitting in a black habit with red sleeves ; in his right hand holding some white stitched gloves, 11 = 11 = 11 = 11 = (?) and his left hand Hampton Court Palace. 283 being upon his knee. Done by George Spence of Nuremberg, bought by the King when Prince, of Nicasius Russel.” On canvas, 3 ft. 2 in. high, by 2 ft. io£ in. wide. In the upper left-hand comer is painted a piece of crumpled white paper, on which is the signature G. P. (in a monogram) and the number 48. Of George ( ? Gregory) Pensz (or Penz), who was at first an excellent portrait- painter, after the manner of Albrecht Diirer, though he afterwards spoilt his style by Italianizing it, there are very few examples in England, his best known work being, perhaps, his copy of a portrait of Erasmus by Holbein, at Windsor. 806 Portrait of George I. (924) unnamed. ( Withdrawn.') 807 Portrait of a Man in Armour ( 942 ) unnamed. Three-quarters length, facing in front. His left hand is on the hilt of his sword, his right on his helmet. He wears a steel gorget over a black dress, and a ruff close up to his ears. His hair is grey and scanty ; he has a small white moustache and peaked beard. Inscribed above : — “A 0 . Domin. 16/7. AEtatis Suce> 72” On wood, 2 ft. 6\ in. high, by 2 ft. £ in. wide. 808 Portrait of a Gentleman ( 899 ) ? Three-quarters length, turned to the front, but facing to the right. His left hand is on his hip, his right hangs down and holds a glove. He is dressed in a dark doublet, with slashed crimson sleeves, and a small collar ruff. His hair is close cut, and he has a short trimmed beard and moustache. On canvas, 3 ft. high, by 2 ft. 3^ in. wide. In the upper right-hand corner are his arms, with a helmet and a crest represent- ing a black boy with a long pigtail. Under the shield is painted: — “ALtatis sV-ffi L. Anno Dni. i - 5-6-3 ? ” and a monogram composed of the letters H. B. “An animatedly composed and admirably executed work of a warm tone.” — ( Waagen. ) Perhaps it is by Hans Baldung (see No. 593). 809 Portrait of a Young Lady, aged 13, dated 1594 (p5 and calls it Parmese or Florentine. See Repertorium fur Kunst- Wissenschaft and Zeitschrift fiir bildende Kunst. 125 Head of a Man . . . Labelled Giorgione , but by Dosso Dossi? The suggestion that this portrait is by Dosso Dossi is now widely accepted. Further, it is not unlike the authentic portrait of him by himself in the Uffizi — judging at any rate from photographs. 1 68 The Wise Men’s Offering . . after P. Veronese by C. Cagliari? This pi ture would be more correctly described as an adaptation of the master’s “ Adoration of the Magi ” at Dresden, than a copy of a portion of the same subject in the National Gallery, as is stated in the body of the text. Its ascription to Carlo Cagliari is more or less conjectural. The picture in the National Gallery is dated 1573. It was engraved in 1649 by Carlo Sacchi. 178 Marriage of St. Catherine Paul Veronese? Nothing more than a poor school piece. 18 1 St. George and Princess Cleodolinda Tintoretto. Is not the finished picture in the Doge’s Palace at Venice? 183 St. William Labelled Giorgione , but by Dosso Dossi. Besides the versions mentioned in the text, there is yet another belonging to Lord Lothian at Newbattle Abbey, Dalkeith. The so-called “David with the Head of Goliath” in the Borghese, also by Dosso Dossi (Morelli’s Italian Painting , ii., 216), but until recently, and perhaps still, labelled “Giorgione,” shows much affinity with this “St. William.” 229 Joseph and Potiphar’s Wife .... Orazio Gentileschi. This absurd picture, provocative of more broad facetiousness on the part of excursionists to Hampton Court than all the other pictures put together, has been largely responsible for the low estimate generally prevailing as to Gentileschi’s powers. He was by no means so contemptible an artist as he is usually supposed to be. His best work is his “ Assumption” at Turin ; other characteristic pieces, painted for Charles I., are now in the hall of Marlborough House. 241 Salome Labelled Luini , but by Cesare da Sesto? There are other versions in the collections of Mr. George Salting, Colonel Legh at High Legh, Cheshire, and Mr. Baillie-Hamilton. 249 Madonna and Child Bronzino ? The original by Pontormo, of which this is a copy of a portion only, is at Munich in the Alte Pinacothek, No. 449 ; it shows a landscape behind. Hampton Court Palace. 309 253 The Roman Daughter unnamed. Michael Angelo Caravaggio has been suggested as the painter of this picture. 259 St. Catherine Giampietrino ? Mr. Humphry Ward’s picture is much finer than this, and is probably a genuine Luini. It was formerly in the collection of Mr. Mackinnon. See Waagen’s Art Treasures. There is another version at Berkeley Castle. 272 Head of an Old Man after Yak Eyck This is an enlarged copy of the portrait of the donor of an altar-piece by Van Eyck in the gallery at Bruges. 289 Christ brought before Pilate Schiavone. “A similar picture to this is engraved in the Teniers Gallery by J. Troyen. See my Blenheim Catalogue, p. 161, No. 139.” — George Scharf. 295 Portrait of a Lady . Labelled Perugino , but by Lorenzo Costa? The likeness which Mr. Berenson sees in this picture to that of Isabella d’Este in the Louvre ‘‘Allegory” is not very apparent, and the absence of any emblems of sovereignty, even of jewels or ornaments, on this lady, make it unlikely that she is the person here represented. Perhaps it is some member of the Bentivoglio family, who for twenty-three years before their expulsion from Bologna in 1507, were Costa’s generous patrons. It was not until 1509 that he moved to Mantua. 304 St. Helena Tamaroccio? “Compare Tamaroccio’s ‘Madonna and Child,’ an easel picture in the Poldi Pezzoli collection at Milan.” — Claude Phillips. 342 The Field of the Cloth of Gold ........ ? There is a picture in the Gallery at Nuremberg somewhat similar in style to this, attributed in the catalogue to Hans Leonhard Scbaufelin, a pupil of Durer’s. He was employed by the Emperor Maximilian to draw illustrations and designs. A picture, evidently by the same hand as this, of the battle of Pavia (see No. 605), was in the Doetsch collection, and was there attributed to Jan Vermeyen, who was appointed Court painter to Charles V. in 1535. The battle of Pavia was fought, it will be remembered, in 1525, when Vermeyen was only twenty-five years old. It is curious to notice that Henry VIII. ’s head in this picture appears to have been cut out at some time or other, and afterwards replaced. The joint can be plainly seen by looking slantwise at the canvas. A “ tradition ” has been cited to explain this. It is said that Philip, Earl of Pembroke, having heard that the picture was going to be sold by the Commonwealth to the King of France, “ obtained access to the royal apartments, and, cutting out the head of Henry VIII. with his penknife, put it in his pocket-book, and retired, undiscovered. The French agent, finding the picture mutilated, declined the purchase ; and after the Restoration, the son of Earl Philip delivered the abstracted fragment to Charles II., who ordered it to be replaced. ” — Mrs. Jameson. This may or not be true ; it is impossible to judge, as no documentary evidence has been given. That such a “ tradition ” could have been handed down by word of mouth is, of course, a preposterous idea. 3 1 o Royal Gallery of Pictures . 343 Portrait of Isabella, Infanta of Spain, Archduchess of Austria Otto Venius. By an oversight the sheet containing this picture was passed for press, with the attribution to F. Pourbus the Younger, suggested by Waagen, still standing. There is now no doubt, however, that it is really by Otto Venius, as is, likewise, the companion picture of the Archduke, elsewhere in the Royal Collection (I think, at Buckingham Palace) ; and as are, also, the originals or prototypes in the Museum at Brussels. These last are the pictures particularly mentioned by Van Mander, who also tells us that similar likenesses were taken for the King of England. There is another portrait by Venius of the Archduke Albert in the Imperial Gallery at Vienna. This information I owe to the kindness of M. Henri Hymans, the Director of the Brussels Museum. As to the dwarf in this picture, Dr. Carl Justi, who suggested Pantoja de la Cruz (see No. 406) as the painter, observes: “Frequent mention occurs of Magdalena Riuz, who belonged to Princess Juana of Portugal, from whom she appears to have passed to the Infanta Isabella.” — Velasquez , p. 435, English edition. 349 Queen Elizabeth, so called, in a Fanciful Dress. Zucchero? The author owns to having long entertained serious suspicions as to the genuine- ness of this so-called portrait of Queen Elizabeth — suspicions increased when he learned that they had suggested themselves independently to Mr. Lionel Cust, the Director of the National Portrait Gallery, the first authority on portraiture in England. Hereafter, perhaps, it will be possible to formulate some precise conclusions as to the identity of the lady represented ; at present it will be sufficient to point out that her features do not, in the least, correspond with those of the queen, a fact which will be clearly apparent to anyone who compares this picture with the four authentic portraits of her in this collection, belonging to four several periods of her life — especially in regard to the shape of her majesty’s nose, which was markedly aquiline, whereas this lady’s is rather the reverse. Further, there is the absence in this picture of all regal emblems or ornaments, and the inap- propriateness to Elizabeth of the mottoes and verses ; while, finally, there appears to be no documentary evidence whatever, in the old records and catalogues, of any such picture of this queen having ever been in the Royal Collection, until about the middle of last century, when, at the period of the fashionable craze for attaching names to every unnamed portrait, this supposed presentment of the Virgin Queen seems suddenly to have sprung into existence. Nor is there any reason to suppose that it is really by Zucchero. His was a stock name clapped on to any supposed Elizabethan picture, irrespective of proof or probability. It certainly does not at all accord with his known style, as it appears, for instance, in his authentic work in this gallery, No. 394. It would seem rather to be from the hand of some Netherlandish artist, or perhaps an Englishman trained to paint in such a school. 352 Portrait of Dr. Fischer the Musician . . Gainsborough. Gainsborough’s letter to his sister on his daughter’s marriage to Fischer is printed in Mr. Armstrong’s monograph on this painter in the Portfolio , 1894, p. 53. Fischer died in such impoverished circumstances that his two sons were found selling fruit in Fleet Street, shoeless. George III. thereon founded the Royal Society for Decayed Musicians. Hampton Court Palace. 31 1 353 Portrait of Colonel St. Leger Gainsborough. This and its companion were painted to be exchanged by the two sitters. That of the Prince of Wales was sold to Baron Ferdinand de Rothschild for ,£11,000. 355 Francis, 5th Duke of Bedford J. Hoppner. “More dignified and well painted than the similar one at Woburn.” — Sir George Scharf. 361 Family of Frederick, Prince of Wales .... Knapton. Among the manuscripts at Broggyntyn, Lord Harlech’s place in Wales, is a letter, written by Ellen, daughter of Colonel Sydney Godolphin, from St. James’s Palace, dated Sept. 26, 1752, giving an exact description of this picture, which agrees with that given by the author in the text. She adds : “The likeness of all the young, I cannot say anything of, but Her Royal Highness I can see no re- semblance of, but in all the children I can trace Father and Mother.” (A History of Sclattyn by the Hon. Mrs. Bulkeley Owen.) Knapton was distinguished for his portraits in crayons, and was appointed painter to the Dilettanti Society, and Surveyor and Keeper of the King’s Pictures. 362 Nabob Walajah of Arcot G. Willison. “ There is a repetition in the India Office, and another, with a different back- ground, in Government House, Calcutta.” — Sir George Scharf . 364 Portrait of Richard Brinsley Sheridan . . Karl Anton Hickel? This appears to be the study for, or a replica of, the head of Sheridan in the picture of the Interior of the old House of Commons in 1793, painted by Karl Anton Hickel, and now in the National Portrait Gallery. 365 Portrait of Robert Walker By himself. The one at Oxford is in the Ashmolean Museum ; there is a similar one in the National Portrait Gallery. 377 Count Gondomar Mytens ? This picture is entered in a catalogue of portraits at Hampton Court in 1785 as “by Breenberg” ( British Museum Add. MSS. 6391, f. 136), which, taken with its ascription to “Blenberghe” in the Commonwealth inventory, seemed to point to Bartholomew Breenberg as the real artist. But Breenberg was not born until 1620 ; and the puzzle is, therefore, still unsolved. Much interesting new information about Gondomar is given in Mr. Hume’s Raleigh. 381 Head of an old Jewish Rabbi Rembrandt. No responsible critic would now be found to question the authenticity of this fine work. 385 Adam and Eve Mabuse. This, which, next to Mabuse’s much earlier “Adoration of the Kings,” at Castle Howard, is the most important example of his art to be found in England, “serves to show, notwithstanding the astonishing precision of the execution, how much Mabuse deteriorated when, like many of his most skilful countrymen of the same transitional period, he strove to speak in a tongue foreign to him, and to assume the suave graces of the Italian Renaissance.” (Claude Phillips.) 312 Royal Gallery of Pictures. There is another very similar, but smaller, “Adam and Eve” in the Berlin Gallery, displaying a composite art, half Flemish and half Italian, and forming with a “ Neptune and Amphitrite” of the same late type, signed and dated 1516, the two outer panels of a triptych. At Munich, in the Alte Pinacothek, there is a study (No. 729) which appears to be for this picture, attributed, but doubtless erroneously, to Lucas Cranach the elder. Comparison should be made between this “ Adam and Eve ” and the artist’s very similar “ Hercules and Omphale,” painted exactly in the same style, and dated 1517* which is in the collection of Sir Francis Cook, Bart., was exhibited at the Burlington Fine Arts Club in 1892, and is reproduced in collotype in the illustrated large paper edition of their Catalogue of the Works of the Early Netherlandish Schools. Mabuse died at Antwerp in 1532. The distance between Mabuse’s rendering of the nude and Diirer’s when treating the same subject (the “Adam and Eve” now in the Pitti) is not less immeasurable than is that between Diirer’s own and Palma Vecchio’s “Adam and Eve ” in the Brunswick Gallery. (For an engraving see Dohme’s Kunst und Kiinstler , lxviii. , p. 54, Palma Vecchio , by Ad. Rosenberg. ) 387 Samson and Delilah Vandyck. The picture by Rubens is in the gallery at Munich ; the version in the Imperial Gallery at Vienna is by Vandyck in his Rubenesque style, and varies somewhat from this one. The engravings after it are detailed in Guiffrey’s Vandyck. 391 Destruction of Pharaoh and his Host Hans Jordaens. Besides the version of this subject at Berlin, there is another at Antwerp, and yet others at the Hague, St. Petersburg, and elsewhere. This Hans, in fact, seems to have been entirely a “single picture” painter, as few, if any, other works of his are known. There were three other artists with the same Christian and sur- name, all of whom were flourishing about the same time, and appear to have been no more, if not less, prolific ; the united efforts of all the editors engaged on the last edition of Bryan’s Dictionary of Painters only succeeding in hitting upon one piece between the three. “The Overthrow of Pharaoh” Hans was born at Antwerp about 1595, and died there in 1643. 394 Calumny — an Allegory F. Zucchero. A fresco very similar to this is in the Rathhaus at Bale. Cort’s engraving is inscribed in the lower right-hand corner : tl Fred. Zuccarus inven. Cornelio Cort fc. 1572”; and above, in the centre, on a tablet: ’A vdpog diica'iov Kapyog ovk ttoXXvtcu. 404 A Quakers’ Meeting E. Hemskerck. A similar picture was in the Plamilton Palace collection. 406 Philip III. of Spain Pantoja. The companion picture of his wife, Margaret of Austria, is at Buckingham Palace. 410 Marianne, Duchesse de Bourbon Drouais ? At Welbeck there is a portrait of Fran$oise Marie de Bourbon (Mademoiselle de Blois), Princesse de Conde, in a style very similar to this and No. 417. The costumes seem rather too early for Drouais ; and the pictures are scarcely good enough for Nattier. Hampton Court Palace. 313 413 Louis XVI. in his Coronation Robes Callet. Though labelled “ Greuze,” this is really a replica of Callet’s well-known por- trait, of which, besides the original at Versailles, there are other repetitions at Madrid and elsewhere, distributed to the various courts of Europe on the king’s accession. The original was engraved by Bervic, the greatest of French engravers, the plate being lettered with the painter’s name, “ Callet Peintre du Roi.” 434 Landscape P. Hackert ? There w T ere five brothers of the family of Hackert, natives of Prussia, and all painters more or less. It is more probable that this is by Jakob Philipp, who was a painter of landscapes, and the best artist of the lot — which, indeed, is not saying much for him — than by his brother, Johann Gotlieb, who was a painter of animals, and who, having come to England and exhibited in the Royal Academy in 1773, died in the same year at Bath. 441 Copy of Titian’s “Venus qui se mire” ? This would be more correctly described as a copy of Rubens’ fine version, now at Cobham Hall, of Titian’s great masterpiece, which is itself in Prince Lichten- stein’s gallery at Vienna. 520 View of the Arno at Florence by Night Patch. Two views by Patch are mentioned in Princess Lichtenstein’s Holland House , vols. i., p. 265, ii. , pp. 1 7 1, as being in the collection there. For further par- ticulars of Patch see Mann and Manners in Florence , vol. ii., pp. 220-2. 524 A Labyrinth and Pleasure Garden .... Tintoretto ? On the confiscation of the Earl of Somerset’s property in 1616, the king pre- sented to Lord Arundel the pictures purchased by Sir Dudley Carleton in Venice for Somerset ; perhaps he retained possession of this piece himself. 544 Grapes in an Earthenware Bowl Labrador? A piece of “ Spanish Grapes done by Loverader,” was sold to “ Coll. Iluchen- son y e 30th Oct r . 1649 for £$.”—Harl. MSS. 4878, fol. 131. 561 Mary Queen of Scots Copy by Mytens. The picture in the Trinity House at Leith is merely a well-executed copy of this, which was inaccurately engraved by G. F. Harding, in 1 797 > as Mary of Guise. 562 Lady of the Time of Henry VIII L. Cornelisz? Cornelisz, according to the late Sir William Franks, is Cornelius Hayes, often mentioned in the Privy Purse Household Accounts. See Wornum’s Holbein , p. 323 7z., and Franks on the Will of Holbein, p . 8 n. A similar picture is in the Merchant Taylors’ Hall, see Waagen’s Art Treasures , vol. iii., p. 407 ; and another at Southam-de-la-Bere, Gloucestershire, the seat of the late Earl of Ellenborough. 565 Lady of the Time of Henry VIII L. Cornelisz ? “ Probably Johanna of Borseln, Countess of Zollern. Her husband, Eitel Frederick, 5th Count of Zollern, was a great general and minister to Charles V. He was poisoned in 1525. His wife was of Borseln in the Netherlands. See Anderson, p. 568, Barcele, Countess of Come.”— Sir George Scharf See also note to No. 267. 3 i 4 Royal Gallery of Pictures. 560 Francis I. and his Wife Eleanora of Spain Maitre Ambroise? The surmise that this picture is by Maitre Ambroise, is strengthened by the following entry in the Privy Purse Expenses of Henry VIII., June 13th, 1532, which very likely refers to the very panel before us : “ Item , the same day to one Ambrose, Paynter to the Queen of Navarre, for bringing of a picture to the King’s Grace at Eltham xx crown,” that is, £4 13*. $ 597 Essex, Mary Bentinck, Countess of . 30 Essex, Robert Devereux, Earl of . 400 Eugene, Prince 414 Fairburne, Admiral Sir Stafford . . 21 Falkland, Lord 768 Falmouth, Elizabeth, Countess of . 203 Fawcett, Sir William 354 Hampton Court. Fischer the composer 352 Francis I. of France 598 Francis I. and his Queen .... 566 Francis I. at “The Field of the Cloth of Gold”. 342 Francis II. of France 632 Frederick the Great . . .513, 842, 868 Frederick, Prince of Wales . . . 518 when young 826 at an entertainment .... 812 Family of 361 Frederick II. of Denmark, Queen of 420 Daughter of 332 Frobenius, Erasmus’s printer . . . 603 Gabrielle, La Belle 582 Gage, Sir John 341 Gentileschi, Artemisia 226 Gentz, Friedrich von 363 George, Prince of Denmark . . . 845 George 1 521, 806 George II 477. 522, 527, 828 Caroline, Queen of . . . 523, 834 Daughters of . . . . 514, 517 George III. as a boy 361 aged 42 318 reviewing the Tenth .... 354 his Family .... 309, 310, 321 George IV 324, 356 Giant Porter, Queen Elizabeth’s . . 20 Giorgione 125 Gloucester, Henry, Duke of, son of Charles II 192, 515 Goldsworthy, General 354 Gondomar, Count 377 Gorges, Sir Theobald 712 Gradin, Sir J 15 Grafton, first Duchess of ... . 46 Grammont, Countess de .... 207 Guasto, the Marquis del ? .... 122 Guercino 231 Guzman, Don 3 2 7 Gwynne, Nell? 196 3 21 List of Historical Portraits. Hamilton, James, second Marquis of 44 Harrington, second Lord ? ... 400 Haydn, the composer 832 Henry IV. of France 418 Henry VII. and his Queen . . . 601 Henry VIII. when young .... 563 older 606 with Jane Seymour 601 and his Family 340 meeting the Emperor Maximilian 33 1 embarking at Dover . . . . 337 at “ The Field of the Cloth of Gold” 342 Henry, Prince of Wales .... 400 Holbein 593, 857 Holbein’s Father and Mother ? . . 608 Holderness, Lord 554 Hoogstraaten, Count of 705 Howard, Henry, Earl of Surrey . . 345 Hudson, Sir Jeffrey, the dwarf . . 798 Hurd, Richard, Bishop of Worcester 367 , 371 Hutchinson, Lord 368 Hyde, Anne, Duchess of York . . 190 Isabella, Archduchess of Austria . . 343 Isabella d’Este ? 295, 306 James 1 308, 763, 769 James II. as a boy 568 James Stuart, the Old Pretender . . 759 Jennings, Admiral Sir John ... 18 Jordan, Mrs., as the Comic Muse . 359 Keith, Admiral Lord . . „ . . 24 Kellaway, Miss Jane ? 186 Kent, Duke of 324 Ketel, Cornelius 767 Knott, Mrs 19 1 Lacy, John, the actor 369 Lawson, Miss 200 Lawson, Admiral Sir John . ... 7 Leicester, Robert, Earl of . . . . 614 Lely, Sir Peter 852, 862 Lemon, Alderman 757 Lemon, Margaret, Vandyck’s mistress 47 Lennox, Margaret, Countess of . . 559 Licinio, Bernardino, and his Family 104 Locke, John 824 Loyola, Ignatius ? 113 Louis XIII 407 Louis XIV. when young .... 428 on horseback .... 408, 742 Louis XV. when young 422 Louis XVI 413 Mansfeldt, Ernest, Count of . . . 405 Margaret, Archduchess of Austria . 623 Margaret Tudor, Queen of Scotland . 550 Mary Christiana, daughter of the Archduke Charles of Austria . . 636 Mary of Lorraine, Queen of Scotland ? 617 Mary Tudor, Queen of England . . 340 Mary Queen of Scots . . . 561, 631 Mary d’Este, Queen of James II. . 65 Mary, Queen of William III. ... 27 when Princess ? 186 Maximilian, Archduke of Austria . 665 Maximilian, Emperor, meeting Henry VIII 331 Mayerne, Sir Theodore 7 1 1 Michael Angelo 816 Middleton, Lady 53 Middleton, Mrs 199 Medici, Alessandro dei ? .... 149 Medicis, Mary de 41 1 Moira, Earl of 358 Montagu, Edward, Earl of Sandwich 1 1 Mytens, Dan, the painter .... 770 Nassau, Maurice, Count of. . . . 706 Nassau, William of 348 Nevers, Luigi Gonzaga, Due de ? . 122 Newton, Sir Isaac 846 North, Bishop of Winchester . . . 374 Northumberland, Countess of . . . 202 Nottingham, Charles Howard, Earl of 620 Odoni, Andrea . 148 Oliver, Peter ? 766 T T 3 22 Royal Gallery — Hampton Court. Orange, Mary, sister of Charles II., Ossory, Countess of 203 Oude, King of 360 Parker, Sir John 803 Paul, Emperor of Russia .... 425 Percival, Spencer 373 Peter the Great . 57 Peterborough, Countess of ... . 33 Philip II. of Spain 633 Philip III. of Spain 406 Philip IV. of Spain 82 Pitt, Miss 40 Poland, Stanislaus, King of . . . 424 Pompadour, Madame de . . . . 429 Porter, Queen Elizabeth’s gigantic . 20 Portsmouth, Duchess of .... 194 Prussia, Queen of 512 Ranelagh, Countess of 3 7 Raphael, so called 710 Reskemeer, John 610 Richmond, Frances, Duchess of . . 195 Richmond and Lennox, Duke of. . 155 Rochester, Countess of 197 Romano, Giulio 815 Rudolphus II., Emperor .... 630 Rupert, Prince, when a boy . . . 762 Russell, Admiral 13 Russia, Peter the Great, Czar of . . 57 Paul, Czar of 425 Sandwich, Edward Montagu, Earl of 1 1 Schachner of Austria 808 Shakespeare ? 7°9 Sheridan, Richard Brinsley . . . 364 Shore, Jane ? 793 Somerset, Duchess of 198 Somers, Will, Henry VIII. ’s Jester 340, 666 ? . • 831 Spindalo, Lazarus 609 St. Albans, Duchess of 26 St. Leger, Colonel 353 Stanislaus, King of Poland . . . 424 Stuart, James, the Old Pretender . 759 Sunderland, Anne Spencer, Countess of 187, 206 Surrey, Earl of ? 345 Sussex, Duke of, as a boy .... 309 Tintoretto 819 Titian m Titian’s Uncle? 116 Vaga, Perm del 821 Vaux, Lady 591 Venice, Doges of 526 Wales, Prince of, see Frederick. George, Prince of ..... 354 Henry, Prince of 400 Walker, Robert 365 Walpole, Sir Robert 357 Walsingham, Sir Francis .... 613 Whitmore, Lady 201 William the Silent (of Nassau) . . 348 William III., as a boy 792 when Prince of Orange ... 16 embarking from Holland ... 38 landing at Torbay 51 allegorical picture of ... . 29 in armour, when King ... 31 William, Duke of Gloucester, son of Queen Anne . . . 41, 192, 515, 830 Winchester, North, Bishop of. . . 374 Wolfe, General 320 Woodville, Elizabeth 585 Worcester, Hurd, Bishop of . 367, 371 Wurtemberg, Duke of 59 York, Anne Hyde, Duchess of . . 190 Frederic, Duke of 322 Spalken, General Zouche, Edward, nth Lord . . . 336 nbentorp umbers* N.B . — The consecutive italic numerals in the tables below represent the registered inventory number painted on each picture; the numerals opposite denote the corresponding current number in the catalogue. I 17 32 37 o 63 68 94 721 125 128 156 156 187 2 12 33 37 64 5 ° 7 95 93 126 129 ^57 157 188 194 3 19 34 38 65 293 96 88 127 61 158 84 189 195 4 20 35 ’ 39 66 214 97 128 103 159 9 1 190 196 5 8 36 67 72 98 231 129 694 160 69 191 197 6 23 37 40 68 149 99 87 130 * 3 * 161 168 192 198 7 14 38 i8 3 69 102 100 98 131 449 162 278 193 199 8 i 5 39 42 70 39 i IOI 99 132 727 163 444 194 200 9 6 40 43 7 i 394 102 100 133 242 164 77 201 IO 22 4 i 44 72 148 103 142 134 147 165 229 196 202 ii 18 42 45 73 47 104 776 135 179 166 554 197 203 12 10 43 46 74 138 105 235 136 73 167 250 198 204 13 4 44 109 75 169 106 770 137 59 i 168 257 199 205 14 3 45 !25 76 306 107 io 5 138 48 169 184 200 206 15 9 46 63 77 249 108 107 139 282 170 185 201 207 16 2 47 5 ° 78 165 iog 76 140 146 171 186 202 208 1 48 5 i 79 226 no 291 141 70 172 189 203 18 49 1 L EJ2 80 6,79 in 113 142 276 173 203 287 19 5 50 \ 1 5 81 112 1 10 143 49 174 204 836 20 5 i 53 82 81 113 302 144 170 175 203 248 21 25 52 182 83 82 114 1 16 145 154 176 206 663 22 26 53 108 84 817 115 286 146 578 177 207 255 23 27 54 120 85 739 116 60 147 ! 5 ° 178 96 208 24 28 55 236 86 7°3 117 162 148 576 179 209 463 25 29 56 843 87 85 118 294 149 290 180 190 210 837 26 3 ° 57 397 88 699 119 121 150 I 5 1 181 191 211 252 27 13 58 372 89 580 120 728 I 5 i 97 182 212 840 28 32 59 66 90 701 121 441 152 104 183 193 213 264 29 33 60 57 9 1 90 122 329 153 412 184 214 221 30 92 61 62 92 383 123 167 154 419 185 215 83s 3 1 399 62 67 93 688 124 hi 155 362 186 216 222 324 Inventory Numbers . 217 228 254 292 629 330 598 368 468 406 404 444 218 227 255 447 293 616 33i 594 3<$9 74 i 407 689 445 219 303 236 685 294 624 332 592 370 762 408 445 446 220 838 257 101 295 769 333 155 37i 624 409 729 447 221 258 241 296 5 6 4 334 372 716 410 75 448 222 225 259 586 297 565 335 373 75 ° 411 825 449 223 486 260 265 298 623 33