>»>> Book Shelf, ./zrfcrt^ THE J. PAUL GETTY MUSEUM LIBRARY From the library of Frank Simpson ",AAAA^ innA^n'' Digitized by the Internet Archive in 2016 https://archive.org/details/treasuresofartin01waag TREASURES OF ART IN GREAT BRITAIN: BEING AN ACCOUNT OF THE CHIEF COLLECTIONS OF 'AINTINGS, DRAWINGS, SCULPTURES, ILLUMINATED MSS., ftc. &c. BY DR. WAAGEN, DIRECTOR OF THE ROYAL GALLERY O'F PICTURES, BERLIN. IN THREE VOLUMES. — You. I. N • I O O.Q ^ - i C r LONDON: JOHN MURRAY, ALBEMARLE STREET. 1854. PREFACE. On my first visit to England in 1835, for the purpose of ex- amining its treasures of art, I was not able to remain more than five months, and, in spit6 of unremitting exertions, was compelled to leave various collections of great importance un- visited. Under these circumstances, I naturally felt very desirous to make good my omissions by a second visit to a country to which for other reasons I had conceived a real attachment. The knowledge, also, of the objects of art of every kind which since then had found their way to England, added strength to this desire. At last, in the spring of 1850, the kind invitation of my friend Sir Charles Eastlake to spend a month with him led to the fulfilment of this long-entertained plan, and the support of the Prussian Government, willingly granted for any object of art and science, enabled me to extend my stay for four months. The favourable reception given to my work, 4 Art and Artists in Eng- land,’ which embodied the results of my first visit, by the leading periodicals in Great Britain— "the 4 Quarterly Review,’ the 4 Edin- burgh Review,’ the ‘Athenaeum,’ — and the assurance of many cultivated Englishmen that my chief object in that work, namely, that of awakening more general attention to the objects of art in this country, and by that means a more general feeling for and understanding of them, had been attended with advantageous results, encouraged me to comply with the proposal of my friend Mr. Murray, and to offer the fruits of this second visit to the English public. The translation of my first work, published by the late Mr. Murray, being out of print, it was deemed ad- visable to incorporate all essential portions of it in one whole with my present labours. Moreover, my first work was intended for my own country, and, therefore, originally published in Ger- man, while the present one is addressed especially to the English public, and published solely in the English language. I have, a 2 IV PREFACE. therefore, erased from the first work all such portions as were interesting to German readers only, and also suppressed the descriptions of collections which have been subsequently dispersed. At the same time I have retained various opinions and remarks on subjects not strictly included within the domain of the formative arts, from the belief that the impressions of an unprejudiced fo- reigner would possess some interest with many an English reader. I have also adhered to the epistolary form, as offering greater animation of style, notwithstanding that the usual limits of a letter are greatly exceeded by the new additions. For various reasons, also, a re-examination of the collections already known to me had become expedient ; the range of my artistic studies having been greatly extended, since my first visit to England, by a year’s residence in Italy, a visit of three months to Belgium and Holland, and by renewed and protracted visits to Paris, Vienna, Dresden, and Munich. These had so far ripened my judgment as to lead me to view many objects with new impressions, and to feel the necessity for altering many of my recorded opinions, and more closely investigating others. Besides, many collections had been more or less increased, or altered in arrangement ; and in order to render this work in any way worthy of its title, it became my duty to visit not only these, but likewise all the more important collections hitherto unknown to me, in London and its neigh- bourhood, as well as throughout England, and even in Scotland, to which I was an entire stranger. In this way I have succeeded in giving an account of 28 collections in and round London — of 19 in England generally — and of 7 in Scotland, not contained in my former work. Moreover, I have endeavoured to the utmost in my power to make good one great deficiency, by devoting .due attention to modern English art in its various branches. In the abundance of materials which offered themselves on my first visit, 1 had not found time to give this subject the attention it deserved. On my second and third visits, therefore, in 1850 and 1851, on which latter I filled the office of Juror to the Great Exhibition during three months, I exerted myself not only to obtain precise information regarding the art of Painting in England since the time of Hogarth, and of Sculpture since the time of PREFACE. v Flaxman, but also devoted much time to the study of English miniatures contained in MSS. from the earliest times down to the 16th century. By this means, in the absence of all works of a larger class of the period, I endeavoured to arrive at some know- ledge both of the historical progress and of the characteristics of the English school of painting. At the same time my atten- tion was extended to the miniatures of other nations preserved in England. Drawings by the old masters, engravings, and woodcuts have also been largely the object of my studies, so that I may venture to say that, both as regards the larger class of the public who are interested in knowing the actual extent of the treasures of art in England, and also the more learned connoisseur of the history of art, this edition offers incomparably richer and more maturely digested materials than the former one. At the same time, I am well aware that in both respects much remains to be desired. For, notwithstanding the ceaseless researches of thirteen months, the aggregate time of my three visits to England, the number of collections — larger and smaller — which I heard of without being able to visit, was very considerable, while at the same time many doubtless exist of wdiich I received no tidings at all. Nor, with all the experience in the study of the art which I have gathered since my first visit in 1835, would I have the reader suppose that I assume the least infallibility in my judgments — all I can say is, that I have pursued my researches with equal enthusiasm and desire for truth. For the many errors which this work doubtless contains, I claim the indulgence of those who know from experience the difficulties which beset the critic on art. How much even depends on the conditions under which a work of art may be viewed — on the composure of the critic’s own mind — on the more or less leisure and comfort with which it is associated — on the mode of lighting, position, &c. ! In this, as well as in the first edition, the following works have been of the greatest service to., me : Passavant’s 4 Tour through England,’ Smith’s well-known 4 Catalogue Raisonne,’ the different publications of M. Nieuwenhuys, the 4 Memoirs of Painting,’ by Mr. Buchanan, and the 4 Lives of celebrated English Painters, Sculptors, and Architects,’ by Allan Cunningham. But even VI PREFACE. these would have been very insufficient for my purpose had not the superintendents of the different public galleries assisted me in various ways with their knowledge, and the proprietors of private collections afforded me the freest admittance. To these distin- guished individuals, as well as to all to whom I was indebted for introductions and other services, whose names are too numerous to mention here, I tender my most grateful thanks. As far as was in my power their kindnesses have found acknowledgment in the work itself. Should these pages in any way help to diffuse a pure taste and real feeling for art in England, as I ardently desire, the merit will lie in great measure with those who have thus fur- thered my object. In order, also, to promote the practical useful- ness of these volumes as a guide to those cultivated classes from all parts of England who visit the galleries of London during the season, I have grouped together, first, all the collections in and near London, and then those in the neighbouring counties which are easily accessible by railways. Also, in the more distant parts of England I have taken the collections of each county together, and, as far as possible, added notices of such collections in the same county as I had not the opportunity of visiting. Finally, a careful index facilitates the reference to any object in the work. Nor, as one who feels himself under obligations of the greatest personal kindness in a social sense, and that often on the part of individuals of the highest rank and distinction, can I close these remarks without claiming their indulgence for my neglect of many of those courtesies which, as the only acknowledgment in my power, I was doubly bound to observe. If, for instance, on my second and third visits to England, I omitted to pay my respects to many persons who on the occasion of my first visit had’ greatly facilitated my researches, I beg them to believe that it was from no indifference to such proper forms, or from no igno- rance of them, but simply because, in the almost overwhelming harvest of materials which offered themselves, and in the propor- tionate labour of gathering them in, however inadequately, my time was utterly insufficient for those courtesies which it was a real sacrifice to duty to refrain from paying. CONTENTS OF VOL. I. LETTER I. Passage to London — First impressions of the Thames and the City — Arrival at the house of Mr. Edward Solly Page 1 LETTER II. Physiognomy of London — Mode of building — Architectural irregularities of Nash — Club-houses — History of the collection of works of art in England — King Henry VIII. — King Charles I., extent and value of his collections — Collections of the Earl of Arundel and the Duke of Buck- ingham — Fate of those treasures of art — Kings Charles II. and James II. as collectors — Character of the private collections of the 18th century — Orleans Gallery and other collections brought over from France, Italy, Belgium, Holland, and Spain, consequent on the French Revolution and the wars of Napoleon — List of collectors since 1792 — Collections of drawings — MSS. with miniatures — Engravings — Grecian antiquities — Elgin marbles — Increasing encouragement of the arts by Government — Chief collections formed since 1835 in all departments of art . 5 LETTER III. The British Museum : Origin and contents — Egyptian antiquities — Their character — Impression produced by the colossal figures — Casts from Egyptian sculptures — Sarcophagi and mummy-cases ■ — The Nimroud sculptures — Their character, morally and artistically considered — Their probable date — Description of various slabs and other objects — Col- lections of Greek and Roman sculptures how formed — Sculptures of the Parthenon — Statues — What distinguishes them from others — Metopes and friezes — The laws of their style — Sculptures from the Temple of Theseus — From the Pronaos — From the Temple of the un winged Victory — Choragic monument of Lysicrates — Friezes of Phigalia — Sculptures from the mausoleum at Halicarnassus — Specimens of the Doric school — Statues from the Temple of Egina — The Lycian sculp- tures — Argument regarding their date — Analysis of them as works of art — Other sculptures of Greek character .... 38 VIII CONTENTS OF YOL. I. LETTER IY. Townley Collection : Terra cottas — Statues and busts ■ — Old Persian and East Indian sculptures, antiquities, bronzes, &c. — Portland vase — Nineveh ivories — Bronze paterae — Etrurian ornaments — - Mediaeval objects — Fragments of wall-paintings — Yases — Cups — Drinking- vessels — Coins — Bronstedt breastplates . . . Page 73 LETTER Y. Byzantine MSS. : Remains of Book of Genesis — Evangeliarium (Additional, No. 4949) — Ditto (Add. 5111)— Ditto (Add. 11,838) — Psalter (Egerton, 1139) — Evangeliarium (Harleian, 1810) — Ditto (Harleian, 5790). — Carlo vin Li an MSS. : Evangeliarium, called the Codex aureus (Harleian, 3788) — TheYulgate. — French MSS. : Evangeliarium (Add. 11,739) — Psalter (Add. 16,975) — - Apocalypse (Add. 17,333) — The Bible (Harleian, 4831) — Missal (Harleian, 29,940) — Roman de la Rose (Harleian, 4425) — Poem and Ballads — French translation of work by Boccaccio — Book of Prayers (Add. 728). — Netherlandish MSS. : The Yulgate (Add. 17,738) — Missal (Add. 16,949) — Psalter (Biblia Regia) — Office of the Yirgin (Add. 16,997) — Poems of Christina of Pisa (Harleian, 4431) — Missal — Psalter (Cotton) — Some sheets of parchment (Add. 12,531) 95 LETTER YI. Anglo-Saxon and English MSS. : Astronomical poem of Aratus (Harleian 617) — Evangeliarium (Cotton) — Psalter (Cotton) — Ditto (Harleian, 2904) — Ditto (Cotton) — Paraphrase of Pentateuch and of Book of Joshua — Psalter (Harleian, 663) — Ditto (Cotton) — MS. containing various treatises — Life of St. Gutlac — Latin poem of Aurelius Pruden- tius (Cotton) — The Bible (Cotton) — Psalter (Lansdowne, 383) — Har- mony of the Gospels (Cotton) — Psalter (MSS. Regia) — Ditto (Harleian, 5102) — Ditto (Arundel, 157) — Ditto (Lansdowne, 420) — History of the English Nation (MSS. Regia) — MS. containing Life of King Offa, &c. (Cotton) — Psalter (Biblia Regia) « — Yulgate (MSS. Regia) — Psalter (Arundel) — Ditto (MSS. Regia) — Albumazar’s Astronomy (Sloane) — Bible Historiale (MSS. Regia) — Fragment of Lectionary (Harleian) — Yulgate (MSS. Regia) — Office of the Yirgin (Biblia Regia) — Ditto (Har- leian, 2900) — MS. of a religious poem (Cotton) — Life of King Edmund the Saint, by Lydgate (Harleian, 2278) * — Missal (Harleian, 3000) — Office of the Yirgin (Harleian, 2846) — Ditto (Harleian, 2884) — MS. of Henry YI. — Office of the Yirgin — Ditto (Harleian, 2853) — Ditto (Add. 17,012) — Psalter belonging to Henry YIII. .... 136 CONTENTS OF YOL. I. ix LETTER VII. German MSS. : Evangeliarium (Harleian, 2970) — Missal of the Cathedral of Augsburg (Harleian, 2908) — Evangeliarium (Egerton, 809) — Ditto (Harleian, 2821) — Lectiones in Ecclesia (Harleian, 2889) —Prayer-book of King Sigismund — Book of Designs for Jewellers’ work, chiefly by Holbein. — Italian MSS. : Latin poems of Convonvole da Prato — Lee- tionarium Romanum (Add. 15,815) — Missal of the monks of Montecas- sino (MSS. Regia, 15,813) — Giulio Clovio’s Victories of Charles V. — Spanish MSS. : Latin Commentary on the Apocalypse, &c, (Add. 11,695) — Office of the Virgin (Add. 18,191). — Jewish MS. (Add. 11,699). — Arabic MS. (Add. 11,856). — Persian, East Indian, and Chinese Miniatures. — Printed Books : Life of Giovanni Simonetti — Aldine edition of Martial’s Epigrams Page 196 LETTER VIII. Drawings by the Old Masters in the British Museum — Their various technical modes — Old Sienese school — Antonio Pollajuolo — Masaccio — Fra Filippo Lippi — Lorenzo di Credi — Michael Angelo — Andrea del Sarto — Perugino — Raphael — Giulio Romano — Correggio — Gaudenzio Ferrari — Mantegna — Giovanni Bellini— Titian — Nicolas Poussin — Van Eyck — Martin Schongauer — • Israel van Mecken — Albert Durer, folio volume of drawings by him — Relief of Birth of John the Baptist — Hol- bein — Albert Durer’s pupils — Albrecht Altdorfer — Adam Elzheimer — Ridinger — Rubens, book of costumes by him — Vandyck — Rembrandt — Adrian van Ostade — Paul Potter — William Van de Velde — Backhuysen — Swaneveldt — Adrian Van de Velde — Carel Dujardin . . 222 LETTER IX. Niello Plates — Pax of Maso Piniguerra — Pax of Peregrino da Cesena — Impressions on sulphur — Impressions from niellos — Engravings in the British Museum — Original designs by great masters — Anonymous engravers — Raphael’s Last Supper — Leonardo da Vinci — Life of the Virgin — Last Judgment — 'Sienese devotional print — Baldini’s Prophets — Engravings from the Otto collection — The Twelve Sibyls — The Seven Planets — Engravings from Dante — Gioco di Mantegna — Robetta — Engraver known as P. P. — Mantegna’s engravings — Girolamo Mozzeto — Marcello Fogolino — Benedetto Montagna — Nicoleto da Modena — Zoan Andrea — Giovanni Maria da Brescia — Giovanni Ant. da Brescia — Giulio Campagnola — Domenico Campagnola — The Master with the Rat-trap — Giacomo Francia — Marc Antonio Raimondi — Italian woodcuts — Other Italian engravers — Netherlandish and German engravers on metal on the same principle as on wood — Anonymous engravers — The Master of X CONTENTS OF VOL. I. 1466 — Martin Schongauer — Israel van Mecken — Albert Durer : his contemporaries and scholars — Lucas van Leyden — Later Netherlandish engravers — Rembrandt’s etchings — Late German, French, and English engravers — Brasses — Block-books and single woodcuts — Roman Breviary with woodcuts . . . . . . . . . Page 241 LETTER X. The National Gallery: — Its origin — Acquisitions since 1835.— -The Italian schools — Florentine school : Leonardo da Yinci represented by Ber- nardino Luini — Michael Angelo by Sebastian del Piombo — Andrea del Sarto. — Umbrian school : Perugino • — Raphael. — Roman school : Giulio Romano — Baroccio — Carlo Maratti — Pannini. — Ferrarese school : Garofalo — Mazzolino da Ferrara. — Sienese school : Baldassare Peruzzi — Lombard school: Correggio' — Parmigianino. — Venetian school : Titian — Sebastian del Piombo — Tintoretto — Paul Veronese. — Bolognese school : Annibale Carracci — Agostino Carracci — Domenichino — Guido Reni — Guercino — Pietro Francesco Mola — Michael Angelo Caravaggio. — Three great landscape-painters : Claude Lorraine, Gaspar Poussin, and Salvator Rosa — Nicolas Poussin — Lancret — Joseph Vernet. — Spanish school : Velasquez — Murillo — Zurbaran. — Flemish and Dutch schools : Jan van Eyck — Rubens — Vandyck — Rembrandt — Gerard Dow — Maas — Teniers — Cuyp — Van der Neer — Van Huchtenburgh — Decker — Van Goyen — Jan Both — Breenberg — William Van de Velde — Backhuysen — Abraham Storck — Hondekoeter — Dietrich — Angelica Kauffmann 315 LETTER XL Pictures of the English school in Marlborough House — The Vernon Gallery — Inquiry into the causes of the late development of painting and sculp- ture in England — Hogarth — Sir Joshua Reynolds — Benjamin West — Wilson — Gainsborough — Romney — Recent improvement in the English school — The arts not necessarily excluded from the Protestant Church — Modern English painters in the Vernon Gallery. — Historical painters : Hilton — Etty — Sir Charles Eastlake — Maclise — Herbert — Hart — Horsley — Ward. — Subject-painters : Sir David Wilkie — Mulready — Leslie — Newton — Johnstone — Charles Landseer — Redgrave — Egg * — Goodall — Bird — Collins — Webster — Uwins — Penry Williams. — Portrait-painters : Sir Thomas Lawrence — Phillips — Pickersgill. ■ — Animal-painters : Sir Edwin Landseer — Ward — T. S. Cooper. * — Landscape-painters : Turner — Bonnington — Constable — Sir Augustus Calcott — Stanfield — E. W. Cooke — Lee — Linnell — Creswick — Nasmyth. — - Architectural painter: D. Roberts. — Flower-painter: Lance. — The school of miniature-painting — Enamel-painting — The school of water-colours — Sculpture 359 CONTENTS OF YOL. I. xi LETTER XII. Works of art at the Royal Academy : Cartoon by Leonardo da Yinci — Marble relief by Michael Angelo — Early copy of the Last Supper. — Northum- berland House : Titian’s Cornaro Family — Copies of celebrated frescoes. — Whitehall. — Sir Robert Peel’s collection : Rubens’ Chapeau de Paille. — Montague House: Small portraits by Yandyck. — Pictures be- longing to Lord Malmesbury. — Westminster Abbey: Chapel of Edward the Confessor — Supposition regarding the monument of that King Other monuments — Screen — Henry YII.’s Chapel — Monuments. — Decline of English sculpture — Roubiliac — Flaxman. — New Palace of Westminster : The Gothic style highly appropriate — Sir Charles Barry’s great merits as an architect — Internal decorations — Frescoes — House of Lords — Statues. — Lambeth Palace .... Page 391 ERRATA. Vol. iii. pp. 444, 460, for “Broughton Hall,” read “ Bough ton.” ,, 444, 474, et seq. Luton House is no longer the seat of the Marquis of Bute. His collection of paintings has been removed, and is now, it is believed, in Scotland. „ p. 474. Ampthill has ceased to be the seat of the Earl of Upper Ossory, and the pictures are removed. I ¥ D E X ABBATE. ART. Piet. Yol. Page A. Altdorfer, Albrecht — drawings, i. 236 ; en- Piet. Vol. Page gravings, 299. Abbate , Niccolo — Althorp, iii. 454 : collection of pictures, Stafford House 1 .. ii.,.. 62 / 455. Leigh Court 1 .. iii. .. 186 Alton Towers, iii. 381 ; collection of pic- Keddleston Hall 1 .. iii. . . 393 tures, 382 ; gardens, 389. Academy Royal i. .. 391 Alunno Niccolo — Aelst , Evert van . iii. .. 337 Mr. Munro. . . . 1 . . ii. .. 132 Aelst, Peter van . ii. .. 413 Amazon defending herself, antique group, iii. Aelst , William van . iii. .. 291 148. iEschines, bust of i. . . 49 Amendola, Giulio di . . iii. .. 378 Agi, Cordelle Andrea — Amherst, Earl, collection . ii. .. 334 Sir Chas. Eastlake . 1 .. ii. .. 265 Amiconi, Jacopo .... . iii. .. 434 Aguado, M. Amman, Jost . . . . • . .. 299 Aikman .... Ancona, Niccolo di — Albano — Mr. Barker. . . . 1 . . ii. .. 128 Bridgewater Gallery 1 .. ii. . . 36 Anderloni, engraver . . i. .. 300 Lord Yarborough . 1 .. ii. . . 87 Andran, engraver. . i. .. 300 Devonshire House . 1 .. ii. '.. 92 Andrea, Zoan — engravings . . i. 262,- 269 Mr. Holford 1 .. ii. .. 198 Angell, Mr Mr. Ford . 1 ,. ii. .. 224 Angerstein, Mr Lord Ward . 1 .. ii. .. 236 Anguisciola, Sofonisba — Mr. Morrison . 1 .. ii. .. 262 Sir Charles Coote . . 1 . . ii. .. 258 Mr. Wynn Ellis 1 .. ii. .. 293 Burleigh House . . 1 . . ii. .. 404 Cobham Hall . 1 .. iii. . . 21 Althorp .... 1 . . ii. .. 456 Bowood 1 .. iii. . . 165 Anonymous — portrait, ii. 243 ; Virgin ., death Wentworth Castle . 1 .. iii. .. 342 of, 463. Chatsworth 1 .. iii .. 348 Ansdell .. 241 Burleigh House 1 .. iii. . . 405 Antaldo Antaldi, Marchese di . . i. . . 27 Glendon Hall . . 3 .. iii. .. 462 Antiquaries, Society op . . ii. .. 326 ■Albacini .... Antique group .... . iii. .. 49 Albert, Prince i. 34, -35 Antique picture .... . iii. .. 150 Albertinelli, Mariotto — Antique sculpture, Oxford . iii. . .51-2 Thirlestaine House. 1 .. iii. .. 197 Antiquities in British Museum ( see British Alton Towers . 1 .. iii. .. 382 Museum), i. 80. Aldegrever “ Antolinez,” inscription on picture iii. .. 196 Alemano, Pietro — Apethorpe — pictures, iii. 410 1 ; fine casts, Mr. Barker. ii. .. 128 411. Wooton Hall . iii. .. 378 Apsley House, ii. 272 ; colossal statue of Alexander the Great, coins of i. . . 92 Napoleon, 273; collection of pictures, 273. Alfred Jewel . Archduke Leopold William . . i. 13, 14 Allen , Sir William iii. .. 241 Archaeological Society, Bristol . iii. . . 194 Allori , Alessandro , called Bronzm o — Architecture of London . . i. . . 5-6 Mr. Dennistoun 1 .. iii. .. 282 Armour . . 450 Alton Towers . 2 .. iii. . . 382 Arpino, Cav. di — Allori , Cristoforo . iii. .. 383 Stafford House . . . 1 . . ii. . . 63 All Souls’ Church i. .. 6 Blaise Castle . . . 1 . . iii. . . 192 Altamira, Count, collection . i. . . 40 Ham Court, . . . 1 . . iii. . . 225 Altar, small, with Jupiter, Minerva, Neptune, Mr. M‘Lellan . . . 1 . . iii. . . 288 and another, i. 146 ; four circular, iii. 52 ; Art, English, reasons for its late development, circular marble of Bacchus, 144; circular, i. 359; reaction in, 369; religious, com- 255 ; square, with Serapis and Isis, 255 ; patible with Protestant as with Roman circular, with English inscription, 329. Catholic worship, 370. xiii INDEX. ARTOIS. BASSANO. Piet. Yol. Page Piet. Vol. Page Artois — Backhuysen , Ludolph — Bridgewater House . 1 . . ii. . 42 Ince 1 . . . . 253 Stafford House . . 1 . . ii. . 70 Torry Collection . . 1 . . .. 275 Arundel Castle 2 iii. . 31 Mr. M‘Lellan . . . 2 . . .. 287 Garscube . 1 . . iii. . 293 Lord Hopetoun . . . 1 . . iii. .. 311 Boughton Hall . 1 . . iii. . 460 Orwell Park . . . 1 . . iii. .. 443 Arts, Society op . • ii. . 321 Bagnacavallo — Arundel Castle iii. . 29 Charlton Park . . . 1 . . iii. .. 169 Arundel, Earl of, early collector i. 8 con- Wooton Hall . . . 1 . . iii. . . 378 tents of collection, 11 12, 14. Bagot, Sir Charles .... i. .. 27 Arundel, Rev. T. . i. . 91 Bailey, Mr Ashbourne iii. . 371 Bailey , B.A. — Mr. Bicknell . ii. . . 352 Ashburnham, Earl of . . i. 36; iii. . 27 Baldini, engravings in Brit. Museum, i. 252-4 Ashburnham, Hon. Mr.- —pictures ii. . 251 Bale, C. Sackville,Esq., i. 36 ; collection, ii.329 Ashburnham Place iii . 27 Bandinelli, Baccio — Ashburton, Lord, i. 27 ; collection of pictures, British Museum composition i. .. 280 ii. 97. Oxford .... drawing iii. . . 48 Ashby Castle . iii. . . 462 Chatsworth . . . 1 . iii. .. 354 Ashfield , Edmund iii. . . 408 Baptist, Mr Ashmolean Museum . iii. . . 63 Barbers’ Hall ii. .. 327 Aspertini , Amico . i. . . 261 Barker, Alexander, Esq.,i. 35; collection, ii. 125 Asselyn - — Baring, Thomas, Esq., i. 36 ; collection , ii. 174 Bridgewater Gallery . 1 . . ii. . . 52 Baring, Sir Thomas .... i. 27, 35 Mr. Baring . . 1 . . ii. . . 186 Barna — Mr. Womb well. . 1 . . ii. . . 308 Rev. Mr. Russell .... ii. .. 462 Mr. Ingram . 1 . . iii. . . 333 Baroccio — Althorpe 2 iii. . . 459 National Gallery . . 1 . . i. .. 325 Marquis of Bute . 1 . . iii. . . 481 Devonshire House . . 1 . . ii. . . 91 Asserato , Giovachino . iii. . . 240 Mr. Seymour . . . 1 . . ii. .. 242 Assisi, Luigi , called L’ Ingegno — Miss Rogers . . . 1 . . ii. .. 270 Lord Ward . . 1 . . ii. . 232 Stourhead House . . 1 . . iii. .. 172 Duke of Bedford . 1 . . ii. . . 284 Mr. M‘Lellan . . . 1 . . iii. .. 289 Astle, Edward, Esq., collection . i. . . 29 Alton Towers . . . 1 . . iii. .. 383 Assyrian sculptures (see British Museum). Barron Hill . . . 1 . . iii. .. 390 Astronomy and Geography, work on, MS., , iii. 68 Burleigh House . . 1 . . iii. .. 404 Attavante .... . 307 Althorp . . . . 1 . . iii. . . 456 Attleborough, church and screen iii. . . 433 Barron Hill— pictures iii. .. 390 Atys, head of . iii. . . 328 Barry , Sir Charles i. 35, 425 Aufrere, Mr. . i. . . 26 Barry , James — Auldio, Mr., i. 37 : collection, ii. ; 340. School of Arts . . . 5 . . ii. .. 321 Aynho .... . 462 Bartholomew, Valentine — Mr. Bicknell . . . 1 . . ii. .. 352 Bartclini .. 222 B. Bartolo, Taddeo — Rev. Mr. Russell . . 2 . . ii. .. 462 Backhuysen, Ludolph i. . 3 Wolterton . . . . 1 . . iii. .. 436 British Museum drawings . . i. . 40 Bartolozzi . . 14 National Gallery . 1 . . i. . 358 Bartolommeo, Fra .... i. . . 17 Sir Robert Peel . 2 . . i. . 413 British Museum . drawings i. .. 225 Buckingham Palace . 1 . . ii. . 22 Lord Elcho . . . . 1 . . ii. . . 82 Bridgewater Gallery . 2 . . ii. .51-2 Mr. Holford . . . 1 .. ii. .. 194 Lord Ashburton . 2 . . ii. . Ill Lord Brownlow . . 1 . . ii. . . 314 Mr. Hope . . 3 . . ii. . 123 Stoke 1 . . ii. .. 418 Mr. Munro . . 2 . . ii. . 139 Windsor Castle. . drawings ii. .. 447 Mr. Baring . . 2 . . ii. . 188 Panshanger . . . . 1 . . iii. . . 10 Mr. Holford . 2 . . ii. . 203 Stourhead House . . 1 . . iii. .. 172 Mr. Heusch . 1 .. ii. . 256 Leigh Court (ascribed to) . iii. .. 183 Mr. Bredel . . 1 . . ii. . 292 Bartsch 29,245 Mr. Wynn Ellis . 1 . . ii. . 297 Basildon Park iii. .. 134 Mr. W ombwell . . 1 . . ii. . 309 Bassan, Van . . . . 2 . . ii. .. 361 Lord Listowel . . 1 . . ii. . 312 Bassano, Giacomo .... i. 9, 12 Petworth . 1 . . iii. . 40 Northumberland House 1 . . i. .. 394 Basildon Park . . 1 . . iii. . 134 Stafford House . . . 1 . . ii. .. 61 Bowood . 1 . . iii. . 163 Mr. Rogers . . . . 1 . . ii. . . 77 Thirlestaine House . . 3 . . iii. . 209 Devonshire House . . 2 . . ii. .. 90 INDEX. BASSANO. BESBOROUGIi. Piet. Yol. Page Piet. Vol. Page Bassano, Giacomo — Bellini, Giovanni — Mr. Morrison . . 1 .. ii. .. 262 Leigh Court 1 .. iii. .. 185 Sir Chas. Eastlake . . 1 .. ii. .. 265 Thirlestaine House . 2 .. iii. .. 201 Duke of Bedford , 1 .. ii. .. 284 Liverpool . 1 .. iii. ... 234 Mr. Wombwell. . 1 . . ii. .. 310 Glentyan 1 .. iii. .. 31 Leigh Court . 1 .. iii. .. 186 Castle Howard . 1 .. iii. .. 319 Thirlestaine House . . 1 . . iii. .. 203 Mr. Davenport Bromley 1 .. iii. .. 376 Edinburgh . . 2 . . iii. 269-70 Burleigh House 1 . . iii. .. 404 Hamilton Palace . 2 . . iii. 301-4 Bellotto, Bernardo — Dalkeith Palace . 1 .. iii. .. 314 Bowood 1 .. iii. .. 159 Castle Howard . . 1 .. iii. .. 320 Thirlestaine House . 1 .. iii. .. 203 Alton Towers . . 1 .. iii. .. 384 Liverpool . 1 .. iii. .. 240 Keddleston Hall . 1 .. iii. .. 393 Ince .... 1 .. iii. .. 248 Belvoir Castle . . 1 .. iii. .. 400 Nostall Priory . 1 .. iii. .. 337 Burleigh House . . 3 . . iii. .. 404 Belvedere .... .. 341 Wolterton . 1 . . iii. .. 434 Belvoir Castle — collection of pictures, iii. Woburn Abbey. . 1 .. iii. .. 465 395 : Seven Sacraments by Nicolas Poussin, Bassano , Francesco — 400. Mr. Rogers . . 1 .. ii. . . 77 Belzoni .... .. 41 Miss Rogers . 1 .. ii. . . 267 Bergen, Dirk Van iii. .. 208 Hampton Court . 7 ii. 356- -68, 410 Bergliem, Nicolas i. . . 24 Liverpool . . 1 .. iii. .. 239 Buckingham Palace 8 .. ii. 16, 17 Bassano, Jacopo , school of . . iii. .. 238 Bridgewater Gallery 5 .. ii. 46-7 Bassano, Leandro—- Devonshire House . 2 .. ii. .. 95 Hampton Court (ascribed to) 1 . ii. .. 369 Lord Ashburton ■3 .. ii. .. 108 Basset, Sir Francis . . . i. . . 26 Mr. Hope . 1 .. ii. .. 121 “Basso-relievo;” extract from Mr. Munro . 1 .. ii. .. 138 article so called . . 54 Marquis Hertford . 1 .. ii. .. 159 Bath . . 174 Grosvenor Gallery . 1 .. ii. .. 167 Bath, antique . . . 26 Mr. Baring . 3 .. ii. .. 186 Battista, Franco . . . 285 Mr. Holford . . 1 .. ii. .. 201 Battista, Giovanni .. 269 drawing ii. .. 204 Battle Abbey, history of, MS. . iii. . . 112 Mr. Phipps . 1 . . ii. .. 228 Bauerstadt . . . iii. . . 165 Lord Colborne . 2 .. ii. .. 240 Bearcroft, Misses . . . iii. .. 220 Mr. Bevan . 1 . . ii. .. 252 Bearwood, seat of John Walter, Duke of Bedford 1 .. ii. .. 286 Esq .. 453 Mr. Bredel . 1 .. ii. .. 290 Beatrizet, N. . . 1 .. ii. .. 285 Mr. Wynn Ellis 1 .. ii. .. 296 Beauchamp, Richard, Earl of War * Mr. Wombwell . 1 .. ii. .. 309 wick, monument . iii. . . ,219 Mr. Hawkins 1 .. ii. .. 336 Beaumont, Sir George . . . i. .. 317 Dulwich Gallery 2 .. ii. 243-4 Beckford, Mr. . . .. 27 Windsor Castle 1 .. ii. .. 435 Bedford, Duke of, i. 16 ; collection in London, Clewer Park 1 .. ii. .. 452 ii. 283 ; at Woburn Abbey, iii. 463. Bowood 1 .. iii. .. 160 Bedford Missal . . . i. . . *127 Thirlestaine House. 2 .. iii. .. 208 Beeldemaker . . . . iii. .. 253 Hadzor . . . . 1 .. iii. 223 Beerestraten . . . . iii. .. 222 Torry Collection 1 .. iii. .! 275 Beethoven, Adelaide, ii. 59, 146. Mr. M‘Lellan . 1 . . iii. .. 287 Bega, Cornelius — Hamilton Palace 1 .. hi. .. 299 Bridgewater House . . 1 .. ii. . . 52 Chatsworth 3 iii, . 347, 50, 1 Marquis of Bute . 1 .. iii. .. 478 Belvoir Castle . O • # iii. 396, 9 Beham, Bartholomew . .. 299 Wolterton . 1 . . iii. .. 434 Beham, Hans Sebastian — drawings i. 236, 299 Orwell Park 1 . . iii. .. 442 Beit-oually, Temple of .. 43 Marquis of Bute 3 .. iii. .. 479 Bell, sculptor . .. 429 Berhheyden — Bellini, Gentile — drawing . . i. .. 327 Mr, Hope . . . 1 .. ii. .. 123 Bellini, Giovanni — Mr. Baring . 1 .. ii. .. 188 British Museum drawings Thirlestaine House . 3 .. iii. .. 209 (ascribed to) .. 227 Hamilton Palace 1 .. iii. .. 303 . compositions i. 263,273 Marquis of Bute 1 .. iii. .. 482 National Gallery . 1 .. i. . . 316 Bernasio .... .. 270 Mr. Baring . . 1 .. ii. .. 178 Bernini .... Lord Ward . . 1 .. ii. .. 235 Berri, Duchess of — collection i. .. 24 Sir Chas. Eastlake . . 1 . . ii. .. 265 Berwick, Lord i # . . 26 Petworth school of iii. .. 32 Besborough Collection iii. .. 243 XV INDEX. BE VAN. BOTH. Piet. Vol. Page Piet. Vol, Page Bevan, Henry, Esq., i. 36 ; collection ii. 252 Bonifazio — Bezzi, Mr 1 Sir Charles Eastlake 1 .. ii. .. 265 Bicci, Neri de ' — Hampton Court 1 .. ii. . . 365 Mr. Barker 1 . . ii. .. 125 Petworth . 1 .. iii. . . 42 Bicknell, Mr. . . i. 36 ; collection ii. 349 Thirlestaine House. 1 .. iii. .. 203 Bible, first, printed at Mayence . iii. .. 281 Lowther Castle 1 .. iii. .. 261 Birch, Mr . . 34 Edinburgh . 1 .. iii. .. 271 Bird,E . — Vernon Gallery 1 .. i. .. 379 Hamilton Palace 1 .. iii. . . 300 Birmingham iii. .. 228 Glentyan . Alton Towers . 1 .. iii. . .' 314 Biscaino — 1 .. iii. . . 383 Devonshire House . 1 .. ii. .. 93 Marquis of Bute 1 .. iii. .. 483 Black, Mr .. 279 Bonnington — Blaise Castle, collection at , iii. 187 ; second Vernon Gallery 1 .. i. .. 385 visit to, 194. Mr. Rogers. 1 .. ii. . . 75 Blenheim .... in. .. 121 Mr. Barker 1 .. ii. .. 128 Bles, Herri de , called Civetta — Mr. Munro 3 .. ii. .. 140 Lord Ward .... 2 .. ii. .. 237 Grosvenor Gallery. 1 .. ii. .. 174 Marquis of Breadalbane 1 .. ii. .. 239 Mr. Baring 2 .. ii. .. 190 Mr. Green .... 1 .. ii. .. 461 Miss Rogers 2 .. ii. .. 268 Longford Castle 1 .. iii. .. 140 Thirlestaine House. 1 .. iii. .. 211 Liverpool .... 1 .. iii. .. 235 | Bonvicino, Alessandro, < called II Moretto — Blickling ..... .. 436 Garscube iii. .. 293 Block Books — Boom, A. van iii. .. 337 British Museum .. 300 Bordone, Paris — Biblia Pauperum .. 302 Bridgewater House 1 .. ii. 32 Apocalypse . . i# .. 304 Lord Ward . 1 .. ii. !’ 235 Sons: of Solomon .. 305 Longford Castle 1 .. iii. .. 140 Defensio Immaculata Concep Edinburgh . 1 .. iii. .. 269 tionis .... .. 306 Mr. M‘Lellan . 1 .. iii. .. 288 Ars Memorandi . .. 3Q7 Chatsworth 1 .. iii. .. 351 Ars Moriendi .. 308 Mr. D. Bromley 1 .. iii. .. 378 Speculum Humanae Salvation! s i. . . 310 Alton Towers . 2 iii. 383,4 Temptationis Demonis .. 312 Althorp. . 1 . . iii. . . 456 Mr. Holford — Marquis of Bute 2 iii. .. 483 Biblia Pauperum ii. .. 221 Borell, Mr., of Smyrna i. . . 91 Life of St. John . ii. .. 221 Borras — Mr. Hoskins ii. .. 259 Ars Memorandi . ii. .. 221 Bosch, Hieronymus — Speculum Humana Concep- Mr. Seymour . 1 .. .. 243 tionis .... .. 221 Hampton Court 1 . . ii. .. 413 Oxford iii. .. 118 Mr. Fuller Maitland 1 .. iii. 5 Bloemart , Abraham . . iii. .. 206 Petworth . 1 .. iii. . . 39 Bloemen, Peter Van , called Stan- Ince . . 1 .. iii. .. 251 dart iii. .. 273 Botfield, Beriah, Esq., collection ii. .. 335 Bocholt, Franz von . i. ... 298 Both, Andreas — Bodleian Library . iii. . . 64 Lord Ashburton (figures to Jan Boel, Peter .... iii. .. 387 Both) .. Ill Boileau, Sir John . iii. .. 426 Mr. Baring . 2 .. ii. .. 187 Bol, Ferdinand — Torry Collection 1 .. iii. .. 272 Mr. Baring. 2 .. ii. 182, 3 Both, Jan — Mr. Wombwell. 1 .. ii. .. 308 National Gallery . 2 ... i. . . 358 Lady Dover 1 .. ii. .. 335 Buckingham Palace 1 .. ii. . . 21 Liverpool .... 1 . . iii. .. 240 Bridgewater House 2 .. ii. .. 50 Edinburgh .... 1 .. iii. .. 271 Lord Ashburton 1 .. ii. .. Ill Castle Howard . . . 1 .. iii. .. 326 Mr. Hope . . 1 .. ii. .. 122 Bologna, school of iii. .. 239 Mr. Munro . 2 .. ii. .. 139 Bolswaert ..... i. .. 299 Lansdowne House . 1 .. ii. .. 153 Boltraffio — Grosvenor Gallery . 1 . . ii. .. 166 Mr. Seymour . 1 .. ii. .. 243 Mr. Baring 2 .. ii. .. 187 Dulwich . . . 1 .. ii. .. 346 Mr. Holford 1 .. ii. .. 203 Thirlestaine House. 1 .. iii. .. 201 . d rawing . . ii. .. 205 Bonasone, engraver . i. .. 285 Mr. Seymour . J .. ii. ’. . 242 Bond, Mr Mr. Neeld . 1 .. ii. ” 248 Bonifazio — • Mr. Heusch 1 .. ii. . . 255 Mr. Bevan .... 1 .. ii. 252 Mr. Bredel . 1 .. ii. 292 Sir Charles Coote . 1 .. ii. !! 258 Mr. Wynn Ellis . 2 . . ii. .. 297 xvi BOTH. INDEX. BRITISH MUSEUM. Piet. Yol. Page Both, Jan — Mr. Bale Mr. Gray . Dulwich Gallery Panshauger . Petworth . Basildon Park . Bowood Ham Court Edinburgh . Torry Collection Mr. M‘ Lellan . Fitzwilliam Museum Bothwell Castle, seat of Lord Douglas, collection of pictures Botta, M Botticelli, Sandro— Designs for engravings in British Museum i. 253, 254, 256, 258, 259, 260. u. iii. iii. iii. iii. iii. iii. iii. iii. iii. iii. i. . 331 . 336 . 344 . 17 . 43 . 134 . 165 . 224 . 270 272-4 . 289 . 449 . 312 . 44 Mr. Barker. Lord Ward . Mr. Fuller Maitland Thirlestaine House. Hamilton Palace li. iii. iii. iii. Glentyan Mr. D. Bromley miniatures to Dante , . 1 . . 3 school of. Boucher — Mr. Barker Boughton Hall Bourdon, Sebastian — National Gallery . . 1 Liverpool .... 1 Temple Newsam . . 1 Marquis of Bute . . 1 Be Bourguignon — Bridgewater House . 1 Devonshire House . . 1 Miss Rogers ... 1 Petworth Stourhead House . . 1 Temple Newsam . . 3 Althorp .... 1 Marquis of Bute . . 1 Bowl, antique, beautiful . Bowood, iii. 156; pictures, 166 ; gardens, 166. Boy riding on goat, statue Brackenburg — Mr. Phipps ... 1 127 231 3 196 296 iii. 307 . 314 374-6 . 374 . 128 . 462 . 346 . 240 . 332 . 484 . 40 . 93 . 270 . 38 . 172 333,4 . 459 . 485 . 332 157 ; sculpture, in. iii. iii. ii. iii. i. iii. in. iii. iii. ii. Windsor Castle 1 . . ii. .. 430 Wilton House . 1 . Marquis of Bute 1 . . iii. .. 478 Bramantino .... .. 372 Bramante (note) . . i. .. 255 Brasses in British Museum . i. .. 300 Brasses in Cobham Church . iii. . . 26 Braun, Dr. Emil. De Brag . i. 60,81 .. 356 Breadalbane, Marquis, pictui •es . ii. .. 239 328 228 Bredel, Charles, Esq., i. 36 ; collection of pic- tures, ii. 289 ; Greek vases, 292. Breenberg, Bartholomew • — National Gallery . . 1 Mr. Hope .... 1 VOL. I. b 358 122 Piet. Vol. Page Breenberg, Bartholomew — Alton Towers . 1 .. iii. .. 388 Breklenhampf — Bridgewater House 1 .. ii. . . 52 Stafford House . 1 .. ii. . . 71 Lord Carlisle . 1 .. ii. .. 280 Hadzor 1 .. iii. .. 223 Brescia, Gio. Ant. da, engravings i. .. 271 Brescia, Maria da, engravings . i. .. 271 Brett, J. W. Esq. ii. .. 338 Breughel, Jan, called Velvet Breughel- Bridgewater House . 1 . . ii. .. 42 Thirlestaine House . 1 .. iii. .. 206 Lowther Castle. 1 .. iii. .. 264 Mr. M‘Lellan . 1 .. iii. .. 289 Glendon Hall . 1 .. iii. .. 462 Breughel, Peter, called Hell Breughel- Hampton Court ii. .. 413 Breviary, printed, Glasgow iii. .. 285 Bridewell Hospital ii. .. 327 Bridgewater, Duke of i. . . 26 Bridgewater House . ii. . . 25 Brill, Paul — Bridgewater House 1 .. ii. .. 42 Petworth .... 1 .. iii. . . 35 Blenheim .... 1 .. .. 123 Charlton Park . 1 .. iii. .. 170 Lowther Castle 1 .. iii. .. 260 Castle Howard . 1 .. iii. .. 326 Chatsworth 1 . iii. .. 347 Bristol Britannia, figure of, on coin i. . . 98 British Institution ii. . . 55 BRITISH MUSEUM, i. 38; origin of, 38; late additions in buildings ,39. Egyptian Sculptures, i. 39 ; paintings, 43 ; casts, 43 ; antiquities, 44. Assyrian Sculptures, definition of their character, i. 45; value as works of art, 46. Greek and Roman Sculptures, i. 49. Elgin Marbles, i. 50 ; excellence of the works from the Parthenon, 52 ; character of them, 53; casts from Temple of Theseus, 56 ; frieze from Pronaos, 57 ; reliefs from Temple of unwinged Victory, 57 ; Choragic monument to Lysicrates, 58 ; bas-reliefs from Temple of Apollo at Phigalia, 59 ; frieze from mausoleum at Halicarnassus, 60 ; metopes from Selinonte, 61 ; statues of Temple of Pallas at Egina, 62. Lycian Sculptures, i. 63; Harpy tomb, 63 ; trophy from Xanthus, 65 ; con- jectures regarding date, 65 ; influence of early Ionic school upon Attic, 66 ; sepul- chral monuments from Xanthus, 70 ; other Xanthese sculptures, 70. Terra Cottas, i. 73. Townley Marbles, i. 74 ; Roman and Etruscan sarcophagi, 79; old Persian and Indian sculptures, 79. Antiquities, Etruscan, Roman, and Bri- tish, i. 80 ; gold ornaments, bronzes, 80 ; Christian and Mediaeval antiquities, 81 ; Portland vase, 81; Nimroud ivories, 83; xv ii BRITISH MUSEUM. INDEX, BUSTS. British Museum — bronze paterae, 84 ; Assyrian painting, en- graved gems, 84 ; wall-paintings, 85. Vases, i. 86; cups, drinking- vessels, oil- vases, 89. Coins, i. 90 ; coin with figure of Bri- tannia, 93 ; Bronstedt breastplates, 93. MSS. with Miniatures, i. 95 ; the only means of tracing the development of Eng- lish painting from 9th to 16th century, 96 ; Byzantine miniatures, character of them, 96; Carlovingian, 104; French, 109; Netherlandish, 120 ; Anglo-Saxon, 136 ; English, 147; German, 196; Italian, 204; Spanish, 210; Jewish and Arabic, 218; Printed books, 220. Drawings by Old Masters, i. 222 ; various materials used, 222 ; no study more difficult, 223 ; early masters, 224 ; Leon- ardo da Vinci, 224 ; Lorenzo di Credi, Michael Angelo, Fra Bartolommeo, Andrea del Sarto, Perugino, Pinturicchio, 225; Raphael, sonnet written on drawing, Giulio Romano, 226 ; Gaudenzio Ferrari, Andrea Mantegna, 227 ; Venetian school, Giovanni Bellini (?), Gentile Bellini, Titian, 227 ; Claude, Carracci, Nicolas Poussin, Jan van Eyck, Mabuse, German school, 228 ; Mar- tin Schongauer, Israel van Mecken, Albert Durer, 229 ; Holbein, Hans Sebald Beham, Albrecht Altdorfer, 236 ; Adam Elzheimer, Ridinger, Rubens, 237 ; Vandyck, Rem- brandt, Adrian van Ostade, Paul Potter, William Van de Velde, 239 ; Backhuysen, S wane veldt, Andrea Van de Velde, Car el Dujardin, 240. Niello Plates, i. 241 ; impressions on sulphur, 242 ; on paper, 243. Collection of Engravings, researches of Bartsch and Ottley, i. 245 ; the import- ance of ascertaining the original master, 245 ; anonymous engravers, 246 ; Andrea Verocchio, Leonardo da Vinci, 247 ; old Italian engravers, 248 ; Baldini, 252 ; Antonio Pollajuolo, 255 ; Gioco di Man- tegna, 256 ; Robetta, 257 ; engraver known as P. P., 260 ; Andrea Mantegna, 261 ; Girolamo Mocetto, 263 ; Moncello Fogolino, 264 ; Benedetto Montagna, 264 ; Nicoleto da Modena, 267 ; Zoan Andrea, 269 ; Gio. Maria da Brescia, 271 ; Gio. Antonio da Brescia, 271 ; Giulio Campagnola, 27 5; Do- menico Campagnola, 27 6 ; Master with the Rat-trap, 277 ; Giacomo Francia, 277; Marc Antonio Raimondi, 278; Italian woodcuts, 284; Francesco di Nanto, 284; late Italian engravers, 285 ; Netherlandish and German engravers, 286 ; abraded work, anonymous, 286 ; early woodcuts, 287 ; anonymous engravers, 288; Master of 1466, 291 ; Martin Schongauer, 296 ; Israel van Mec- ken, 298 ; Albert Durer, 298 ; Lucas van Leyden, 299 ; later engravers of different countries, 300. Block Books, i. 300 ; number, nature, and history, 301 ; single woodcuts, 312. xviii Piet. Vol. Page Britton, John, Esq. . i. . . 37 Bromley, Davenport, Esq. , i. 35, 36: ; collec- tion, iii. 371. Bronstedt breastplates i. .. 93 Bronzes — British Museum i. . . 80 Castle Howard . iii. . . 330 Woburn Abbey iii. .. 463 Bronzino, see Allori. Bronzino, Angelo — National Gallery . 1 . . i. .. 323 Mr. Holford 2 .. ii. .. 195 Miss Rogers 1 . . ii. .. 269 Bowood .... 3 .. iii. 158-60 Thirlestaine House . 1 iii. .. 197 Ince 1 . . iii. .. 248 Hamilton Palace 1 .. iii. .. 304 Brooke, Mr i. .. 299 Brooke, Fulke Greville, Lord, monument, iii. 219. Broughton Hall— pictures, toons, tapestries, 461. Brown, J. B. . ii. . Brownlow, Earl, collection . ii. . Brouwer, Adrian — Bridgewater House 1 . . ii. . Devonshire House . 1 . . ii. . Mr. Munro . 1 . . ii. . Apsley House . 1 . . ii. . Lord Carlisle . 1 . . ii. . Claverton . 1 . . iii. . Hamilton . 1 . . iii. . Marquis of Bute 2 . . iii. . Bruch , Jacob . Brunet, M., collection . i. . Bruyn, Bartholomew de- Rev. Mr. Russell . 1 . . ii. . Glentyan . 1 . . iii. . Wentworth Castle . 1 . . iii. . Althorp 1 . . iii. . Bryant, Mr. . Buccleuch, Duke, i. 37 : collection at 46 ; car- 338 313 45 95 138 277 280 177 300 478 299 28 463 314 342 456 36 tague House, 415; at Dalkeith Palace, iii. 312. Buchanan, Mr i. 21, 3, 4 Buckingham, Duke of, early collector, i. 12, 14, 26, 30. Buckingham Palace collection . ii. . . 1 Bulls, Egyptian, pictures of . . i. . . 42 Bunbury, Sir Henry, collection . ii. . . 335 Bunsen, Chevalier, iii. 187, 194; lecture by, 195. Buonaparte, Lucien, collection . i. . . 25 Burckhardt i. . . 41 Burckman, Hans , of Augsburg . i. . . 299 Burgon, Mr i. . . 91 Burgh Castle iii. .. 438 Burleigh House, iii. 402 ; collection of pic- tures, 403. Burley House iii. .. 394 Burlington, Earl i. . . 16 Burrell, Sir Charles, collection . ii. . . 335 Busts — Adrian iii. . . 330 Alexander the Great . . . iii. . . 132 INDEX. BUSTS. CANALETTO. Piet. Yol. Page Piet. Vol, Page Busts — Byng, Mr., collection . . i. , 26: ; ii. 337 Alexander the Great, colossal iii. . . 365 Bythinia province, statue . iii. .. 257 Antoninus Pius iii. . 469 Byzantine school, picture of . iii. 1 Marcus Aurelius . iii. . . 330 Byzantine picture iii. .. 252 Bacchus , copy of . iii. . 246 Caius Augustus Csesar. iii. . . 330 c. Cicero 329 Child 246 Gadder, seat of Mr. Stirling. , collection, iii. 312 Clytie 79 Cagliari, Carlo iii. .. 465 Colossal 246 Cagnacci, Guido . . iii. .. 180 Diana i 79 Calcar , Johann van . ii. .. 337 Domitian 331 Calcott, Sir Aug.— Edward VI 155 Vernon Gallery 5 .. i. 385, 6 Epicurus i. 76 Stafford House . 1 .. ii. . . 72 Faustina the younger . iii. . . 257 , Lansdowne House . 2 .. ii. .. 152 Female, very fine . iii. . . 52 Mr. Baring 1 .. ii. .. 190 Geta 329 Mr. Phipps 1 .. ii. .. 229 Hadrian 246 Mr. Young 1 .. ii. .. 257 Henry VIII 52 Sir Charles Coote . 1 .. ii. .. 258 Hercules, young ii. . . 73 Mr. Sheepshanks 6 .. ii. .. 307 — 247 Soane Museum . 1 . . ii. .. 321 , small . iii. . . 253 Mr. Bicknell 3 .. ii. 349, 53 , youthful iii. . . 331 Bowood .... 1 .. iii. .. 165 Homer, small .... iii. . . 254 Woburn Abbey 1 .. iii. .. 466 Julia Mcesa .... iii. . . 148 Callot — Mr. Baring . 1 .. ii. .. 182 Julius Csesar .... iii. . . 257 Calonne, M 1 .. i. . . 21 Junius Brutus .... iii. . . 329 Calton Hill .... .. 276 Jupiter, copy of iii. . . 246 Calvart, Denys . iii. 384,405 Jupiter Serapis . . iii. . . 329 Camaldolese, Don Silvestro iii. .. 232 Lorenzo the Magnificent, colou ed ii. . . 287 Cambiasi, Luca — Lucan 147 Stafford House . 1 .. ii. . . 65 Lucilla iii. . . 147 Cambridge .... iii. .. 444 Lucius Verus, copy of . iii. . . 246 King’s College Chapel . iii. .. 445 , colossal . iii. . . 417 Trinity College Chapel iii. .. 445 Male bust, terra cotta . iii. . . 177 Corpus Christi College Chapel, Man with a long Greek inscription ii. . . 73 paintings on glass iii. .. 446 Marcia Ottacilia iii. . . 147 Fitzwilliam Museum pictures . iii. .. 446 Marcus Aurelius iii. . . 249 MSS. with miniatures . iii. .. 449 Marcus Brutus. iii. . . 257 Sculptures .... iii. .. 449 Mark Antony .... iii. . . 246 Mesman Collection iii. .. 450 Mercury 247 University Library MSS. iii. .. 451 Minerva 258 Cameos — Napoleon, colossal . iii. . . 365 Lord de Mauley ii. .. 83 Nicholas of Russia . ii. . . 273- Thirlestaine House . ii. .. 211 iElius Ceesar .... iii. . . 247 Campbell, Thomas iii. 313,367 Otho, Emperor. iii. . . 249 Campaqnola, Domenico, engravings i. .. 276 Pallas of Velletri, copy of . iii. . . 246 Campagnola, Giulio, engravings . i. .. 275 Paris 331 Chatsworth . drawings iii. .. 358 Roman 77 Campana — Mr. Hoskins . ii. .. 259 Scipio Africanus the elder . iii. . . 329 Campanari, M. 80, 81 Sea-god, colossal iii. . . 244 Campe, M., collection i. . . 25 Seneca, bronze .... iii. . . 257 Campi, Giulio — Mr. Hoskins ii. .. 260 Septimius Severus . iii. . . 331 Camphuysen, Theodor iii. .. 209 Silenus singing .... iii. . . 245 Canaletto — 249 Lord Ashburton 1 .. ii. .. 101 Socrates, bronze iii. . . 287 Marquis Hertford . 4 .. ii. .. 155 Sophocles i. . . 76 Mr. Baring .... 1 .. ii. . . 179 Trajan 246 Mr. Holford 1 . . ii. . . 198 Venus 287 Mr. Wynn Ellis 1 .. ii. .. 294 Duke of Wellington, colossal ii. . . 333 Soane Museum . 1 .. ii. . . 321 Young man .... iii. . . 247 Mr. Bale .... 1 . . ii. .. 331 Young man, head of . iii. . . 257 Hampton Court 1 .. ii. .. 355 Youth, like eldest son of Laocoon ii. . . 81 Stourhead House 1 .. iii. .. 172 Bute, Marquis, i. 16 ; collection, iii. 474 Warwick Castle 1 .. iii. .. 216 b 2 XIX INDEX. CANALETTO. CASTIGLIONE. Piet. Yol. Page Piet. Yol. Page Canaletto — Carracci, Agostino— Combe Abbey . . 2 .. iii. .. 219 Castle Howard . . 1 . . iii. .. 325 Dalkeith Palace . 8 .. iii. .. 314 Fitzwilliam Museum . 1 . . iii. .. 447 Castle Howard . . 1 . . in. .. 323 Carracci, Annibale i. 10, 12 Woburn Abbey . . 24 .. iii. .. 4G6 National Gallery *. i ’. ! i. .. 317 Cano, Alonso — Bridgewater Gallery . 5 . . ii. . . 34 Mr. Munro . . 1 . . ii. .. 136 Mr. Munro . . 2 . . ii. .. 135 Mr. Seymour . . 2 . . ii. .. 242 Mr. Baring . . 3 . . ii. .. 179 Mr. Hoskins . 1 . . ii. . . 259 Mr. Holford . . . 2 . . ii. .. 198 Alton Towers . . 1 .. iii. .. 385 Lord Ward . . 1 . . ii. .. 236 Canova — Mr. Wynn Ellis . 2 . . ii. .. 296 Lansdowne House . ii. .. 150 Windsor Castle . drawings ii. .. 448 Apsley House . ii. .. 272 Cobham Hall . 1 . . iii. . . 21 Chatsworth iii. .. 365 Oxford .... . 1 . . iii. . . 47 Capella, Van de — drawings iii. . . 49 Bridgewater Gallery . 1 . . ii. . . 42 Blenheim . . 1 . . iii. ... 127 Mr. Munro . . 1 . . ii. .. 140 Bowood .... . 1 . . iii. .. 160 Lansdowne House . . 1 .. ii. .. 152 Charlton Park . . 2 . . iii. 169,70 Mr. Baring . . 1 . . ii. .. 188 Stourhead House . 1 . . iii. . . 172 Mr. Neeld . . 1 . . ii. .. 248 Leigh Court . 5 iii, . 179,80,6 Duke of Bedford . 2 .. ii. 283, 5 Blaise Castle . . . 1 . . iii. .. 190 Mr. Wynn Ellis . 2 . . ii. .. 297 Thirlestaine House . . 3 . . iii. .. 200 Bowood . 1 .. iii. .. 164 Warwick Castle . 1 . . iii. .. 216 Thirlestaine House . . 1 .. iii. .. 209 Liverpool . copy . . iii. . . 239 Captive, Phrygian, Ince iii. .. 248 Garscube . 2 . . iii. . . 292 Caraqlia, engraver . . . . i. .. 285 Hamilton Palace . 1 . . iii. . . 302 Caravaggio , Michael Angelo da— Castle Howard . . 5 . . iii. .. 319 National Gallery . . 1 . . i. .. 338 Temple Newsam . 1 .. iii. .. 332 Devonshire House . . 1 . . ii. . . 92 Wentworth House . . 1 .. iii. .. 341 Lord Ashburton . 2 . . ii. .. 101 Chatsworth drawing iii. . . 358 Duke of Bedford . 1 . . ii. .. 284 Keddleston Hall . 2 . . iii. . . 393 Hampton Court . 3 . . ii. 355,8 Fitzwilliam Museum . 1 . . iii. . . 447 Cobham Hall . . 1 . . iii. .. 22 Orwell Park . 1 . . iii. .. 450 Stourhead House . . 1 . . iii. .. 172 Woburn Abbey. . 1 . . iii. .. 465 Edinburgh . . 1 . . iii. .. 270 Carracci, Antonio — Lansdowne House, ii. 151 Belvoir Castle . . 2 . . iii. .. 400 Carracci, Lodovico — Burleigh House . 2 . . iii. .. 405 Bridgewater House . . 3 . . ii. . . 34 Caravaggio , Polidoro da i. . . 10 Stafford House . . 1 . . ii. . . 64 Bridgewater House . . 1 . . ii. .. 129 Mr. Rogers . . 1 . . ii. . . 78 Grosvenor Gallery . . 1 .. ii. .. 169 Lansdowne House . . 2 . . ii. 150, 1 Hampton Court . 1 . . ii. .. 355 Grosvenor Gallery . . 1 .. ii. .. 170 Windsor Castle. drawings ii. .. 448 Mr. Baring . . 2 . . ii. .. 179 Petworth . 1 . . iii. .. 48 Mr. Holford . . . 1 . . ii. .. 198 Chatsworth drawings iii. . . 356 Mr. Ford . 1 . . ii. .. 224 Alton Towers . . 1 .. iii. .. 383 Mr. Neeld . . 1 .. ii. .. 244 Cardenas, Don Alonzo de i. 13, 14 Lord Listowel . . 1 . . ii. .. 312 Cardi, Lodovico, called Cigoli — Mr. Bale . . . . 1 .. ii. .. 330 Mr. Womb well . . 1 . . ii. .. 310 Oxford .... drawings iii, . . 49 Bowood . ... . . 1 . . iii. .. 157 Bowood .... . 1 . . iii. . . 158 Stourhead House . 1 . . iii. .. 172 Leigh Court . 1 . . iii. . . 186 Carlisle, Earl, i. 26 : collection in London, ii. Blaise Castle . 1 . . iii. ..189 278 ; at Castle Howard, iii. 317 Edinburgh . . 1 . . iii. .. 270 Carpaccio, Vittore i. .. 277 Hamilton Palace . 1 . . iii. . . 300 Carpenter, Mr. . . . . i. .. 34 Castle Howard . . 2 . . iii. 319,25 British Museum, passim. Chatsworth . 1 . . iii. .. 348 Carpi, Girolamo di — drawings iii. . . 358 Mr. Baring . . 1 . . ii. .. 178 Narford Hall *. *. . 1 .. iii. .. 430 Carr, Rev. Holwell i. 27,317 Cartoons, Raphael’s, i. 14 ; History of them, Carracci, Agostino — ii. 369. British Museum . engravings 285, 95 Cartoons, Boughton Hall iii. ..461 National Gallery engraving .. 326 Casket, very rich . iii. . . 302 Stafford House . 1 . . ii. . . 64 Cassanova .... ii. .. 410 Mr. Baring . . 1 . . ii. .. 179 Castiglione, Benedetto— Charlton Park . . 1 . . iii. .. 169 Blenheim . 1 . . iii. .. 131 Thirlestaine House . . 1 . . iii. .. 200 Liverpool . . 1 . . iii. .. 240 XX INDEX. CASTIGLIONE. CLAUDE LORRAINE. Vol. Diet Page 1 Piet. Vol. Page Castiglione , Benedetto — Christie, Mr. . Alton Towers . . . 1 . . iii. .. 385 Cignani, Carlo — Burleigh .... 2 . . iii. .. 405 Bridgewater Gallery . 1 . . ii. . . 39 Castle Howard, iii. 317 ; resembling Stafford House . . 1 . . ii. .. 65 Blenheim, 318 ; decorations of grounds, Hampton Court . 1 .. .. 357 318 ; pictures, 319 ; paintings on glass, cartoons ii. .. 415 Greek vases, 326 ; enamels, 328 ; sculpture, Chatsworth . . 1 . . iii. .. 351 328, 332 ; cinerary urns, 329 ; bronzes and Ciqoli, see Cardi. engraved gems, 330. Cinerary urns — Castle Howard iii. . . 329 Casts, Oxford, collection of, presented by Lady Cippus .... .. 146 Chantrey, iii. 52, 54 ; Blaise Castle, 187 ; Circlet, golden ii. .. 81 Liverpool, 241 ; Edinburgh, 276. Civerchio Vincenzio — Th irlestaine House, iii. Catena, Vincenzo — 200. Mr. Baring . . . 1 . . ii. .. 179 Civetta, see Herri de Bles. Thirlestaine House . . 1 . . iii. .. 202 Clarke, Sir Simon. i. 24, 27 Liverpool .... 1 . . iii. .. 238 / Claverton collection . • • . iii. .. 175 Catherine II.. portrait of . . iii. .. 305 Claude Lorraine . i. 16,24 Cawdor collection . . 1 . . iii. .. 243 National Gallery 10 . i. 339, 41 Cesena, Peregrino da . . i. .. 244 Buckingham Palace . 1 . . ii. . . 23 Ceres, figure .. 451 Bridgewater Gallery . 4 .. ii. .. 37 Ceulen, Janson van — Stafford House . . 1 . . ii. . . 63 Montague House . i. .. 415 Mr. Rogers . . 1 . . ii. . . 78 Rev. Mr. Russell . . 2 . , i. .. 464 Earl de Grey . 1 . . ii. . . 85 Charlton Park . . . 1 . . iii. .. 171 Lord Yarborough . . 1 . . ii. .. 87 Marquis of Bute . . 1 . . iii. .. 475 Devonshire House, Liber Veritatii 3 ii. .. 88 Chaffers, Rev. Mr. . iii. . . 45 Mr. Munro . . 2 . . ii. .. 132 Chamberlaine’s work, Holbein portraits, i. 14 Marquis Hertford . . 1 .. ii. .. 155 Champagne, Philippe de — Grosvenor Gallery . . 2 . . ii. .. 171 Stafford House . . . 1 . . ii. . . 66 Mr. Baring . . 6 . . ii-. .. 177 Hamilton Palace . . 1 . . iii. .. 300 Mr. Holford . . . 2 . . ii. .. 195 Althorp 1 . . iii. .. 459 Mr. Ford . 1 .. ii. .. 224 Champernowne, Mr. . . i. 21, 27 Mr. Seymour . 1 . . ii. .. 243 Chantrey, Sir Fr. — Mr. Morrison . . 2 . . ii. 256,7 Westminster Abbey .. 424 Apsley House . . 1 . . ii. .. 277 British Institution . . ii. . . 56 Lord Carlisle . 1 . . ii. .. 279 Oxford . . 52 Duke of Bedford . 1 .. ii. .. 286 Liverpool .. 230 Mr. Wynn Ellis . 5 . . ii. 293,4 Chatsworth .. 352 Mr. Bale . 2 . . ii. .. 330 Woburn Abbey .... .. 472 Hampton Court . 1 . . ii. .. 365 Charles I/s collection, i. 7 ; contents, 8 ; Stoke .... . 1 . . ii. .. 420 number of pictures and sculptures, 9 ,10,11; Windsor Castle. . 5 . . ii. 430, 4 busts, drawings, 11 ; dispersion, 13 ; sale by drawings ii. .. 448 Parliament, 13, 14 : catalogue of pictures, Wickham Park . . 1 .. iii. . . 27 ii. 465. Petworth 2 iii. ..33,5 Charlton Park collection . . iii. .. 167 Longford Castle .’ 2 .’ .’ iii. .. 140 Chateauneuf, M Charlton Park . . 2 . . iii. .. 170 Chatsworth, iii. 344; library, pictures, 345; Stourhead House . 1 .. iii. .. 172 works of art, 352, 3; tapestries, enamels, Leigh Court . 4 . . iii. 180-2 353 ; collection of drawings. , 353 ; MSS. Thirlestaine House . . 6 . . iii. .. 198 with miniatures, 360; fossils, 363 ; pictures, Mr. M‘Lellan . . 2 . . iii. .. 288 364 ; sculptures, 365 ; Derbyshire marbles, Garscube . 1 . . iii. .. 292 368 ; drive into grounds, and Haddon Hopetoun House . 1 . . iii. .. 310 Hall, 368 ; fountains, large conservatory, Dalkeith Palace. . 2 . . iii. .. 313 370. Gosford House . . 1 .. iii. .. 314 Chaulnes, Duke de . . . . . 80 Raley .... . 1 .. iii. .. 315 Chessmen, ancient .. 85 Temple Newsam . 1 . . iii. .. 334 Chest, mystic .. 255 Wentworth House . . 1 .. iii. .. 339 Chests, wooden, Italian . . iii. .. 368 Chatsworth . 1 . . iii. .. 347 ChimflRra • . . 71 drawings iii. . . 356 Choiseul Gouffier .... .. 77 Alton Towers . . 1 ?. iii. .. 385 Christ’s Charge to Peter . .. 379 Keddleston Hall . 1 .. iii. .. 393 Christ’s Church College . . iii. . . 46 Belvoir Castle . . 5 . . iii. 396,7 Collection of pictures and drawings bequeathed Burleigh House . 2 . . iii. .. 405 by General Guise . , iii. . . 47 Woburn Abbey . . 1 . . iii. .. 465 Christian antiquities . . i. . . 81 Marquis of Bute . 4 .. iii. .. 484 XXI INDEX. CLEEF. COWPER. Piet. Yol. Page Piet. Yol. Page Cleef, Joas van — Constable , R.A. — Windsor Castle . 2 . . ii. .. 433 Vernon Gallery. . 2 . . i. .. 385 Petworth .... 3 . . iii. 32,41,2 Mr. Young . . 1 . . ii. . . 257 Marquis of Bute . « 1 . . iii. .. 475 Mr. Sheepshanks . 1 . . ii. 301, 3 Clewer Park Collection . ii. .. 451 Conversion of St. Paul cartoon . ii. .. 386 Clouet, Francois, called Janet — Cooke, E. W . — Hampton Court 2 . ii. .. 363 Vernon Gallery . . 1 . . i. .. 386 Windsor Castle . 1 . . ii. .. 437 Mr. Baring . . 1 . . ii. .. 190 Cobham Hall 1 . . . 25 Mr. Sheepshanks . 5 . . ii. 302, 7 Thirl estaine House . 1 . iii. .. 204 Cookery, English . ii. 287,8 Castle Howard . 2 . 321, 2 Cooper, T. S . — Ketteringham . 1 . .. 428 Vernon Gallery . 2 . . i. .. 383 Althorp 2 . . iii. .. 457 Thirlestaine House . . 1 .. iii. .. 211 Clouet, Jean — Ince .... . 1 . . iii. .. 242 Lord Ward .... 1 . . ii. .. 236 Cope, R.A. — Hampton Court 1 . . ii. . . 363 House of Parliament frescoes . . i. .. 428 Liverpool .... 1 . . iii. .. 236 Mr. Munro . . 1 . . ii. .. 142 Clovio, Giulio — Mr. Sheepshanks . 5 . . ii. 303-5 British Museum, miniatures . i. .. 208 Bowood . 1 . . iii. .. 165 Stafford House, 1 miniature .. 63 Coques, Gonzales — Mr. Hall, 6 miniatures . .. 334 Sir Robert Peel . . 1 . . i. .. 404 Narford, miniatures . iii. .. 431 Buckingham Palace . 1 . . ii. . . 11 Clowes, Mr . . 241 Bridgewater Gallery . 1 . . ii. . . 41 Club-houses .... Stafford House . . 1 .. ii. . . 7i Cobham Hall Collection . iii. . . 17 Mr. Hope . . 1 . . ii. .. 125 Cockerell , Mr., R. A., i. 62; discourse on Lansdowne House . . 1 . . ii. .. 153 Wells Cathedra], iii. 19, 230. Marquis of Hertford . 1 . . ii. .. 158 Cocks and hens, frieze from Xan - Stoke .... . 1 . . ii. .. 421 thus Acropolis . . . 71 Blenheim . 1 . . iii. .. 136 Coesvelt, Mr. . . . . .. 27 Thirlestaine House . . 2 . . iii. .. 207 Coin, Sicilian, Lord North wick . iii. .. 211 Hadzor .... . 1 . . iii. .. 221 Coins, electrum, i. 66 ; collection, 90, ii. Corehouse, seat of Lord Cranstoun, collection, 324, 327, 332. iii. 312. Coins, Greek, Roman, and English, Correggio .... 8, £ ), 10, 13 Mr. Bale .... . ii. .. 332 British Museum drawing i. .. 226 Colborne, Lord, collection . ii. .. 240 National Gallery . 3 . . i. 326, 7, 9 Coleridge, Rev. Edw. . . ii. .. 416 copies of frescoes i. .. 330 Collections, early, ii. 17: of ancient sculpture, Bridgewater Gallery . copy ii. .. 30 i. 17, 18. Stafford House . . 1 . . ii. . . 62 Collection of drawings by Raphael and Michael Lord Ashburton . 1 . . ii. .. 99 Angelo, iii. 53. Mr. Baring . . copies ii. .. 178 Collection bequeathed by Mr. Jos. Strangways, Lord Ward . . 3 ... ii. 233,4 Oxford, iii. 53. Apsley House . . 1 . . ii. .. 275 Collectors, various . ii. .. 334 Lord Carlisle . 2 . . ii. .. 278 College of Matrons . iii. . . 142 Hampton Court (ascribed to) . . ii. .. 364 Collins, R.A. — Windsor Castle . drawings ii. .. 447 V ernon Gallery . 2 . . i. .. 379 Petworth . . 1 . . iii. . . 43 Mr. Baring .... 3 . . ii. .. 189 Blaise Castle . copies iii. .. 189 Mr. Young .... 1 . . ii. .. 258 Chatsworth . drawings iii. .. 357 Mr. Sheepshanks . 3 . . ii. 300,7 Cortona, Pietro di — Mr. Bicknell . 1 . . ii. .. 350 Bridgewater House . . 1 . . ii. .. 39 Mr. Green . 1 . . ii. .. 461 Devonshire House . . 1 . . ii. .. 92 Hadzor 1 . . iii. .. 221 Grosvenor Gallery . . 1 . . ii. .. 170 Chatsworth .... 1 . . iii. .. 352 Blenheim . . 1 . . iii. .. 126 Woburn Abbey . 1 . . iii. .. 466 Longford Castle . 1 . . iii. .. 143 Cologne master . iii. 6, 250 Hamilton Palace . 2 . . iii. .. 299 Column of Duke of York . i. 6 Costa, Lorenzo 258, 73 Combe Abbey . . iii. .. 219 Lord Carlisle . . 1 . . ii. .. 279 Conegliano, Cima da — Cotignola, Francesco Zaganelli da i. 263, 69 Sir C. L. Eastlake . 1 . . . 65 Mr. Davenport Bromley 1 . . iii. .. 379 Lord Listowei . 1 . . ii. .. 314 Cottingham Castle iii. .. 343 Thirlestaine House . 2 . . iii. .. 201 Coutts, Miss Burdett — collection of miniatures. Mr. Dennistoun 1 . . iii. .. 281 ii. 96. Mr. M‘Lellan, ascribed to 1 . . iii. .. 288 Cowper, Earl, i. 16, 17 : collection at Pans- Coningham, Wm., Esq. . .. 318 hanger, iii. 7. xxii INDEX. COXCIE. DE LA ROCHE. Piet. Vol. Page Piet. Yol. Page Coxcie, Michael . • • . i. .. 16 Cuyp, Albert — Coxe, Mr. Grosvenor Gallery . 3 .. ii. .. 167 Cracherode, Rev. Mordant, collection , i. 28 Mr. Baring .... 2 .. ii. .. 186 Cranach , Lucas . i. 8 Mr. Holford . . . 1 .. ii. .. 202 Mr. Mackinnon . . i . . ii. . . 260 — . . drawing ii. .. 205 Stoke .... . 1 .. ii. . . 420 Mr. Phipps .... 1 .. ii. .. 228 Windsor Castle. drawings ii. . . 448 Lord Ward .... 1 .. ii. .. 237 Thirlestaine House . . 1 . . iii. . . 210 Mr. Neeld .... 2 ii. .. 247 Combe Abbey . . 1 . . iii. . . 219 Mr. Bevan .... 1 .. ii. .. 252 Liverpool . . 1 . . iii. . . 235 Mr. Heusch 1 .. ii. .. 255 Hamilton Palace . 1 . . iii. . . 298 Mr. Morrison . 1 .. ii. .. 261 Chatsworth drawings iii. . . 360 Lord Carlisle . 6 .. ii. .. 279 Alton Towers . . 1 . . iii. . . 388 Sir A. Rothschild . 1 .. ii. .. 283 Burleigh House . 1 . . iii. . . 407 Duke of Bedford 5 .. ii. .. 285 Grayer, Caspar de — Mr. Sanderson . 1 .. ii. .. 289 Mr. Munro . . . . 1 . . . . 136 Mr. Bredel .... 2 .. ii. .. 290 Thirlestaine House . . 1 . . iii. . . 207 1 Mr. Wynn Ellis 1 .. ii. .. 296 Crawford, Mr., collection of . . 22 Lord Brownlow 2 .. ii. .. 316 Credi Lorenzo di — Mr. Perkins 1 .. ii. .. 336 British Museum . 1 . . i. . . 325 Dulwich .... 4 .. ii. .. 344 Mr. Rogers . 1 . . ii. . . 76 Clewer Park 1 . . ii. .. 452 Oxford .... . 1 . . iii. . . 53 Lord Ashburnham . 1 .. iii. . . 28 Thirlestaine House . . 1 . . iii. . . 196 Petworth .... 5 .. iii. . .40-3 . copy iii. . . 196 Ham Court .... 1 .. iii. . . 224 Liverpool . . 1 . . iii. . . 233 Lowther Castle. 1 .. iii. .. 265 Crespi, Giuseppe — Torry collection, ascribed to 1 iii. .. 273 Mr. Baring. . 1 . . ii. . . 180 Mr. M‘Lellan . . . 1 . . iii. .. 286 Creswick, T., R.A. — Garscube .... 1 .. iii. .. 292 Vernon Gallery. . 1 . . i. . . 387 Hopetoun House 2 .. iii. 309, 10 Mr. Baring . . 1 . . ii. . . 190 Glentyan .... 1 .. iii. .. 314 Mr. Young . . 1 . . ii. . . 258 Keddleston Hall 1 .. iii. .. 392 Mr. Bicknell pictures ii. . . 353 Belvoir Castle . 1 .. iii. .. 397 Mr. Naylor . . 1 .. iii. . . 242 Orwell Park 2 .. iii. .. 441 Crivelli, Carlo — - Glendon Hall . 1 .. iii. .. 462 Mr. Barker . . 4 .. ii. . . 127 Woburn Abbey. 2 iii. 465,6 Lord Ward . . 3 . . ii. 234,5 Marquis of Bute 4 !! iii. 479, 80 Stoke .... . 1 .. ii. . . 419 Critz, de . Crochat, Chev. . . 25 TA Crome , Old — JJ. Mr. Sheepshanks . . 1 .. ii. . . 299 Yarmouth . . 4 .. iii. . . 438 Dalkeith Palace . iii. .. 312 Cromwell, Oliver, portrait of iii. . . 436 Dallas, Mr. . . . . iii. . . 276 Crook, episcopal . ii. , . . 326 Danby — Stafford House . i .. ii. . . 72 Crosby Hall . . . . . 323 Darnley, Earl of, i. 26 ; collection at Cobham Cross, metal . i . . 85 Hall, iii. 17. Crozier, Irish. .. 85 David — Hamilton . iii. .. 298 Cruz, Pantoja de la — Cobham Hall iii. , . . 25 Alton Towers . iii. .. 386 Crystal, painted . ii. . . . 332 Davis, Hart, Mr. . i. . . 26 Culdees Castle, seat of Mr. Spier iii. , , . 312 Day, Mr . . 21 Culmbach, Hans von, engraver i. . , . 299 Dealers, picture, list of . ii. .. 338 Cunningham, Peter, Esq. . i. 417 ; iii. 45 Death of Ananias . . . cartoon ii. .. 376 Cup, brown topaz ii. . . 131 Heckei — Curzon, Mr. . Bridgewater Gallery 1 .. ii. .. 52 Cuyp, Albert — Stafford House . 1 .. ii. . . 70 British Museum . 1 .. i. . , . 357 Mr. Neeld .... 1 .. ii. .. 247 Sir Robert Peel . . 3 . . i. . , . 408 Hadzor 1 .. iii. .. 223 Buckingham Palace . 9 . . ii. 19-21 Lowther Castle . 1 .. iii. .. 265 Bridgewater Gallery . 5 . . ii. . . 48 Decline of Art, reasons for . iii. 12-15 Lord Yarborough . . 1 . . ii. . . 86 De Grey, Countess i. .. 26 Lord Ashburton . 4 . . ii. . . 110 Delahante, M. ... .. 25 Mr. Hope . . 1 . . ii. . , . 122 De la Roche — Baron L. Rothschild . 1 .. ii. . . 129 Bridgewater House . 1 . . ii. .. 54 Mr. Munro . . 2 . . ii. . . 138 Stafford House . 1 .. ii. .. 66 Marquis Hertford . . 2 . . ii. . , . 160 Mr. Baring .... 1 .. ii. .. 192 xxiii INDEX. DELEN. DOW. Piet. Yol. Page Piet. Yol. Page Delen, Dirk van — Dolce, Carlo — Mr. Hope .... 1 . 123 Windsor Castle . 2 . . ii. .. 434 Mr. Phipps .... 1 . 228 Pansh anger . 3 . . iii. 15, 16 Hadzor 2 . ii. 221-4 Cobham Hall . 1 . . iii. . . 20 Edinburgh .... 1 . ili. . 269 Blenheim . 2 . . iii. 122-4 Nostall Priory . 1 . ill. . 336 Stourhead House . . 1 . . iii. .. 172 Chatsworth 1 . 351 Leigh Court . 1 .. iii. .. 184 Delorme . 209 Blaise Castle . 3 . . iii. 190-3 Demetrius Poliorcetes, coin of . 92 Thirlestaine House . . 1 .. iii. .. 197 Denman, Miss— collection of Flaxman’s draw- Keddleston Hall . 1 . . iii. .. 393 ings, ii. 317 ; of reliefs, 318. Belvoir Castle . . 1 . . iii. . . 396 Denner, Balthasai — Burleigh House . 2 . . iii. . . 405 Mr. Womb well. 1 . ii. . 310 Orwell Park . 1 . . iii. . . 441 Hampton Court 1 . ii. . 364 Althorp . 1 . . iii. .. 456 Alton Towers . 1 . fii. . 388 Glendon Hall . . 1 . . iii. . . 462 Denning — Mr. Bicknell . 2 . ii. . 351 Dornenichino — Dennistoun, Mr., collection . ill. . . 281 National Gallery . 4 . . i. 336-7 Denon, Baron .... . 27 Bridgewater House . 6 . . ii. 35-6 Dent, Mr . 29 Stafford Flouse . . 1 . . ii. . . 64 Derby — Mr. Bicknell 1 . ii. . 351 Mr. Rogers . . 4 . . ii. . . 78 Derbyshire spar . . ili. . . 218 Lord Yarborough . . 1 . . ii. . . 87 Desenfans, Mr. Noel . . ii. . . 341 Devonshire House . . 2 . . ii. . . 91 Desiderio — Miss Rogers . i . . ii. . . 270 Lord Ashburton . 1 . . ii. ..101 Desnoyers . . 300 Baron L. Rothschild . 1 . . ii. .. 130 Devonshire, Duke of . i. 16, 17, 29, 91 Mr. Munro . . 1 . . ii. . . 135 Devonshire House, ii. 88 ; Liber Yeritatis, 88; Lansdowne House . . 1 . . ii. .. 152 collection of pictures, 90. Marquis of Hertford . 1 . . ii. .. 155 De Vries . iii. . . 223 Grosvenor Gallery . . 1 . . ii. .. 170 Deutsch, Emanuel . . 299 Mr. Baring . . 1 . . ii. . . 179 Diana of Gabii, cast of . iii. . . 187 Miss Rogers . 2 . . ii. 267-70 Diana, head of . . 79 Mr. Wynn Ellis . 1 .. ii. .. 293 Dicker, F . iii. . . 337 Stoke .... . 1 . . ii. .. 420 Dietrich — Windsor Castle . . 2 . . ii. 433-4 National Gallery . i. .. 338 drawings ii. .. 448 Mr. Wombwell. . ii. .. 310 Panshanger . 1 . . , iii. . . 15 Digby, Sir Kenelm . i. . . 11 Oxford .... drawings iii. . . 49 Dilettante Society . i. .. 49 Bowood . 2 . . iii. 158,62 Dipaenus . . 62 Charlton Park . . 2 . . iii. 170-1 Dish, flat, Greek . . ii. . . 81 Stourhead House . 1 . . iii. .. 172 Disk, marble fragment . iii. .. 251 Leigh Court 2 iii. .. 180 Ditchley Park . iii. .. 133 Liverpool . '. 1 *. . iii. .. 239 Dobson — Torry Collection . 2 . . iii. .. 273 Northumberland House 1 . . i. .. 394 Mr. M‘Lellan . . 1 .. iii. . . 290 Bridgewater Gallery 1 . . ii. . . 53 Hamilton Palace . 1 .. iii. .. 302 Devonshire House . 1 . . ii. . . 95 Castle Howard . . 1 . . iii. .. 324 Hampton Court 2 . . ii. .. 410 Chatsworth drawings iii. .. 359 Longford Castle 1 . . iii. . . 142 Keddleston Hall . 1 . . . iii. . . 393 Wilton House . 1 . . iii. .. 154 Donnington Hall . , iii. .. 394 Warwick Castle 1 . . iii. .. 214 Doo Combe Abbey . 1 . . iii. .. 219 Doric School in British Museum . i. .. 61 Hadzor 1 . . iii. .. 221 Dosso Dossi . i. .. 10 Dalkeith Palace 1 . . iii. .. 313 Mr. Holford . . . 1 . . , ii. .. 196 Narford .... 1 . . iii. .. 431 Thirlestaine House . . 1 . . . iii. .. 199 Does, Simon van der — Liverpool . . . . 1 . , . iii. .. 239 Lord Listowel . 1 . . ii. .. 312 Dossi, Giov. Batt. — Hampton Court ii. 359 Thirlestaine House . 1 . . iii. .. 205 Douce, Francis, Esq. . . i. 29,300 Hadzor .... 1 . . iii. .. 222 Dover, Lady, collection , ii. .. 335 Dolce, Carlo — Dow, Gerard . Devonshire House . 1 . . ii. .. 92 National Gallery . 1 . . . i. .. 355 Lansdowne House . 1 . . ii. .. 151 Sir Robert Peel . 1 . . i. .. 400 Grosvenor Gallery . 1 . . ii. .. 171 Buckingham Palace . 5 ., . ii. .. 6 Mr. Baring .... 1 . . ii. .. 176 Bridgewater Gallery . 2 . , . ii. . . 43 Lord Ward .... 1 . . ii. .. 232 Lord Ashburton . 2 . . ii. 103, 4 Mr. Wombwell 1 . . ii. .. 310 Mr. Hope . 2 . . ii. 116, 17 Dulwich .... 1 . . ii. .. 347 Mr. Baring . . 1 . . ii. .. 183 xxiv INDEX. DOW. EDINBURGH. Piet. Yol. Page Piet. Yol. Page Dow, Germ'd — Durer , Albert — Mr. Morrison . 1 .. ii. . 262 British Museum — Mr. Wynn Ellis 1 . . ii. . 295 Copies from engravings, i. 268-70 ; 283,4 Mr. Womb well . 1 .. ii. . 308 Engravings i. . . 298 Mr. Oppenheim 1 .. ii. . 329 Mr. Rogers . . . drawing ii. . . 80 Wardour Castle 1 .. ili. . 171 Mr. Bale . . .2 drawings ii. . . 331 Leigh Court 1 .. ili. . 184 Mr. Hall . . . drawing ii. . . 334 Lowther Castle 2 .. iii. . 263 Hampton Court . . 1 . . ii. . . 361 Belvoir Castle . 1 .. ili. . 395 Windsor Castle . drawings ii. . . 448 Fitzwilliam Museum 2 .. iii. . 448 Rev. Mr. Russell . . 1 . . ii. . . 463 Marquis of Bute 1 .. iii. . 476 Mr. Hawkins . . etchings iii. . . 31 Drawings by the old masters Thirlestaine House . . 1 . . iii. . . 216 British Museum i. . . 222 Hamilton Palace . . 2 . . iii. 298,301 Windsor Castle . ii. . 437 Temple Newsam . . 1 . . iii. . . 333 Christ Church College, Oxford iii. . 47 Chatsworth . . drawings iii. . . 359 By Michael Angelo and Raphael iii. . . 53 Belvoir Castle . . . 1 . . iii. . . 398 Chatsworth .... . . 353 t Burleigh House . . 1 . . iii. . . 407 Holkham .... . . 423 Durand collection . . . . i. . . 86 Drawings by living English masters ii. . . 307 Dusart — from collection of B.West iii. . . 260 Mr. Baring . . . . 1 . . ii. . . 185 Drevet Mr. Bredel . . . . 1 . . ii. . . 292 Drinking-vessels, antique, in form of human Dulwich . . . . 1 . . ii. . . 343 heads, i. 89 ; ii. 332 : Negro’s head, ii. 332 Duval collection i. . . 24 Dubbels — Duke of Bedford 1 .. ii. . . 285 Dyce, William, R.A. — Frescoes in Houses of Le Due, Jan — Parliament, i. 427 ; mention of, iii. 314. Hadzor 1 .. iii. . . 221 Dychmans — Mr. Baring . 1 . . ii. . . 191 Edinburgh .... 1 . . in. . . 273 Dyptich, ivory . . . . . i. . . 85 Mr. M‘Lellan . 1 .. iii. . . 290 of Richard II. iii. . . 150 Marquis of Bute 1 .. iii. . . 478 Duchatel . . 222 Duchesne, Essay on Nielli . . 241 E. Dudley, Lord .... . . 27 Dujardin , Gar el — Eagle House, near Enfield . . ii. . . 461 British Museum, drawings . i. . . 240 Eardley Eardley, Sir Culling . ii. . . 341 Sir Robert Peel . 2 .. i. . . 407 Earlom, engraver i. . . 300 Buckingham Palace 4 .. ii. 17, 18 Earrings, ancient i. . . 85 Bridgewater Gallery 1 .. ii. . . 47 East India House . . . . ii. . . 324 Lord Ashburton 2 .. ii. . . 109 EastlaJke, Sir Charles, mention of, i. 34 : iii. 230 Mr. Hope .... 2 .. ii. . . 121 Vernon Gallery . . 3 . . i. . . 373 Mr. Munro 1 .. ii. . . 138 Mr. Vivian . . . . 1 . . ii. . . 248 Mr. Baring 1 .. ii. . . 186 Pictures belonging to . . . . ii. . . 263 Mr. Holford . . 1 .. ii. . . 262 Mr. Sheepshanks . . 2 . . ii. 302-7 Mr. Heusch 2 .. ii. . . 254 Mr. Bicknell . . . 1 . . ii. . . 350 Mr. Morrison . 1 .. ii. . . 261 Mr. Fuller Maitland . 8 . . iii. . 7 Duke of Bedford 1 .. ii. . . 284 Bowood . . . . 2 . . iii. . . 166 Mr. Womb well 1 .. ii. . . 309 Thirlestaine House . . 1 . . iii. . . 211 Mr. Oppenheim 1 .. ii. . . 329 Mr. Naylor . . . 1 . . iii. . . 241 Mr. Bale .... 1 .. ii. . . 331 Woburn Abbey . . . 1 . . iii. . . 466 Clewer Park 1 .. ii. . . 452 Eckhout, Gerbrant van den — Basildon Park . 2 .. iii. . . 134 Stafford House . . . 1 . . ii. . . 70 Bowood .... 1 .. iii. . . 161 Mr. Neeld . . . . 1 . . ii. . . 246 Thirlestaine House . 1 .. iii. . . 208 Thirlestaine House . . 1 . . iii. . . 207 Torry collection 2 .. iii. 272-5 Hadzor 1 . . iii. . . 221 Garscube .... 1 .. iii. . . 294 Ham Court . . . . 1 . . iii. . . 225 Nostall Priory . 1 .. iii. . . 336 Lowther Castle . . 1 . . iii. . . 265 Marquis of Bute 2 .. iii. . . 479 Marquis of Bute . . 2 . . iii. . . 475 Dulwich Gallery . ii. .. 341 Edelinck, engraver . . . . i. . . 300 Duncan, Thomas — Edinburgh, beauties of city, iii. 267 ; Royal Mr. Sheepshanks 1 .. ii. . . 300 Institution, 268 ; Torry pictures, 268 ; casts, Mr. Hill .... 2 .. iii. . . 282 276 ; tomb of Walter Scott, 276 ; Calton Dunmore Park iii. . . 314 Hill, 277 ; High School, Holyrood Palace, Durer, Albert . i. 8,10, , 12, 14 Salisbury Crags, the Queen’s Drive, 277 ; British Museum — Heriot’s Hospital, 278 ; Donaldson’s ; Hos- Drawings ... i. . . 229 pital, 278; University, 278; Signet Li- Small stone relief i. . . 235 brary, 280; Advocates’ Library, 280. INDEX. EGG. FIELDING. Piet. Vol. Page Piet. Vol. Page Egg , A. L . — Vernon Gallery 1 . . i. .. 378 Everdingen , Van — Egginton, painted glass in. .. 137 Mr. Holford . . drawing ii. . . 205 Egremont, Earl of i. . . 16 Lord Listowei . . 1 .. ii. .. 212 Egyptian art, reaction of, on other countries, Exeter, Marquis of . . . i. .. 16 i. 83. Eyck , Hubert van . . . i. .. 28 Egyptian sculptures in British Museum i. 39 Eyck, Jan van . . i. 28, 316, 317 and owl . iii. .. 255 British Museum, dra wings, school of, i. 228 Elcho, Lord .... i. . . 35 National Gallery . 2 . . i. .. 368 Eldon, Earl of i. 33, 53 Mr. Rogers . 1 .. ii. .. 78 Elgin, Lord .... i. 31, 51 Mr. Baring . 1 .. ii. .. 182 ■ marbles i. 31-50 Miss Rogers . 2 .. ii. .. 269 saloon .... i. .. 50 Hampton Court school of ii. . . 361 Ellenborough, Lord . i. . . 36 Stoke .... school of ii. . . 421 Ellingham, Little . iii. .. 432 Petworth school of iii. . . 42 Ellis, Welbore Agar, Esq. i. . . 16 Thirlestaine House . . . . iii. . . 205 Ellis, Wynn, Esq. i. . . 36 Ince . . . . . 1 . . iii. . . 249 Collection .... ii. .. 293 school of iii. 353-54 Elmes, Mr iii. .. 230 Mr. Dennistoun. school of iii. . . 282 Elsasser iii. .. 176 Chatsworth ascribed to iii. . . 348 Elwin, Mr i. .. 26 . 1 . . iii. . . 349 Elwyn, John .... i. . . 11 Burleigh House . 1 .. iii. .. 406 Elymas the Sorcerer struck blind, cartoon, ii.385 Elzheimer , Adam — British Museum . drawings i. .. 237 I Devonshire House . 1 .. ii. . . 94 Mr. Phipps .... 1 .. ii. .. 229 Fabriano, Gentile da — Belvoir Castle . 1 .. iii. .. 400 Design for niello . . . . i. .. 243 Fit z william Museum . 1 . . iii. .. 449 Stoke Park . Mesman collection . 1 .. iii. .. 450 Fabritius, Caret — Marquis of Bute 1 .. iii. .. 482 Lord Ward . . 1 .. ii. .. 237 Emerald .. 363 Fagel, Greffier, collection of . . i. . . 22 Empoli, Jacopo di iii. .. 436 Fairholme, Mrs. . . . . iii. .. 219 Enamels, Limousin, Baron L. Rothschild, ii. Farinato, Paolo — 131 ; Mr. Morrison, in mirror, 263 ; Mr. Duke of Bedford . 1 .. ii. .. 284 Seymour, 243 ; Society of Antiquaries, 326 ; Farnborough, Lord . . . i. .. 26 Thirlestaine House, iii. 211 ; Warwick Fates, group of, Elgin 1 Saloon . i. . . 51 Castle, 217 ; Keddleston Hall, 394 ; Nar- Fauns, two, kneeling, terra cottaj i. 73 ; two ford, 431. figures, antique marble, 78; old and Engravings, collection of, in British Museum, i. young, 78 ; beating the cymbals, 78. 245 ; importance of ascertaining the masters Fellows, Sir Charles . . . . i. 63,5,7,8 from whose designs the engravings were Feltre, Morto da . . . . iii. . . 238 executed, 245 ; Italian engravers 246: Ferg, Franz de Paula . . . iii. . . 303 Netherlandish and German engravers, 286 : Ferrari, Gaudenzio — Professor Johnson, iii. 120. British Museum . drawing . . i. . . 227 Erard collection . i. .. 24 Mr. Holford . 1 .. ii. .... 196 Erichthonius, fragment of i. . . 51 Mr. Neeld . . 1 .. ii. .. 244 Erskine, Sir James, of Torry . iii. .. 272 Thirlestaine House . . 1 .. iii. .. 200 Esdaile, Mr . . 28 Garscube . . . iii. .. 294 Espinosa, Jacinto Geronimo Ferrara, Scarsellinoda, Leigh Court iii. .. 185 Mr. Hoskins 1 .. ii. .. 259 Ferrarese master . . . . ii. .. 276 Eton College .... .. 416 Ferri, Ciro — Etty, W., R.A. — Stafford House . . . . ii. . . 65 Vernon Gallery 2 .. i. .. 372 Hampton Court . . . ii. .. 414 Stafford House . 1 .. i. . . 73 Keddleston Hall . . . iii. .. 393 Mr. Munro .... 1 .. i. .. 141 Burleigh House . . . iii. .. 403 Mr. Baring 1 .. i. ... 189 Fesch Gallery. . . . i. .. 22 Mr. Wynn Ellis 1 .. i. .. 298 Feti, Domenico (note) . . . i. .. 7 Mr. Sheepshanks 1 .. i. .. 307 Cobham Hall . . 1 .. iii. .. 22 Mr. Bicknell several pictures i. 350-3 Castle Howard . . 1 .. iii. .. 322 Stoke 1 .. i. .. 423 Alton Towers . . 1 .. iii. .. 383 Bowood .... 1 .. iii. .. 165 Marquis of Bute . 1 .. iii. .. 483 Edinburgh .... 5 .. iii. .. 271 Fibula, Roman . ... i. .. 81 Etrurian sarcophagi, i. 79 ; ; gold ornaments, Field, George, Esq., i. 37 ; ii. 335. 80-1, 84. Fielding, Copley — Etruscan ornaments . ii. . . 332 Mr. Bicknell . 3 . . ii. .. 351 xxvi INDEX. FIELDING. GAINSBOROUGH. Piet. Vol. Page Fielding , Copley — Petworth . . . . 1 . . iii. . . 41 Fiesole i. . . 228 British Museum composition . . 2 .. 249 76 Floris, Frank iii. F. N. — Engraving so inscribed . i. Fogolino, Marcello — engravings Foley, sculptor .... Bridgewater House Fontainebleau School of Engravings i. Fontana, Frospero — Lord Ward . . . . 1 . . ii. Marquis of Bute . . 1 . . iii. Foot, female, antique . . . iii. Ford, Richard, Esq. i, 287 277 264 429 55 285 2K36 483 246 28, 30, 36 ; collection, Piet. Yol. Page Francia, Francesco — British Museum, niello . . i. 244-5 • , compositions, i. 247, 274, 278-282. Lord Ward .... 2 ii. . . 231 Mr. Rogers . . . drawing . . ii. . . 80 Hampton Court . . 1 ii. . . 417 Mr. Munro. 1 . . ii. . . 135 Mr. Maitland ... 2 iii. . . 2,3 Lord Ward .... 1 .. ii. .. 235 Thirlestaine House. . 1 iii. . . 196 Sir Frankland Lewis 1 .. ii. .. 334 Mr. Dennistoun . . 2 iii. . . 281 Hampton Court 1 .. ii. .. 365 Figure, female, antique, i. -58 ; and boy , an- Stoke 1 .. ii. .. 419 tique, iii. 49. Thirlestaine House. 2 .. iii. .. 199 Finelli 221 Francia, Giacomo — Finiguerra, Maso, i. 30, 241, 242 244. British Museum, engraving . . i. 247-277 Fiore, Jacobello del — Lord Ward .... 1 .. ii. .. 235 Mr. Barker. ... 1 ii. . . 127 Lord Nortlrwick 1 .. iii. .. 199 Mr. Dav. Bromley . . 1 iii. . . 377 , Sir Alex. Campbell 1 .. iii. .. 294 Fiorentino , Rosso .... iii. . . 382 Franciabigio — Fischer, Cornelius and Johann, engravings, Lord de Mauley 1 .. ii. .. 84 i. 299. Mr. Seymour . 1 .. ii. .. 243 Fisher, Mr 54 Mr. Fuller Maitland 2 .. iii. 5 Flaxman, John, R.A. — Francis I., portrait of iii. .. 330 Fitzwilliam, Earl. i. . . 26 Franck, Frans ii. .. 433 Westminster Abbey i. . . 424 Franck, Frans, the elder — Mr. Rogers 74 Blenheim .... 1 .. iii. .. 123 Drawings in possession of Miss Frank, Mr . . 34 Denman 317 Fredi, Bartolo di — University College . ii. . . 318 Rev. Mr. Fuller 1 . . ii. .. 462 Windsor Castle. ii. . . 450 Thirlestaine House . 1 .. iii. ..196 Petworth 36-7 French school, early picture iii. .. 234 Oxford 52 Fries, Count, collection . i. , .. 28 Winchester .... iii. . . 137 Frieze, Panathenaic, from Parthenon , i. 55 ; Cambridge 445 friezes from Xanthus, 68-9 ; from Acropolis Woburn Abbey iii. . . 478 at Xanthus, 71 : cocks and hens, 71 ; part Fleming, Peter .... iii. . . 433 of, iii. 51. Fleury, Robert — Mr. Baring 1 ii. . . 192 Frith, W.P.— Flink — Duke of Bedford . 1 ii. . . 283 Mr. Sheepshanks 1 .. ii. , ..302 Florentine school, Mr. Bale 3 ii. . . 330 Frontlet, terra cotta . i. .. 78 316 Frost — Mr. Bicknell . Fruitiers, L. — Miss Rogers Furini, Francesco Fyt, Jan — Grosvenor Gallery . Petworth .... Gr. ll. iii. 351 268 270 165 35 Forster, Richd., Esq.— Clewer Park Stanstead House • . iii. . . 2 Collection 451 Wooton Hall . . iii. . . 377 Fossils and spar iii. . . 363 Gareloch, seat of Mr. Napier . . iii. . ... 314 Foster, Mr 36 Gainsborough — Fotheringay church .... iii. . . 411 National Gallery 2 . . i. . . 368 Fountain, Andrew, Esq. . . i. . . 36 Yernon Gallery 2 . . i, . . 368 Fouquet de Tours, Jehan — 81 Bridgewater House. 1 . . ii. . . 53 Mr. Rogers, miniatures ii. . . Stafford House . 1 . . ii. . , . 72 Stoke Park ii. . . 422 Mr. Rogers. 1 . . ii. . . 75 Franceschini, Marc Ant . — Marquis Hertford . 1 . . ii. . , . 161 Cobham Hall . . . 1 . iii. . . 21 Grosvenor House . 3 . . ii. . . 173 Ince 1 • • iii. . . 248 Mr. Baring. 1 . . ii. . , . 189 Francia, Francesco — Lord Carlisle . 1 . . ii. . . 280 British Museum — niello i. . . 243 Mr. Wynn Ellis 1 . . ii. . , . 298 , design for niello i. . . 244 Dulwich .... 1 . . ii. . , . 348 XXVll INDEX. GAINSBOROUGH. GODWIN. Piet. Yol. Page Piet. Vol. Page Gainsborough — Gibbons, Mrs. ii. . . 337 Hampton Court . . 1 . . ii. . ; 369 Gibson, Benjamin, Esq. . i. . . 69 Lord Darnley . . . 2 . . iii. .. 26 Gibson, John, R.A. — Arundel Castle . . . 2 . . iii. . . 31 Houses of Parliament . i. . 429 Petworth . . . . 2 . . iii. . . 39 Liverpool .... Blenheim . . . . 1 ; . iii. .. 130 Chatsworth .... Bowood . . . . 1 . . iii. .. 158 Giordano, Luca . ., . ii. . 49 Stourhead House . . 1 . . iii. .. 173 Devonshire House . 1 . . ii. . 93 Lord Northwick . . 1 . . iii. .. 210 Cobham Hall . 1 .. iii. . 22 Dalkeith Palace . . 2 . . iii. .. 313 Blenheim .... 1 .. iii. . 131 Belvoir Castle . . . 3 . . iii. 398-9 Liverpool .... 2 .. iii. 239,40 Orwell Park . . . 1 . . iii. .. 443 Ince 4 .. Gaisforth, Dean iii. . . 47 Chatsworth .... 1 .. iii. . 345 Gallery, National, i. 315 ; foundation, Keddleston Hall 1 .. iii. . 393 315 ; recent acquisitions, 316-17. Burleigh House 1 .. iii. . 403 Galton, Mr. Howard . . in. .. 220 Giorgione — - Gandini , Giorgio — Mention of, i. 10, 12, 15, 333. Mr. Wynn Ellis . . 1 . . ii. .. 293 British Museum, compositions i. 276,277 Ganymede and the Eagle . ii. .. 368 Lord Malmesbury . 1 .. i. . 416 Garbo, Rafaellino del — | Stafford House . 1 .. ii. . 59 Stanstead House .... iii. .. 3 Mr. Rogers .... 1 .. ii. . 77 Alton Towers iii. .. 382 Lord Elcho .... 1 .. ii. . 82 Garofalo Devonshire House . 1 .. ii. . 90 National Gallery . . 2 i. .. 325 Lord Ashburton 2 .. ii. . 100 Mr. Baring . . . . 1 . . ii. .. 176 Mr. Munro 3 .. ii. . 133 Mr. Holford . . . 1 . . ii. .. 195 Mr. Baring, ascribed to 1 .. ii. . 179 Mr. Neeld . . . . 1 . . ii. .. 244 Mr. Holford 2 .. ii. 196,7 Miss Rogers . . . . 3 . . ii. 268-70 Hon. E. Phipps. 1 .. ii. . 227 Windsor Castle. . . 1 .. n. .. 434 Mr. Neeld .... 1 .. ii. . 244 Wilton House . . . 1 . . iii. .. 151 Miss Rogers . . 1 .. ii. . 267 Lord North wick . . 2 . . iii. .. 199 Lord Carlisle . 1 .. ii. . 278 Sir Alex. Campbell . 1 . . iii. .. 294 Mr. Wynn Ellis 1 .. ii. . 293 Alton Towers . . . 1 . . iii. .. 383 Hampton Court 1 .. ii. . 355 Marquis of Bute . . 1 . . iii. .. 482 ■ school of 1 .. ii. . 410 Garscube, seat of Sir Alex. Campbell, Lord Darnley, ascribed to 2 .. iii. . 19 collection of pictures . iii. .. 291 Oxford . . . . drawing iii. . 48 Garzi , Luigi ...... iii. .. 240 Bowood 1 . . iii. . 162 Geddington Cross iii. .. 462 Lord Northwick 1 .. iii. . 202 Gelder, Arnold de .... iii. .. 240 Lowthcr Castle, ascribed to 1 . . iii. . 265 Gems — Mr. Bale, ii. 332 ; engraved, i. 11, Edinburgh .... 1 .. iii. . 270 12,84: Lord Northwick, iii. 211. Torry, ascribed to . 1 .. iii. . 274 Gennari — M‘Lellan .... 1 .. iii. . 289 Liverpool . . . . 1 . . iii. .. 239 Hamilton .... 1 .. iii. . 303 Alton Towers . . . 1 . . iii. .. 385 Castle Howard . 1 .. iii. . 325 Gentileschi, Artemisia — Chatsworth . . drawings iii. . 357 Hampton Court . ii. .. 357 Alton Towers . 1 .. iii. . 383 George IV Fitzwilliam Museum . 1 .. iii. . 446 Gerards, Mark — Giotto — Apsley House . . . 3 . . ii. .. 277 Mr. Rogers .... 1 .. ii. . 76 Charlton Park . . . 3 . . iii. .. 171 Lord Ward .... 1 .. ii. . 236 Burleigh House . . 3 . . iii. 407,8 Liverpool, school of iii. . 231 Gerbier, Sir Balthasar i. . . 14 2 ..’ iii. 231, 2 German school, early picture . iii. .. 234 Mr. Dennistoun, school of . iii. . 281 Ghent , Justus van — Mr. Dav. Bromley . 2 iii. 371,4 Sir Charles Eastlake . 1 . . ii. .. 263 Giovanni da S. Giovanni . iii. . 393 Ghirlandajo, Domenico — Glasgow . 282 British Museum . drawing i. .. 224 College, collection of pictures Mr. Barker . . . . 1 . . ii. .. 126 and MSS. . 283 Mr. Maitland . . . 2 . . iii. . . 4 Glauber, Johann, called Polydor . iii. . 252 Oxford .... drawings iii. .. 48 Glaucus . 70 x iii 53 Glendnn Hall .... iii. . 462 Glentyan . . . . 1 . . iii. !! 314 Glentyan, seat of Captain Stirling iii. . 314 Ghisi, family of, engravers i. .. 285 Gobbo, II., dai Frutti 2 .. iii. . 385 Ghisolfi 2 iii. .. 273 Goblet, ivory .... . 263 Gibbons, Mr xxviii Godwin, Mr . 195 INDEX. GOES. GYSSELS. Piet. Yol. Page Piet. Yol. Page Goes , van der — Greuze — Glentyan iii. .. 314 Clewer Park 1 .. ii. .. 453 Alton Towers . iii. .. 385 Bowood 1 .. iii. .. 163 Gomm, Sir William . ii. .. 337 Hadzor 1 .. iii. .. 223 Gonzaga, family of i. .. 7 Torry collection 1 .. iii. .. 272 Goodall, F. . . . i. .. 379 Greville, General Sir Charles. i. . . 28 Bowood . 1 .. iii. .. 165 Grey, Earl de, collection of , i. .. 284 Gosford House, seat of Lord Wemyss iii. 314 Grieff . . 41 Gordon Watson , Sir John , R.A. iii. . . 282 Griffier , Jan — Gorzius , Gualdorp — Mr. Hope .... 1 .. ii. .. 122 Claverton . iii. .. 177 Marquis of Bute iii. .. 476 Thirlestaine House . iii. . . 210 Grimaldi, Francesco — Gothic architecture, comparison of, Mr. Baring. 1 .. ii. .. 180 between England and other Grimani, Francesco — countries iii. .. 485 Ince 2 .. iii. .. 251 Gott, sculptor — Grove Park, seat of Earl of Hadzor .... iii. .. 223 ' Clarendon .... .. 454 Chatsworth . iii. . . 367 Grosvenor, Lord . .. 27 Goyen, Jan van — Grosvenor Gallery .. 161 National Gallery . 1 . . i. .. 357 Griin, Hans Baldung . iii. .. 233 Stafford House . . 1 .. ii. . . 70 Grunewald, Matthew . .. 434 Grosvenor House . . 1 . . ii. .. 167 Guardi, Francesco iii. .. 313 Lord Colborne . . 1 . . ii. .. 240 Gudin — Stafford House . i . ii. . . 66 Miss Rogers . 1 . . ii. .. 270 Guercino — Duke of Bedford . 1 . . ii. .. 284 National Gallery . l .. i. .. 338 Petworth . 1 . . iii. .. 36 Northumberland House l .. i. .. 394 Hadzor .... . 1 . . iii. .. 222 Bridgewater House 3 . . ii. .. 36 Ince . 1 . . iii. .. 250 Stafford House . 4 .. ii. . . 64-5 Hamilton Palace . 1 . . iii. .. 300 Lord Yarborough . 1 .. ii. .. 87 Castle Howard . . 1 . . iii. .. 322 Devonshire House . 1 .. ii. . . 92 Alton Towers . . 1 . . iii. .. 388 Lord Ashburton 1 .. ii. .. 101 Gozzoli, Benozzo — Lansdowne House . 1 .. ii. .. 152 Mr. Barker . 1 . . ii. .. 125 Mr. Baring. 1 .. ii. .. 180 Lord Ward . . 1 . . ii. .. 231 Lord Ward .... 1 .. ii. .. 236 Miss Rogers . 1 . . ii. .. 267 Mr. Neeld .... 1 .. ii. .. 245 Oxford .... . 1 . . iii. .. 53 Mr. Hoskins 1 .. ii. .. 260 Graet, Bernard — Miss Rogers 2 .. ii. 268-9 Buckingham Palace . 1 . . ii. . . 11 Dulwich .... 1 . . ii. .. 347 Graf, Urs., engraver . i. .. 299 Hampton Court 1 .. ii. .. 357 Granacci, Francesco, Maitland iii. . . 4 Windsor Castle. 3 .. ii. 433-4 Granet — . drawings . . ii. .. 448 Buckingham Palace . 1 .. ii. . . 24 Panshanger 1 .. iii. . . 15 Chatsworth . 1 . . iii. .. 351 Lord Darnley . 2 .. iii. . . 21 Granville, Lord ii. .. 337 Petworth .... 1 .. iii. . . 41 Gray, James, Esq. ii. .. §36 Oxford . . . drawings . . iii. . . 49 Greek slave, copy of . ii. .. 238 Stourhead House . 2 .. iii. .. 172 vases, Miss Rogers, ii. 271 : ; Claverton, Claverton .... 1 .. iii. .. 177 iii. 177 ; Castle Howard, iii. 326, 7. Blaise Castle . 2 .. iii. .. 190 Greeks and Amazons, combats of . i. . . 59 Thirlestaine House . 4 .. iii. .. 200 and Carians, combats of . i. .. 68 Liverpool . . . copy . . iii. .. 239 Green, Mr., i. 36 ; collection at Hadley, ii. Edinburgh .... 1 .. iii. .. 269 458. Garscube . . 1 .. iii. .. 294 Greuze — Castle Howard . 1 .. iii. .. 325 Buckingham Palace . 3 . . ii. . . 24 Nostall Priory . 1 .. iii. .. 336 Lord Yarborough . . 1 . . ii. . . 87 Chatsworth . drawings . . iii. .. 359 Baron L. Rothschild . 2 . . ii. .. 130 Alton Towers . 4 .. iii. .384-5 Lansdowne House . . 1 . . ii. .. 152 Keddleston Hall 1 .. iii. .. 393 Marquis Hertford . . 3 . . ii. 156,7 Burleigh House 1 .. iii. .. 405 Mr. Baring . . 1 . . ii. .. 182 Althorp .... 1 .. iii. .. 456 Mr. Holford . 1 . . ii. .. 199 Marquis of Bute 1 .. iii. .. 483 Mr. Mills . pictures ii. .. 249 Guttierrez, Juan Simon . iii. .. 240 Mr. Morrison . . 1 . . ii. .. 261 Gyssels, Peter — Sir A. Rothschild . . 2 . . ii. 281, 2 Buckingham Palace 1 .. ii. . . 23 Mr. Wynn Ellis . 1 . . ii. . . 295 Mr. Hope .... 2 .. ii. .. 122 Mr. Womb well . . 1 . . ii. 310 xxix INDEX, HACKAERT. HOBBEMA. H. Piet. Yol. Page Heere, Lucas de — Piet. Yol. Page Wentworth Castle . 1 . . iii. . . 342 Hackaert , Jan — Heineken . i. .. 303 Sir Robert Peel 1 . . i. . . 411 Helmont, Matthew van . . iii. . . 334 Stafford House . 1 . . ii. . . 71 Heist, Bartholomew van der- Lansdowne House . 1 . . ii. . . 153 Mr. Hope .... 1 . . ii. .. 114 Mr. Heusch 1 . . ii. . . 255 Mr. Phipps .... 1 . . ii. .. 227 Marquis of Bute 1 . . iii. . . 481 Hemskerk, Martin — Hampton Court L .. 358 Haddon Hall .... . in. . . 369 Herbert, J. R., R.A.— Hadzor Collection . iii. . . 220 V ernon Gallery . 1 . . i. .. 374 HaHey, seat of Lord Lyttleton . iii. 227 Houses of Parliament . frescoes i. . . 428 Hailstone, Mr, . i. Hercules, birth of, alto-rilievo . iii. . . 244 Halicarnassus mausoleum . . i. 50-60 Herp, Geritz van — Hall, Chambers, Esq. . i. .36, 7 National Gallery 1 . . i. .. 356 Hals, Frank — Bridgewater House. 2 . ii. .. 42 Buckingham Palace 1 . . i. 4 Nostall Priory . 1 .' . iii. .. 337 Devonshire House . 1 . . if. . . 94 Marquis of Bute 2 . . iii. .. 478 Mr. Phipps .... 1 . . ii. . . 227 Hertford, Marquis, i. 35 ; collection of pictures. Mr. Seymour . 1 . . ii. .. 243 ii. 154. Petworth .... 1 . . iii. . . 36 Heusch, F., Esq. — collection, , i. 36 , 333 ; ii. 252 Lowther Castle. 1 . . iii. .. 262 Heusch, de .... . iii. . . 222 Ham Court Collection . iii. .. 224 Alton Towers . 2 . iii. . . 388 Hamilton, Gavin, Esq. . i. . .74, 7 Hewell, seat of Hon. R. Clive ; pictures, iii. Hamilton, Duke of . i. 16, 36 ; iii. .. 294 227. Hamilton Palace, iii. 295 ; pictures sculp- Heyden, Jan van der — ture, works of arts, cabinet belonging to Sir Robert Peel . 2 . . i. .. 413 Marie Antoinette, 296-306 ; MSS, with mi- Buckingham Palace 2 . ii. ..22,3 matures, 306-8 Bridgewater House. 1 . . ii. .. 52 Hamilton, Lord . . i. 8 Lord Ashburton 1 . . ii. .. Ill Hamilton, Sir William i. 75, 80 82, 85 Mr. Hope .... 3 . . ii. .. 123 Hamilton, W. R., Esq. i. 58 ; ii. .. 333 Baron L, Rothschild 1 . . ii. .. 131 Hampton Court Palace . ii. .. 354 Marquis Hertford . 1 . . ii. .. 160 Collection of pictures, 355 ; ; Raphael’s car- Mr. Baring .... 1 . . ii. .. 188 toons, 369 ; Mantegna’s pictures, 410. Mr. Heusch. 2 . . ii. .. 256 Handles of terra cotta . i. . . 87 Mr. Morrison . 1 . . ii. .. 262 Hanging, old leather . . iii. . . 352 Apsley House . 1 . . ii. . . 274 Harewood House . . iii. .. 343 Mr. Wynn Ellis. 1 . . ii. .. 298 Harford, Mr., i. 35; iii. V 79; collection, 187 Bowood 2 . . iii. .. 163 Harlaem, Gerhard van . i. 8 Chai lton Park . 1 . . iii. . . 170 Harman, Jeremiah, Esq, . . i. . . 27 Thirlestaine Park . 1 . . iii. .. 209 Harpagus . . 65 Tony collection 1 . . iii. .. 275 Harpy monument . . i. . . 63 Belvoir Castle . 2 . . iii. . . 395 Harris, Mr . . 91 Marquis of Bute 2 . . iii. .. 482 Hart, S., R.A. — Hey wood, Mr. . iii. 229, 242 Yernon Gallery 1 . . i. .. 374 Hibbert, Mr .i. 24, 26, 28 Mr. Munro .... 1 . . ii. .. 142 Highlands, the . iii. .. 291 Harvey, Olnev, Lieut.-Col. . i. .. 318 Higginson, Edward, Esq. . . i. .. 326 Hatherton, Lord — pictures . ii. .. 251 Hill, D. O., Esq. . . . . iii. .. 267 Hawkins, Haywood, Esq. i, , 32, ,36,81 : ; ii. 336 Hilton, R.A. — Hay, Mr .. 44 Yernon Gallery. 3 . . i. .. 327 Head, female, antique, with widely Mr. Bicknell . . . 1 . . ii. .. 350 open mouth .... . ii. . . 83 Hindlip, seat of Lord Southwell ; pictures, iii. Head of a Muse . ii, . . 83 227. Head, female, in profile, alto -rilievo iii. .. 244 Hobbema, Minderhowt — Heem, Cornelius de — Sir Robert Peel. 4 . . i. .. 410 Bridgewater House . 1 . . ii. . . 52 Buckingham Palace 2 . ii, .. 21 Heem, Jan David de — Bridgewater Gallery 2 . ii. . . 50 Mr. Phipps .... 1 . . ii. . . 228 Lord Ashburton 1 . . ii. .. Ill Mr. Neeld .... 1 . . ii. .. 248 Mr. Hope .... 1 . . ii. .. 122 Hadzor 2 . . iii. .. 221 Mr. Holford 1 . . ii. .. 202 Alton Towers . 1 . . iii. .. 388 Mr. Ford .... 1 . . ii. . . 225 Wolterton . 1 . . iii. .. 434 Lord Hatherton . 1 . . ii. .. 251 Heere, I/ucas de — ■ Mr. Heusch. 2 . ii. .. 255 Hampton Court . . ii. .. 361 Mr. Bredel .... 1 .’ . ii. .. 290 Stoke i . . ii. .. 421 Mr. Ellis .... 2 . ii. .. 297 XXX INDEX. HOBBEMA. HOOGE. Piet. Vol. Page Piet. Vol. Page Hobbema, Minderhout- Holbein — Mr. Perkins . 1 . . ii. .. 336 Ham Court . 1 .. iii. .. 225 Petworth . 3 . . ii. 35-41 Liverpool . 1 . . iii. .. 236 Basildon . 1 . . iii. .. 134 Ince Bowood .... . 3 . . iii. 159-61 Lowther Castle . 1 .. iii. .. 264 Blaise Castle . 1 . . iii. .. 191 Dalkeith Palace. 1 .. iii. .. 313 Torry . . . . . 2 . . 272-4 Castle Howard . 2 .. iii. .. 323 Mr. M‘Lellan . . 3 . . iii. 287-9 Temple Newsam 1 . . iii. .. 334 Hamilton Palace . 1 . . iii. .. 301 Nostall Priory . 1 .. iii. .. 334 Nostall Priory . . 1 . . iii. .. 336 Wentworth Castle . 1 .. iii. .. 342 Burleigh House . 1 . . iii. .. 407 Chatsworth copy iii. .. 345 Marquis of Bute . 2 . . iii. .. 481 1 .. iii. .. 351 Hodgkinson, Mr. . .. 37 . . drawings iii. . . 359 Hoeck, Robert van der iii. . . 336 Alton Towers . 1 . . iii. .. 388 Hogarth — Belvoir Castle . 1 . . iii. .. 398 National Gallery . 7 . . i. 363, 4 Burleigh House. 2 .. iii. .. 407 Mr. Munro . . 2 . . ii. . . 140 Ketteringham Hall 1 .. iii. .. 428 Grosvenor Gallery . . 2 . . ii. .. 172 Orwell Park 2 .. iii. .. 443 Mr. Phipps . . 1 . . ii. .. 229 Cambridge . . composition iii. .. 445 Lord Charlemont . . 2 . . ii. . . 249 A1 thorp 2 iii. . . 456 Duke of Bedford . 1 .. ii. .. 284 Glendon Hall . 1 . ’. iii. .. 462 Soane Museum . . 12 .. ii. .. 321 Marquis of Bute 1 .. iii. .. 482 Petworth . 3 • . iii. . . 35-8 Holderness, Countess of— collection i. . . 22 Bowood .... . i . . iii. .. 160 Holford, R. S., Esq., i. 35, 6 ; collection, ii. Leigh Court . 2 . . iii. 185, 6 193 ; MSS. with miniatures, 205 ; block- Thirlestaine House . . 1 . . iii. . . 210 books, 221 ; woodcuts , 222; rare editions Duncombe Park . 1 . . iii. .. 316 of classics, 222. Chatsworth . . 1 . . iii. .. 364 Holkham, iii. 413; sculpture, 414; i pictures. Alton Towers . . 1 . . iii. .. 387 419 ; drawings, 423 ; MSS. with miniatures. Narford .... . 1 . . iii. .. 431 425. Holbein, mention of . . . i. f 3, 10 12, 14 Holland House, ii. 339 ; Highland games, 340 British Museum, book containing designs for Holland, King of, collection . i. 23-28 jewellers’ work . i. .. 203 Hollar . ► . . i. 8 drawings i. .. 236 Holmes, Mr. . i i. 34 , 94, 96 Lambeth Palace . 1 . . i. .. 429 Homer, oldest Florentine edition . iii. .. 345 Stafford House . . 1 . . ii. . . 73 Hondekoeter , Melchior — Duke of Norfolk . 1 . . ii. . . 86 National Gallery i .. i. .. 358 Devonshire House . . 1 . . ii. . . 93 Buckingham Palace i.. ii. .. 23 Lord Ashburton . 1 . . ii. .. 112 Mr. Hope i .. ii. .. 124 Mr. Holford . 1 . . ii. .. 199 Mr. Young . i .. ii. .. 258 Mr. Seymour . 2 ii. 241,' 2 Hampton Court i .. ii. .. 358 Mr. Neeld . . . 1 2 ii. 245, 6 Stoke . . . i .. ii. .. 422 Barbers’ Hall . . 1 . . ii. .. 327 Mr. M‘Lellan . i .. iii. .. 290 Bridewell Hospital . . 1 . . ii. .. 328 Temple Newsam i .. iii. .. 334 Mr. Bale . 1 . . ii. .. 381 Mr. Muskett i .. iii. . . 428 miniature ii. .. 332 Hondius, Abraham iii. .. 241 Hampton Court . 8 ii. 361 , 2,4, 6 Honthorst, Gerard — ascribed to 3 . . ii. .. 363 Stafford House . i .. ii. . . 70 Stoke . . . . drawing ii. .. 420 Hampton Court 2 .. ii. 358-60 Windsor Castle. . 7 . . ii. 430,2 Grove Park 1 .. ii. .. 455 drawings ii. 448-50 Thirlestaine House . 1 .. iii. .. 206 Mr. Fuller Maitland . 1 .. iii. 6 Combe Abbey . 4 .. iii. .. 219 Arundel Castle . . 3 . . iii. 29,30 Ince .... 1 .. iii. .. 252 Petworth . 5 iii. 33- ■6,41,2 Garscube 1 .. iii. .. 294 Blenheim . 1 . . iii. .. 123 Castle Howard . 2 .. iii. 319-26 Longford Castle . 5 . . iii. .. 138 Honthorst, William . . iii. .. 154 • ascribed to 2 . . iii. .. 140 Hoog, Van der ii. .. 267 Wilton .... . 3 . . iii. .. 152 Hooge, Peter de — drawing iii. .. 152 Sir Robert Peel 2 .. i. .. 403 . . . .building by iii. . . 155 Buckingham Palace 3 .. ii. . . 11 Charlton Park . . 1 . . iii. .. 170 Stafford House . 1 .. ii. . . 71 Leigh Court . 1 . . iii. .. 185 Lord Ashburton 1 .. ii. .. 105 Thirlestaine House . . 1 . . iii. .. 210 Mr. Hope 1 .. ii. .. 119 miniature iii. .. 211 Baron L. Rothschild 1 . . .. 130 Warwick Castle . 1 . . iii. .. 215 Mr. Phipps . 2 .. «• .. 227 XXXI INDEX. HOOGE. KNELLER. Piet. Vol. Page Piet. Vol. Page Hooge, Peter de — Imhoff collection . i. . . 12 Hadzor ..... 1 . iii. .. 222 Imola , Innocenzo da — Hoogstraeten, Van . ii. . . 52 Mr. Wynn Ellis 1 .. ii. .. 293 Hook .. 211 Thirlestaine House . 2 .. iii. . . 199 Hope, A. J. B., Esq. . . i. . . 37 Wentworth House . 1 .. iii. .. 339 Hope, Henry Th., Esq., i. 26; collection, ii. Mr. Dav. Bromley 1 .. iii. .. 376 112 ; antique sculpture, 112 ; pictur es, 113. Althorp .... 1 .. iii. .. 455 Hope, Mr. W, ... . i. . . 85 Ince, seat of Mr. Blundell Weld . iii. .. 242 Hopetoun House, pictures, ui. 309 ; fine Collection of sculpture iii. .. 243 situation, 311. Incunabula, Italian iii. .. 307 Hoppner . . 37 Tngannati, Pietro degli — Horebout, Gerard . . . . in. .. 482 Stafford House . . 1 .. ii. .. 59 Horsley , J. G . — Lord Elcho .... 1 . . ii. . . 82 Vernon Gallery 1 . i. .. 374 Liverpool .... 1 .. iii. .. 237 House of Lords . frescoes . i. .. 427 Intaglios — Ince iii. .. 259 Mr. Sheepshanks 1 . ii. .. 300 Ionic old school ofsculpture, specimen of, iii.245 Hoskins, G. A., Esq., Spanish pictures, ii. 257 Joanes — Hoskins . 1 .. ii. .. 259 Hoskins, John, Esq. . in. ... 408 Jordaens , Hans — Hampton . Court ii. .. 356 Houghton Hall . i!i. .. 439 Jordaens , Jacob — Huchtenberg , Jan Van — Devonshire House . 1 .. ii. . . 94 National Gallery 1 . i. .. 357 Sir Chas. Eastlake . 1 .. ii. .. 264 Bridgewater House . 1 . ii. .. 52 Cobham Hall 1 .. iii. .. 24 Humboldt, Madame . . i. . . 329 Thirlestaine House . 3 .. iii. .. 206 Hume, Sir Abraham . . i. . . 26 Garscube .... 1 .. iii. .. 292 Hunt — Alton Towers . 1 .. iii. .. 387 Mr. Bicknell 2 . i. .. 252 Marquis of Bute 2 .. iii. .. 475 Hurlstone .... . in. .. 165 Johnson, Professor, i. 36 ; collection of MSS. Huysman . ii. 42 ; iii. 271 with miniatures, iii. 45, 112, 120. Huy sum, Jan Van — Johnstone, Alex . — Bridgewater House . 2 . ii. .. 52 Vernon Gallery . . 1 .. i. .. 378 Lord Ashburton 2 . . ii. .. 112 Mr. Bicknell . . . 1 .. ii. .. 353 Mr. Hope .... 2 . . ii. .. 124 Iriarte — Hoskins . 1 .. ii. .. 259 Grosvenor Gallery . 1 . . ii. .. 169 Irish miniature-painting . 1 .. i. .. 137 Mr. Heusch 1 . . ii. . . 256 Iron chair iii. .. 142 Mr. Morrison 1 . . ii. .. 263 Ivories from Nimroud i. 81-83 Mr. Womb well . 1 . . ii. .. 309 Dulwich .... 1 . . ii. .. 345 Stoke 1 , . . ii. .. 422 K. Thirlestaine House . 1 . . iii. .. 209 Glasgow .... 1 . . iii. .. 286 Kaerkins, Herr Rohde i. . . 37 Kalf, William . . . ii. .. 413 I & J Kauffmann, Angelica— National Gallery 1 .. i. .. 358 Jabach, M . . 13 Hampton Court 1 .. ii. .. 368 Jackson — Burleigh House 1 .. iii. .. 407 Lansdowne House . 1 . . ii. .. 152 Kant’s Critic of Pure Reason . iii. 242 Lady Dover 1 . . ii. .. 335 Keddleston Hall, collection . iii. !! 391 James II.’s collection, catalogue 9 Keir, seat of Wm. Stirling, Esq. . iii. .. 314 James, Andrew, Esq. . 36, 37 Kellmarsh Hall iii. .. 462 Janet, see Clouet. Kemp, Mr. Geo. . iii. .. 276 Jansen, Cornelius — Kensington Palace ii. .. 341 Buckingham Palace 1 . . ii. 4 Kessels . . . . * . . . 366 Hampton Court 1 . . ii. .. 364 Kessler . . 40 Grove Park 1 . . ii. .. 456 Ketteringham Hall, iii. 426 ; sculpture, Longford Park . .1 . . iii. .. 142 427 ; pictures, 428. Charlton Park . 2 . . iii. .. 170 Khorsabad .... i. 45, 47 Hopetoun House 1 . . iii. .. 310 Kilgraston, seat of Mr. Grant iii. .. 315 Keddleston Hall 1 . . iii. .. 392 Kinfauns Castle, seat of Lord Grey iii. .. 315 Burleigh House 1 . . iii. .. 408 Kinnaird, Lord i. 21, 26 Glendon Hall . . . 2 . . iii. .. 462 Klomp 2 .. iii. .. 450 Jarenus Knee and leg, colossal fragment of iii. .. 244 Idols, Indian .... . iii. .. 368 Kneller, Sir Godfrey — Jervas — Hampton Court, pictures . ii. 355-6 Lansdowne House . 1 . . ii. .. 152 , drawings . ii. .. 368 Iffley church . iii. .. 120 Chatsworth 1 .. iii. .. 364 xxxii KNELLER. INDEX. LELY. Piet. Yol. Page Kneller , Sir Godfrey — Blenheim .... . . iii. . . 122 Burleigh House . iii. . . 408 Marquis of Bute # . iii. . . 476 [{night. Payne, collection i. 28, 32, 80 Ivnole, seat of Col. Chester Master iii. . . 193 Knupfer — Hampton Court . ii. . . 360 Koekkoek — Mr. Baring 2 , . . ii. . . 192 Mr. Oppenheim 1 . . ii. . . 329 Koningk, Philip de — Sir Robert Peel 1 , . . i. . . 411 Stafford House . 1 , . . ii. . . 70 Grosvenor Gallery . 1 . . ii. . . 166 Mr. Baring 1 , . . ii. . . 187 Glasgow . 1 . . iii. . . 283 Alton Towers . 1 . . iii. . . 388 Barron Hill 1 . . iii. . . 391 Wolter ton . . . . 1 . . . iii. . . 436 Koningk , Salomon — • Bridgewater Gallery 1 , . . ii. . . 42 Chatsworth 1 , . . iii. . . 345 Krug, L 236 L. Laborde, Count Leon de . . i. . . 52 Labouchere, Mr., i. 35 ; town house, ii. 287; collection at Stoke, ii. 416. Lafontaine, M. 25 Lafitte collection . . i. . . 24 La Guerre , Louis. . iii. . . 400 Lahire . . . . 222 Lairesse, Gerard — Mr. Hope .... 1 . . ii. . . 119 Leigh Court 1 . . iii. . . 186 Alton Towers . 1 . . iii. . . 387 Lambert, Wm., Esq. — collection ii. . . 336 Lambeth Palace . . i. . . 429 Lance, G . — Vernon Gallery 1 . i. . . 388 Lancret, Nicolas — National Gallery 4 . . i. . . 346 Devonshire House . 1 . . ii. . . 93 Ketteringham Hall . 1 . . iii. . . 428 Landseer, Sir Edwin — Vernon Gallery. 3 . 382 Sir Robert Peel . 1 . 414 Lord de Mauley 1 . . ii. . . 84 Mr. Baring .... 1 . 190 Mr. Phipps .... 1 . . ii. . . 229 Sir Charles Coate . 1 . 258 Apsley House . 2 . . ii. 274, 7 Mr. Sheepshanks 10 ii. 300, 2 ,5-7 — — ■ drawings . . ii. . . 307 Bowood 1 . 164 Mr. Naylor .... 1 . 242 Chatsworth .... 1 . 351 Burleigh House. 1 . 408 Woburn Abbey. 1 . . iii. . . 466 Landseer, Charles — Vernon Gallery. 1 . . i. . . 378 Mr. Baring .... 1 . . ii. . . 190 Mr. Sheepshanks . 2 . . ii. . . 306 Lanfranco — Bridgewater Gallery 1 . . ii. . . 37 VOL. I. C Piet. Yol. Page Lanfranco — • Hampton Court . . 3 . . ii. 355, 8 Blaise Castle . . . 1 .. iii. .. 190 Burleigh House . . . 1 . , iii. . . 405 Langley Park ...... iii. . . 439 Lanti Vase iii. . . 467 Lansdowne House, ii. 143 ; antique sculp- ture, 143; concert, 144; German music, 144 ; sculpture resumed, 148. Lansdowne, Marquis . i. 16 ,17 , 26, 36 Laocoon, group in bronze iii. .. 298 Lapeyriere collection . i. . . 24 Lawrence , Sir Thomas — Collection . . 28, 36 Vernon Gallery. 3 i. 380,81 / Sir Robert Peel. . 1 i. .. 414 Stafford House . 2 ii. . . 72 Lansdowne House . 1 ii. .. 153 Mr. Baring .... 1 ii. .. 189 Sir C. L. Eastlake . 1 ii. .. 266 Miss Wilbraham 1 , i ii. .. 337 Dulwich .... 1 .. 348 Mr. Bicknell 1 ii. .. 351 Hampton Court 1 ii. .. 414 Stoke 1 ii. .. 422 Windsor Castle . pictures ii. 423,4 Arundel Castle ... 1 iii. .. 30 Bowood .... 1 iii. .. 166 Charlton Park . 1 iii. .. 169 Blaise Castle 1 iii. 191, 3 Castle Howard . 1 iii. .. 325 Wentworth House . 1 iii. .. 339 Apethorpe .... 1 iii. .. 411 Woburn Abbey. 1 iii. .. 466 Lauri, Filippo — Bridgewater Gallery 1 ii. . . 33 Devonshire House . 1 ii. . . 93 Hampton Court 1 ii. .. 357 Thirlestaine House . 1 iii. .. 198 Burleigh House. 1 iii. .. 403 Layard, Mr. .... i. 44 , 81 , 83, 84 Lead weights .... Leake, Colonel i. 32, 50 Lebrun Dulwich .... 2 ii. .. 348 Lectisternium .... .. 94 Lee, R.A. — Vernon Gallery 1 i. .. 386 Mr. Baring .... 1 ii. . . 190 Mr. Bicknell 1 ii. .. 353 Leemput .. 14 Leerman, Peter — Mr. Heusch 1 . , ii. .. 253 Leicester, Earl, i. 29 ; collection at Holkham, iii. 413. Leigh Court, collection . . iii. . . 178 Leinster, Lord, i. 15 ; Easton-Neston, seat of, 15. Lelienberg . Lely , Sir Peter . 16, 299 Hampton Court pictures . . ii. .. 360 Windsor Castle , . . 1 . . ii. .. 430 Grove Park . , . . 3 . . ii. 454, 57 Cobham Hall . . . 1 . . iii. . . 24 Petworth . , . . 4 . . iii, : 33,7,43 XX xiii INDEX. LELY. LUINI. Piet. Vol. Page Piet. Vol. Page Lely, Sir Pete ) — Lingelbach, Jan — Blenheim . 1 .. In. .. 128 Mr. Heusch, figures to Wynants ii. 256 Ditchley .... 2 .. iii. .. 134 Bowood, figures to Bauerstadt iii. 165 Hagley 1 .. iii. .. 227 Thirlestaine House . 1 .. iii. 209 Hamilton Palace 1 .. iii. .. 297 Hadzor 2 .. iii. 221-3 Dalkeith Palace 1 .. iii. .. 313 , figures to Moucheron . iii. 221 Castle Howard . 3 .. iii. .. 323 Torry collection 1 .. iii. 275 Wentworth House . 4 .. iii. 338-40 Mr. M‘Lellan . 2 .. iii. 288-91 Wentworth Castle . 1 .. iii. .. 342 Alton Towers . 2 .. iii. 387 Chatsworth .... 1 .. iii. .. 348 Wolterton . . pictures . . iii. 434 Mr. Davenport Bromley 1 .. iii. .. 378 Linnell, J . — Vernon Gallery 2 . . 387 Belvoir Castle . 1 .. iii. .. 400 Linlathen, seat of Mr. Erskine . . iii. 315 Burleigh House 1 .. iii. .. 406 Lippi , Fra Filippo * • 249 Boughton Hall 1 .. iii. .. 460 British Museum drawings . . ii. • e 224 Lenain — * Lord Ward .... 1 .. ii. 231 Buckingham Palace 1 .. ii. .. 23 Windsor Castle drawings . . ii. 447 Stafford House . 1 .. ii. ,. 66 Mr. Fuller Maitland 2 .. iii. o Mr. Neeld .... 1 .. ii. .. 245 Oxford 1 .. iii. 53 Lord Carlisle 1 .. ii. .. 280 Liverpool .... 1 .. iii. 232 Mr. Bredel .... 1 .. ii. .. 291 Ince 1 .. iii. # # 253 Petworth .... 1 .. iii. . . 35 Hamilton Palace 1 .. iii. 304 Thirlestaine House . 1 .. iii. .. 205 Glentyan .... 1 .. iii. 314 Lowther Castle. 3 .. iii. 262-4 Mr. Davenport Bromley 2 .. iii. 374 Mr. M‘Lellan . . . 1 .. iii. .. 291 Ketteringham Hall . 1 .. iii. 428 Leslie , C. R., R.A. — Lippi , Filippino . i. 250, 257, 259 Vernon Gallery 2 .. i. .. 378 British Museum drawing . . , # 224 Lansdowne House . 1 . . ii. .. 153 Lord Ward . . . . 2 .. ii. 231 Miss Rogers 1 .. ii. .. 268 Mr. Seymour . 1 .. ii. , , 242 Mr. Sheepshanks 12 .. ii. 299-305 Beriah Botfield, Esq. . 1 .. ii. . , 335 Mr. Bicknell . pictures . . ii. .. 349 Liverpool .... 1 .. iii. , # 233 Petworth .... 2 .. iii. .. 37 Wolterton .... 1 .. iii. 434 Bowood .... 1 .. iii. .. 165 Lions tearing ox . iii. , # 331 Mr. Naylor. 1 .. iii. .. 241 Listowel, Earl, collection ii. 311 Lewis, Sir Frankland . ii. .. 333 Liverpool, iii. 229 ; St. George’s ; Hall, 230: Leyden , Lucas von • « i. ..8,10 Royal Institution, 230; casts from the an- Mr. Rogers . . drawing . . ii. .. 80 tique, 241. Duke of Norfolk 1 .. ii. .. 86 Lloyd, Mr. Watkyss . . i. 82 Miss Rogers 1 .. ii. .. 269 Lombard, Lambert iii. # , 251 Mr. Fuller Maitland 2 .. iii. 6 Lomi, Orazio, called Gentileschi — Petworth .... 1 .. iii. .. 33 Hampton Court , ii. . . 359 Wilton House . 1 .. iii. .. 152 Longford Castle . , . iii. . » 138 Liverpool . . . . 1 .. iii. .. 336 Longleat . . . . . 173 Chatsworth .... 1 .. iii. .. 351 Londonderry, Marquis . i. 27; ,328 . . drawings . . iii. .. 360 Longhi, Luca — Lord de Mauley . ii. 84 Marquis of Bute 1 .. iii. .. 475 L’Orbetto, see Alessandro Veronese. Leys of Antwerp — Lorenzetto, Ambrogio — Mr. Baring . 1 .. ii. .. 191 Lord Ward .... 1 .. ii. 233 Liber Veritatis, Claude — Devon- Wooton Hall 5 .. iii. 377 shire House .... Lorenzetto, Pietro « • i. 85 JAbri, Francesco dai — Lotto, Lorenzo — Lord Ward, miniature . ii. .. 238 Bridgewater House . 1 .. ii. 33 JAbri, Girolamo dai — Hampton Court 1 .. ii. 356 Mr. Ford, miniature ii. .. 224 Wentworth Castle . 1 .. iii. 341 Hamilton Palace, large picture iii. .. 296 Chatsworth 1 .. iii. 345 Licinio , Bernardino, Hampton Court ii. 359 Lowther Castle, collection iii. 260 Lieversberg, M. . Lucas, Lady .... i. 26 Limousin, Leonard de, enamels — Lucatelli iii. 203 Mr. Seymour . ii. .. 243 Lucca, Duke of . i. 22 Lincoln Cathedral iii. .. 394 Luini, Bernardino i. 10 L'Ingeyno, see Assisi. National Gallery 1 .. i. 319 Lingelbach, Jan — Bridgewater House . 1 .. ii. 30 Stafford House . 1 .. ii. .. 71 Lord Ashburton 1 .. ii. 99 Mr. Hope . . . . 1 .. ii. .. 121 Mr. Baring. 1 .. ii. 178 Mr. Baring . . . . 1 .. ii. .. 186 Thirlestaine House . 1 .. ii. 200 Mr. Holford . drawing . ii. .. 204 Hamilton Palace 1 .. ii. 300 xxxiv INDEX. LUINI. MANUSCRIPTS. Piet. Vol. Page Piet. Vol. rage Luini , Bernardino — Mantegna, Andrea — Glentyan .... 1 .. ii. .. 314 Mr. Holford . drawing . . ii. . . 204 Luti, Benedetto . iii. .. 393 Mr. Vivian . . . . 1 . . ii. , . . 248 Luton House, collection , iii. .. 474 Hampton Court — Triumphs of Luvidel , Nicholas — Caesar ii. . , . 410 National Gallery . 1 .. i. .. 349 Stoke . . . . , 1 . . ii. , . . 419 Luzzo, Lorenzo . iii. .. 238 Wilton House . . . 1 . . iii. . ,. 151 Lycian sculptures . 49, 63 Thirlestaine House. copy .. iii. . , . 201 Lysicrates, choragic monument of i. .. 58 Liverpool . . . . 1 . . iii. , .. 234 Lysimachus, silver coin of . . . 92 Hamilton Palace — Ascribed to . . . 1 . . iii. , . . 298 * . . . 1 . . iii. , . . 304 M. Chatsworth . drawings . . iii. . , . 356 Mantua, Dukes of, collection . . i. . .7-13 Maas, Dirk .... , , iii. .. 40 Mantua, Marchesa di . . . . i. , .. 260 Maas , Nicolas — Manuscripts with miniatures — National Gallery 3 .. i. .. 355 British Museum . . . . i. , . . 95 Buckingham Palace 1 .. ii. 6 Lord Ashburnham . . . . ii. , . . 28 Bridgewater Gallery . 1 .. ii. .. 42 Oxford iii. 49,65 Stafford House . 2 .. ii. . . 70 Sir Thos. Phillips .... iii. , . . 227 Mr. Munro .... 1 .. ii. .. 137 Edinburgh . . . . ... iii. ! 278-80 Mr. Baring .... 1 .. ii. .. 183 Glasgow iii. , . . 284 Lord Breadalbane . 1 .. ii. .. 239 Chatsworth iii. , . . 361 Mr. Bredel .... 1 .. ii. .. 292 Holkham iii. , . . 425 Stoke 2 .. ii. .. 421 Cambridge . . . . , . iii. . Petworth .... 1 .. iii. . . 35 i Bowood .... 1 .. iii. .. 163 Acts of the Apostles, Oxford, iii. 65. Thirlestaine House . 1 .. iii. .. 307 Albumazor’s Astronomy, Br. Mus., i. , 172. Hadzor 1 .. iii. .. 221 Alexander the Great, History of, Glasgow, Mr. M‘Lellan . 1 .. iii. .. 290 iii. 285. Mabuse .. 10 Antiphonarium, Ital., Hamilton Palace, iii. British Museum drawing . . i. .. 228 307. Hampton Court 2 .. ii. 364,8 Apocalypse — Mr. Green .... 2 .. ii. .. 460 French, Br. Mus., i. 112. Wilton House . 1 .. iii. .. 152 Latin Commentary of, Spanish, Br . Mus., Ince 1 .. iii. .. 249 i. 210. Mr. M‘Lellan . 1 .. iii. .. 289 Oxford, iii. 70, 113. Hamilton Palace 1 .. iii. .. 303 Glasgow, iii. 285. Castle Howard . 1 .. iii. .. 320 Trinity College, Cambridge, iii. 453. Chatsworth 1 .. iii. .. 348 Aratus, Poems of, Cicero’s translation, An- Maclise , D., R.A. — •* glo-Saxon, Br. Mus., i. 139. Vernon Gallery . . 2 .. i. .. 373 Aurelius, Prudentius, Latin Poems of, Br. Houses of Parliament, frescoes i. .. 427 Mus., i. 149. MacArdell, engraver . i. .. 300 Benedictionale, Chatsworth, iii. 361. Macculloch, Mr. . # # iii. .. 279 Bestiarium, Oxford, iii. 63. Mackinnon, W. A., Esq., collection ii. .. 260 Bestiaries, 3, Cambridge, iii. 451. M‘Lellan, Mr., collection of # # iii. .. 286 Bible — Madden, Sir Frederick 9 # i. .. 34 French, Br. Mus., i. 113. Maguire, Mr Picture, English, Br. Mus., i. 149. Mair .. 298 Historiale, English, Br. Mus., i. 175. Maitland, Fuller, Esq. i. 26,35 Holkham, iii. 426. Collection of # , iii. 1 Bocacccio’s Lives of celebrated Men and Majolica — Mr. Ford, ii. 226 i : howl, Garscube, Women, Br. Mus., i. 118. iii. 292: Hopetoun House, 311: Narford, Boccaccio, French, Glasgow, iii. 285. collection of, 431. Book of Joshua, Br. Mus., i. 143. Malmesbury, Earl of, i, 35 ; pictures belong- Book of Prayers, Br. Mus., i. 118. ing to, 416. Breviary — Manchester . . . . iii. .. 229 Netherlandish, Br. Mus., i. 131. Mantegna , Andrea . , . ..7,15 Octavo, Edinburgh, iii. 278. British Museum — drawings .. 227 Folio, iii. 278. • , compositions, i, . 245, 251, Glasgow, iii. 285. 273, 274. Breviaries, Narford, iii. 432. , engravings, i. 25 '5, 256, 261, Cantionales, Spanish, iii. 118. 262, 263, 268, 269, 270, 271. Chumnash et Mackzor, Jewish, Br. , Mus., Mr. Baring .... 1 .. ii. .. 178 i. 218. e 2 XXXV MANUSCRIPTS. INDEX. MANUSCRIPTS. Manuscripts with miniatures — Chinese, Br. Mus., i. 218. Christian of Pisa — Poems, Br. Mas., i. 125. Chronicle of Counts of Hainault, &c., Holk- ham, iii. 426. Chronique d’Angleterre, i. 130. Commedia, la Divina, Ital. , Hamilton Palace, iii. 307, Commentary, Latin, Spanish, Br. Mus., i. 209. Commentary on Apocalypse, English, Ox- ford, iii. 89. Commentary on Isaiah, by St. Jerome, Eng- lish, Oxford, iii. 91. Convolvole da Prato, Poems of, Italian, Br. Mus., i 203. Corpus Juris, Edinburgh, iii. 281. Dialogue between Francis I. and Julius Caesar, French, Br. Mus., i. 118. East Indian, Br. Mus., i. 220. Epistles of St. Paul, Oxford, iii. 115. Evangeliarium — Byzantine, Br. Mus., i. 97, 98, 102, 103. Carlovingian, Br. Mus., i. 104. French, Br. Mus., i. 109. Anglo-Saxon, Br. Mus., i. 140. German, Br, Mus., i. 196, 198, 199. Arabic, Br. Mus., i. 219. Byzantine, Oxford, iii. 69. English, Oxford, iii. 86, 88, German, Oxford, iii. 99. Italian, Oxford, iii. 103, 104, Anglo-Saxon, Oxford, iii. 111. Greek, Hamilton Palace, iii. 306, Frankish, Hamilton Palace, iii. 307. Holkham, iii. 425, 426. Cambridge, iii. 453, Eutex Grammaticus, English, Oxford, iii. 90. Filocolo of Boccaccio, Italian, Oxford, iii. 105. Florence of Worcester, work by, Oxford, iii. 111 . Genesis, Book of, remains of, Byzantine, Br. Mus., i. 97. Genesis and Daniel, Books of, English, Ox- ford, iii. 88. Gospels — Anglo-Saxon, Br. Mus., i. 136. Harmony of, Anglo, Br, Mus., i. 152. Cambridge, iii. 451. of Sts. Matthew and Mark, German, Ox- ford, iii. 97. Greek, Hamilton Palace, iii. 306, Gregory Nazianzen, St,, Homilies of, Oxford, iii. 66. Gutlac, St., Life of, English, Br. Mus., i. 148. Justin, History by, Oxford, iii. 73, Justinian, Commentary on, Italian, Hamil- ton Palace, iii. 307. Lectionary, fragment, executed for Lord Lovell, English, Br. Mus., L 176. Lectionum Romanum, Italian, Br. Mus., i. 205. Lectiones in Ecclesise, German, Br. Mus., i. 200 . Legend of St. Denys, Oxford, iii. 49. Leonardo da Vinci, Holkham, iii. 425. XXX vi Manuscripts with miniatures — • Life of Christ, Edinburgh, iii. 280. , Glasgow, iii. 285. Livy, ten books of, Glasgow, iii. 285. Lydgate, Life of King Edmund the Saint, by, English, Br. Mus., i. 185. Miracles de la Vierge, Netherlandish, Oxford, iii. 81. Missal — French, Br. Mus., i. 116. Netherlandish, Br. Mus., i. 122, Bedford, Br. Mus., i. 127. English, Br. Mus., i. 188. German, Br. Mus., i. 197. Italian, Br. Mus., i. 206. Roman, Oxford, iii. 70. Leofrist’s, Oxford, iii. 87. Gei’man, Oxford, iii. 119. Henry VII., Chatsworth, iii. 362. Italian, Holkham, iii. 426. New Testament, Greek, Oxford, iii. 67. Office of the Virgin — Netherlandish, Br. Mus., i. 123, 124, 131. English, Br. Mus., i. 178, 179, 189, 191, 192. Spanish, Br. Mus., i. 215. Printed, Br. Mus., iii. 119. Old Testament, iii. 72. Philosophy, Consolations of, Glasgow, iii. 284. Picture Bible, iii. 69. Pliny’s Natural History, Italian, Oxfoi’d, iii. 107. Prayer Book — ■ of King Sigismund of Poland, German, Br. Mus., i. 202. of Cardinal Wolsey, Oxford, iii. 49. Oxford, iii. 72, ib., 73, 74. Netherlandish, Oxford, iii. 75, ib., 80, 82, 84, 85. German, Oxford, iii. 100. of Bona Sforza, German, Oxford, iii. 102. with Psalter, Italian, Oxford, iii. 106. of Eleanor Gonzaga, Italian, Oxford, iii. 108. French, Oxford, iii. 112, 113. Oxford, iii. 115, 116, ib. Prayer to the Virgin, Edinburgh, iii. 279. Prayer Book, Edinburgh, iii. 281. Prayer Books with miniatures, Hopetoun House, iii. 311. Prayer Book — Giulio Clovio, Narford, iii. 431. Printed, iii. 432. Cambridge, iii. 451. Psalter — Byzantine, Br. Mus., i. 97. French, Br. Mus., i. 109. Netherlandish, Br. Mus., i. 122, 129. Anglo-Saxon, Br. Mus., i. 140, 141, i b. t 144, 145, 150, 152, 155, 158. English, Br. Mus., i. 161, 164. belonging to Henry VIII., Br. Mus., i. 193. English, Oxford, iii. 87, 90, 92, 95, 114. Glasgow, iii. 284. German, Hamilton Palace, iii. 307. INDEX. MANUSCRIPTS. METZU. Manuscripts with miniatures — Romance of Alexander the Great, &c., Eng- lish, Oxford, iii. 95. Romance of King Arthur, Oxford, iii. 64. Sacramentarium, German, iii. 98. , Italian, iii. 103. Sacramentalia, 2, Holkham, iii. 426. Simonetti, Giovanni, Life of, Italian, Br. Mus., i. 220. Terence, Comedies of, Oxford, iii. 68. Treatises, moral and religious, Netherland- ish, iii. 82. • -, astronomical and historical, Eng- lish, Br. Mus., i. 147. Venus and Cupid, and other ballads, French, i. 117. Victories of Charles V., Giulio Clovio, i. 208. ; Virgil’s Works, Edinburgh, iii. 279. Vulgate — Carlovingian, i. 106. Netherlandish, i. 121. English, i. 161, 179. Edinburgh, iii. 280. Italian, Hamilton Palace, iii. 307. Piet. Yol. Page Maratti, Carlo — National Gallery . . 1 . . i. Stafford House . . . 1 . . ii. Devonshire House . . 1 . . ii. Mr. Phipps . . . 1 . . ii. Hampton Court . . 1 . . ii. Oxford . . . drawing . . iii. Blenheim . . . . 1 . . iii. Stourhead House . . 2 . . iii. Leigh Court . . . 1 . . iii. Thirlestaine House . . 1 . . iii. Burleigh House . . 1 . . iii. Marquis of Bute . . 1 . . iii. Marbles with inscriptions . . . i. Marbury Hall, seat of Smith Barry, Esq. ; an- tique sculpture and pictures . iii. . . 2$7 Marc Antonio, copy of, by G. A. da Breseia, i. 274; engravings in British Museum, 278. Marlborough House . . . i. . . 359 325 65 93 227 357 49 125 172 186 198 402 484 11 Piet. 1 Yol. ii. Page 192 291; secular 277 Massonier — Mr. Baring Master of 1466 — British Museum, engravings subjects, 295 ; Gothic alphabet, 296. Master with Rat-trap — British Museum . engravings i. , Master with Weaver’s Shuttle — British Museum Matsys, Cornelius Matsys, Jan . Matsys, Quentin — Mr. Seymour . Windsor Castle . Mr. Green . Thirlestaine House Hamilton Palace Keddleston Hall Mazarin, Cardinal . Mazzolino da Ferraro National Gallery Bridgewater House Mr. Holford . Mazzuoli, Filippo. Claverton . Leigh Court Mauley, Lord de, i. 37 ; works of art belonging to, ii. 83 ; antiques, cameos, Greek vases, 83. Maximiliam I iii. . . 330 Medals i. . . 11 Mediaeval antiquities . . . . i. . . 81 Medici vase, copy by Bartolini . iii. . . 368 Mecken, Israel van . ... \. 292, 6 British Museum . drawing i. . . 229 . engraving i. . . 299 engraving i. .. 298 . iii. .. 252 • • iii. .. 35 1 .. ii. .. 243 2 .. ii. .. 432 1 .. ii. .. 460 1 .. iii. .. 206 1 .. iii. .. 300 1 .. iii. .. 392 • • i. .. 13 1 .. i. . . 325 1 .. ii. .. 30 1 .. ii. .. 196 • • ii. .. 434 1 .. iii. .. 176 1 .. iii. .. 185 Memling — British Museum, drawing ascribed to, i. 228 Mr. Rogers . . . . 1 . . ii. . . 78 Miss Rogers . . . 1 . . ii. . . 269 Meer , Jan van der — Mr. Wombwell . . . 1 . . ii. . . 309 Melton Constable, seat of Lord Hastings iii. 439 Meldotta i. . . 285 Memmi, see Martino, Simone di. Marmora Oxoniensis . . . . i. . , . 14 Mendip, collection # . , iii. .. 243 Marochetti, Baron .... iii. . Martial’s Epigrams, Aldine edition, with tures i. - . ,. 283 minia- Mengs, Raphael— Northumberland House, of frescoes copies i. .. 394 Martin, John — Stourhead House . i .. iii. .. 172 Mr. Naylor. . . . 3 .. iii. , . 241 Leigh Court l .. iii. .. 185 Martino, Simone di, called Memmi — Mereville, M. Laborde i. .. 29 British Museum . drawing i. , ... 224 Merton College . iii. . . 49 Oxford 2- ... iii; , 53 Methuen, Paul, Esq. . , i. .. 16 Liverpool . . . . 1 . . iii,- , , . 232 Metzu, Gabriel . i. .. 24 Wooton Hall . . . 1 .. in.-, ,. 372 Sir Robert Peel . 2 . *. i. .. 401 Mary, St., Redcliffe, church of .iii, , . . 177 Buckingham Palace 4 .. ii. 7 Mary, St., church, Warwick . . iii.. , .. 219 Bridgewater Gallery 3 .. ii. .. 43 Masaccio — Lord Ashburton 2 .. ii. .. 104 British Museum . drawing i. , . . 223 Mr. Hope . 4 .. ii. .. 116 Oxford .... drawing iii. , . . 48 Marquis Hertford . 1 .. ii. .. 159 Thirlestaine House . . 1 . . iii. , . . 196 Mr. Baring . 1 .. ii. .. 183 Glentyan . . . . 1 . . iii. , . . 314 Mr. Neeld . 1 .. ii. .. 246 Mask, tragic colossal .... iii. . . 257 Mr. Bevan . 1 .. ii. .. 252 Masks, four tragic colossal . . iii. . . 258 Mr. Wynn Ellis 1 .. ii. .. 295 Masson, engraver i. . . 300 Mr. Oppenheim 1 .. ii. .. 329 INDEX. METZU. MONTAGNA. Piet. Yol. Page Metzu, Gabriel — Stoke 1 , , . ii. . . 422 Fitzwilliam Museum . 1 , . . iii. . . 448 Marquis of Bute 1 , . . iii. . . 476 Messina, Antonello da — Devonshire House . 1 . . ii. . . 96 Hamilton Palace 1 . . iii. . . 302 Meulen, Anton Franz van der — Buckingham Palace 5 . , . ii. . . 19 Devonshire House . 1 . . ii. . . 95 Mr. Ford . . . . 1 . . . ii. . . 225 Petworth . . . . 7 iii. 39, 40, 42 Ham Court. 2 . . . iii. . . 226 Torry collection 1 . , . iii. . . 272 Marquis of Bute 1 . , . iii. . . 476 Michael Angelo . 11,16 British. Museum National Gallery- drawings composition . 1 . . . cartoon . relief i. .. 392 Temple Newsam 1 .. iii. Devonshire House composition ii. .. 91 Woburn Abbey. 1 .. iii. Apsley House . composition ii. .. 276 Mirror frame-work ii. Stoke . 1 . . ii. .. 417 Missy, Csesar von • i. Windsor Castle . drawings ii. .. 442 Models of Roman buildings ii. Chatsworth . drawings iii. 353,4 Modena, Niccoleto da — Oxford . drawings iii. .. 48 British Museum . engravings i. . . relief iii. .. 50 Modena, Pellegrino da, see Munari. Collection of drawings Composition Middle Hall . . Miel, Jan — Buckingham Palace Stafford House . Duke of Bedford Edingburgh Nostall Priory . Chatsworth . Wolter ton . Mieris, Franz van — Sir Robert Peel . Buckingham Palace Bridgewater Galler Mr. Hope . Mr. Baring . Mr. Holford . Mr. Heusch Mr. Bredel . Marquis of Bute Mieris, Frans van, the younger- — Bridgewater Gallery Mr. Heusch. Mieris, William van — Sir Robert Peel . Buckingham Palace Bridgewater Gallery Mr. Hope . Mr. Baring . Mr. Heusch Mr. Wynn Ellis Nostall Priory . Mignard, Pierre — Castle Howard . Althorp Mignon, Abraham xxxviii 1 1 1 1 1 drawing 1 . 1 . 2 . 1 . 1 . 1 . 1 . 2 1 . 1 . 1 1 . 1 . 1 . 1 . 1 . 1 . 2 . 1 . 1 . 1 . 1 . m. iii. iii. ii. ii. ii. iii. iii. iii. iii. u. ii. ii. ii. ii. ii. iii. ii. ii. i. ii. ii. ii. ii. ii. ii. iii. iii. iii. 225 279 322 391 . 60-3 . 237 . 227 . 18 . 71 . 286 . 270 . 336 . 360 . 434 . 401 8 . 44 . 117 . 183 . 200 . 252 . 289 . 476 . 52 . 253 -. 402 . 9 . 44 . 113 . 188 . 252 . 295 . 337 . 323 459 iii. 288, 482 Piet. Yol. Page Milani, Giulio Cesare . . . . ii. . . 364 Miles, J. P., Esq., i. 27 ; collection at Leigh Court, iii. 178. Milet , Frangois . » . iii. 170, 248, 350 Millingen, Mr i. 80, 91 Mills, Mr., pictures by Greuze . ii. . . 249 Mimant, M. . . . . . . i. . . 49 Miniatures — Mr. Rogers, ii. 81 ; Miss Coutts, 96 ; Lord Carlisle, 280 ; Lord Northwick, iii. 211. Miniature-painting, modern English i. . . 388 Miraculous draught of fishes, cartoon of, ii. 390. Mireveldt — Bridgewater Gallery . 1 Windsor Castle . . . 1 Longford Castle . . 1 Combe Abbey . pictures Hadzor 1 ii. ii. iii. iii. iii. iii. Mola, Pietro Francesco — National Gallery Bridgewater Gallery Stafford House . Lord Elcho . Duke of Norfolk Devonshire House Mr. Neeld . . Miss Rogers Duke of Bedford Dulwich Blenheim Bowood . Charlton Park . Stourhead House Hadzor . Ham Court. Hopetoun House Temple Newsam Molenaer, Cornelius Molenaer , Jan Mienze — Buckingham Palace Bridgewater Gallery Ham Court. Alton Towers- . Mommers , Henrik Momper , Judocus de — • Devonshire House . Grove Park Chatsworth . Keddleston Hall Moncalm, Count . Montagna, Bartolommeo — British Museum Mr. Fitzgerald . Thirlestaine House . design engraving 1 .. 1 .. l. ii. ii. ii. ii. ii. ii. ii. ii. ii. iii. iii. iii. iii. iii. iii. iii. iii. n. ii. iii. iii. iii. ii. ii. iii. iii. i. i. i. ii. iii. 52 433 142 219 221 314 333 465 265 97 369 267 338 39 65 83 86 93 245 268 285 347 122 158 169 172 222 226 310 332 252 10 52 224 387 222 95 458 349 393 24 265 266 336 201 MONTAGNA. INDEX. MURILLO. Piet. Vol. Page Montagna, Benedetto — British Museum . engravings . 264 Montague, Lord . . . . 12 Montague, Lord Abbott . 8 Montague House . . 415 Monument of Cardinal Beaufort . . 135 Monument of Bishop Gardiner iii. . 136 Monument to Earl of Hertford . iii. . 137 Monument to two Longswords . . 137 Moor, Karel de — Lord Ashburton 1 .. ii. . 105 Morales — Mr. Baring . 1 .. ii. . 182 Mr. Ford 1 .. ii. . 225 Hampton Court 1 .. ii. . 365 Grove Park. 1 .. ii. . 458 Thirlestaine House . 1 .. iii. . 206 Liverpool . 1 .. iii. . 237 Ince .... 2 .. iii. 251-3 More, Sir Anthony . . . i. .8, 12 Lord Yarborough . 2 .. ii. . 87 Mr. Holford . . 1 .. ii. . 199 Mr. Neeld . 2 .. ii. . 246 Society of Antiquaries 1 .. ii. . 327 Hampton Court 1 .. ii. . 362 Windsor Castle . 2 .. ii. . 432 Mr. Fuller Maitland 2 .. iii. 6 Petworth . 2 .. iii. . 41 Ditchley 2 .. iii. . 134 Charlton Park . 1 .. iii. . 171 Thirlestaine House . 1 .. iii. . 206 Castle Howard . 1 .. iii. . 323 Mr. Dav. Bromley . 1 .. iii. . 378 Narford Hall . . 2 .. iii. . 429 Orwell Park 1 .. iii. . 443 Althorp .... 3 .. iii. . 457 Woburn Abbey . 1 .. iii. . 465 Moreelse, Paul . , , iii. . 387 II Moretto, see Bonvicino Morgan, Mr. . Morghen, Raphael, engraver . . 300 Mornington, Earl of . . . 23 Morny, Count. . 24 Moroni, Gio. Batt . — Stafford House . 1 .. ii. . 60 Stoke .... 1 .. ii. . 419 Panshanger . 1 .. . 15 Warwick Castle 2 .. iii. 214, 16 Hamilton Palace 1 .. iii. . 302 Glentyan 1 .. iii. . 314 Morrison, James, Esq., i. 36; collection in London, ii. 260 ; collection at Basildon Park, iii. 134. Mosaics, ii. 31 ; Hercules and female figure, iii. 149; Florentine slab, 218; two antique, 244, 252 ; antique fragments, 258 ; lion tear- ing a panther, 419. Moucheron , Frederic — Sir Robert Peel . . . 1 .. i. .. 411 Hadzor . . . 2 .. iii. 221,2 Liverpool . . . 1 .. iii. .. 240 Moya, Pedro di — Mr. Ford . . 1 .. ii. .. 224 Alton Towers . . . 1 .. iii. .. 385 Piet. Vol. Page Mozzetto , Girolamo — British Museum . engravings i. . . 263 Thirlestaine House . . 1 . . iii. . . 201 Mummy of a child . . . . i. . . 43 Mudo, El, see Navarete. Miiller, engraver i. . . 300 Muller — Mr. Bicknell . pictures . . ii. . . 353 Thirlestaine House . . 1 .. iii. .. 211 Muller, Professor iii. . . 45 Mulready, William, R.A. — Vernon Gallery . . 3 .. i. . . 377 Mr. Baring . . . . 2 .. ii. .. 189 Mr. Sheepshanks . . 16 . . ii. 302-7 drawing . . ii. . . 307 Munari, Pellegrino , called Pellegrino da Modena Stafford House . . . 1 . . ii. . . 62 Munro, H. A. J., Esq., i. 27, 35 ; collection of, ii. 131. Murillo — National Gallery, recent pictures i. .. 316 . . 2 . . i. 347, 8 ■ f ^ Stafford House . 7 . . ii. ..67,8 Lord Ashburton 4 . . ii. .. 101 Mr. Munro . 3 . . ii. .. 136 Lansdowne House . 1 . . ii. .. 152 Marquis Hertford . 6 . . ii. .. 156 Grosvenor House . 1 . . ii. .. 172 Mr. Baring . 6 . ii. .. 181 Mr. Holford . . 3 . . ii. .. 199 Mr. Ford . 2 . . ii. .. 223 — — . . 2 drawings . . ii. .. 224 . unique etching . . ii. .. 224 Mr. Hoskins . 2 . . ii. .. 259 Miss Rogers 1 . . ii. ., 267 Sir A. Rothschild . 1 . . ii. .. 283 Duke of Bedford 1 . . ii. .. 283 Mr. Sanderson . 1 . . ii. .. 289 Mr. Wynn Ellis 3 . . ii. 294,5 Lord Listowel . 3 . . ii. .. 311 Sir Culling Eardley 1 . . ii. .. 341 Dulwich 6 . . ii. 345, 6 Grove Park . . dr; awing . . ii. .. 458 Wickham Park. 2 . . iii. .. 27 Petworth 1 . . iii. .. 43 Longford Castle 1 . . iii. .. 141 Bowood .... 1 . . iii. .. 160 Charlton Park . 2 . . iii. .. 170 Wardour Castle 1 . . iii. .. 171 Stourhead House 1 . . iii. .. 172 Leigh Court 4 . . iii. 179, 184 Thirlestaine House . 1 . . iii. .. 204 Warwick Castle. 1 . . iii. .. 214 Lowther Castle . 2 . . iii. 263-5 Edinburgh . 1 . . iii. .. 270 Glasgow . . , 1 . . iii. .. 283 Mr. M‘Lellan . 1 . . iii. .. 286 Hamilton Palace 1 . . iii. .. 301 Chatsworth . 2 . . iii. 346, 51 Alton Towers . 2 . . iii. .. 385 Belvoir Castle . 3 . . iii. 398,402 Burleigh House. , 1 . . iii. .. 406 Wolterton . 1 . . iii. .. 435 Orwell Park 3 . . iii. 440-2 XXXIX INDEX. MURILLO. NORTH WICK. Piet. Yol. Page Piet. Yol. Page Murillo — Neer, Artus van der — Glendon Hall . 1 . . iii. . 462 Mr. Gray . 1 . . ii. .. 336 Murray, Mr 45 Blenheim 1 . . iii. ..127 Music, German, comparison of musicians with Thirlestaine House . 2 . . iii. .. 209 painters 144 Ince .... 1 . . iii. .. 248 Musscher , Michael van — Mr. M‘Lellan . . 1 . . iii. .. 290 Mr. Baring .... 1 . . ii. . 184 Hamilton Palace 1 . . iii. .. 298 Muziano, Girolamo . . . iii. . 358 Alton Towers . 1 . . iii. .. 388 Mytens, Daniel — Orwell Park 1 . . iii. .. 441 Duke of Norfolk 1 . . ii. . 86 Marquis of Bute 2 . . iii. .. 481 Devonshire House . 1 . . ii. . 95 Neer, Eglon van der — Hampton Court . 5 .. ii. 355,6,8 Buckingham Palace 2 . . ii. 9 Hadzor 1 . . iii. . . 232 Bridgewater House . 1 . . ii. .. 44 Hamilton Palace 2 . . iii. . 297 Mr. Hope . 1 . . ii. . . 117 Hopetoun House 1 . . iii. . 311 Mr. Heusch 1 . . ii. .. 253 Mytens, Isaac — figures . ii. ;. 256 Buckingham Palace 1 . . ii. . 4 Mr. Bevan . Windsor Castle . . ii. .. 433 Fitz william Museum . ii. .. 448 N. Nelli, Plautilla . iii. .. 382 Neroni, Bartolommeo, called 11 Maestro Ricci — Naas, Peter — Lord Ward 1 . . ii. .. 233 Mr. Wynn Ellis 1 . . ii. 298 Netherlandish painter, old . ii. .. 365 Nanteuil, engraver . . i. ... 300 Netherlandish early school 9 . iii. .. 205 Nanto, Francesco di . . i. . 284 Netherlandish school . . 9 . iii.! 251-253 Narford, iii, 428 ; collection of pictures, 429; Netscher, Caspar — majolica, 431 ; MSS. with miniatures, 431. Sir Robert Peel 3 . . i. 401-2 Nash,. Mr 5 Buckingham Palace 1 . . ii. .. 8 Nieuwenhuys, Mr. # i. 23, 2 5,36 Lord Ashburton 1 . . ii. .. 104 Nash,. Joseph — Mr.Bicknell . ii. . . 352 Mr. Hope . 1 . . ii. .. 117 Nasmyth, A . — Baron L. Rothschild 1 . . ii. .. 130 Yernon Gallery 2 . . i. . . 387 Mr. Baring . 2 . . ii. .. 183 Thirlestaine House . 2 ...iii. ... 211 Mr. Neeld . . . 3 . . ii. .. 247 Nasmyth, Patrick — Apsley House . 1 . . ii. .. 277 Mr. Baring. 2 ... ii. ... 190 Stoke .... 1 . . ii. .. 421 Mr. Bicknell 1 . . ii. . . 353 Hadzor .... 1 . . iii. .. 224 Nason, Peter .... . iii. . . 224 Edinburgh . 1 . . iii. .. 271 National Gallery, i. 33 ; collection of, i. , 315 Mr. M‘Lellan . 1 . . iii. .. 288 Navarete, Juan Fernandez, called El Mudo, Newby Hall, antique sculpture . iii. .. 343 iii. 159. Newton, Mr., i..34 ; iii. 46. Naylor, Mr. John # . iii. . . 241 Newton, G. S . — Neefs, Peter — Yernon Gallery .. 2 . . i. .. 378 Miss Rogers . . 2 . . ii. . . 269 Stoke 1 . . ii. .. 423 Mr. Oppenheim 1 329 Bowood .. 2 . . iii. .. 165 Windsor Castle . 4 . . ii. . . 435 Chatsworth . . . 1 . . iii. .. 352 Mr.. Puller Maitland 1 . . iii. . . 6 Niellos, i. 29 ; collection of, 241 ; impressions Blenheim .... 1 . . iii. . . 122 on sulphur, 241, 243. Warwick Castle 1 . . iii. . . 216 Nimroud sculptures, i. 45 ; characteristics, 45 ; Torry collection 1 . . iii. . . . 274 slabs, 47 ; horse-heads, . 47 obelisk, 48 ; Marquis of Bute 1 . . iii. . . 482 colossal specimens, 48 ; colossal lion i, 49. Neer, Adrian van der ■ — Noel House .. 352 Belvoir Castle . . . 1 . . iii. . . 398 Nogari, Giuseppe — Neer,, Arnold van der — Mr. Ford . 1 . .. 224 Mr. Phipps 1 . . ii. . . 228 Ince .... 2 . . iii. .. 248 Neer, .Artus van dei — Norfolk, Duke of . . . . . i. .. 14 National Gallery 1 . . i. . . 357 Pictures belonging to •- . ii. .. 86 Buckingham Palace 1 . . ii. . . 21 Norgate, Edmund . . . i. . . 11 Mr. Munro . . ... 1 . . ii. . . 139 Northampton, St. Peter’s churdi . iii. .. 454 Marquis Hertford . 1 . . ii. . . 160 Northcote .... .. 38 Lord Colborne . 1 • . ii. 240 Northumberland, Duke of 12, 80 Mr. Neeld . . . . 1 248 Northumberland House . .. 393 Mr. Bevan .... 1 » . ii. . . 252 North wick, Lord . . i. .. 26 Miss Rogers 2 • . ii. . . 268 Collection at Thirlestaine House iii. .. 195 Mr. Bredel .... 1 . . ii. . . 291 North wick Park . • . iii. .. 212 xl INDEX. NORWICH. PALAMEDES. Piet. Yol. Page Piet. Yol. Page Norwich Cathedral, picture in vestry-room Os, Jan van — iii. .. 437 Lord W ard .... 1 .. ii. .. 238 Nostall Priory, pictures . . iii. .. 334 Thirlestaine House . 1 .. iii. .. 210 Nott, Dr Ostade, Adrian van # # i. .. 4 Nuneham Park .... . iii. .. 134 British Museum, drawin: gs . . i. .. 239 Nymph sleeping, antique . . iii. .. 145 Sir Robert Peel . 1 .. i. .. 404 Buckingham Palace 8 .. ii. 13, 14 Bridgewater House . 6 .. ii. 45-6 0. Lord Ashburton 6 .. ii. 106-7 Mr. Hope .... 3 .. ii. .. 119 Oakover Hall, pictures . iii. .. 389 Marquis Hertford . 1 .. ii. .. 159 Obelisks at Carnac, i. 47 ; from Nimroud, 47 Mr. Baring .... 2 .. ii. .. 185 Octodrachm, gold, -unique . i. . . 91 Mr. Holford . . . 2 .. ii. .. 200 Oggione, Marco — . 2 drawings ii. .. 204 Copy by, Royal Academy . . i. ... 392 Lord Colborne . 1 .. ii. .. 240 Oliver , Isaac — Mr. Heusch 3 .. ii. 253-4 Miss Coutts .... . ii. .. 93 Mr. Morrison . 1 .. ii. .. 262 Mr. Bale Apsley House . 1 .. ii. .. 274 Hamilton Palace . iii. .. 300 Sir A. Rothschild . 1 .. ii. .. 282 Burleigh House .... . iii. .. 408 Mr. Bredel .... 1 .. ii. .. 290 Oliver , Peter — Mr. Wynn Ellis 2 .. ii. 295-6 Montague House . i. .. 416 ; Mr. Bale .... 1 .. ii. .. 330 Miss Coutts .... . ii. .. 96 Mr. Hawkins 1 .. ii. .. 336 Hampton Court, drawing . . ii. .. 368 Dulwich . 1 .. ii. .. 343 Olmutz, Wenzel van . . i. .. 296 Clewer Park 1 .. ii. .. 451 Ommeganck — Basildon Park . 1 .. iii. .. 134 Stafford House ... 1 . ii. .. 71 Thirlestaine House . 1 .. iii. .. 207 Mr. Hope .... 1 . ii. .. 124 Lowther Castle 3 .. iii. 263-4 Mr. Baring ... 1 . ii. .. 191 Hamilton Palace 1 .. iii. .. 303 Mr. Womb well . . . 1 . . ii. .. 309 Wentworth House . 1 .. iii. .. 339 Lord Listowel . . . 6 . , . ii. .. 312 Belvoir Castle . 1 .. iii. .. 396 Alton Towers . . . 1 . iii. .. 388 Orwell Park 1 .. iii. .. 440 Onatas Marquis of Bute 3 .. iii. .. 478 Opie, R.A. — Ostade, Isaac van — Petworth . . . . 1 . , . iii. .. 39 Sir Robert Peel 2 .. i. .. 404 Wolterton .... 1 . . iii. .. 436 Buckingham Palace 2 .. ii. .. 14 Oppenheim, Mr., pictures. . ii. .. 329 Bridgewater House . . 2 .. ii. .. 46 Orcagna, Andrea, school of — Lord Ashburton 1 .. ii. .. 107 Mr. Dav. Bromley . . . . , . iii. .. 372 Mr. Baring .... 1 .. ii. .. 185 Orcagna, Bernardo — Mr. Holford 1 .. ii. .. 201 Mr. Dav. Bromley . . 1 . iii. .. 372 Mr. Neeld .... 1 .. ii. .. 247 Orizzonte — Mr. Morrison . 1 .. ii. .. 262 Devonshire House . . 1 . , . ii. .. 95 Duke of Bedford 1 .. ii. .. 284 Ince . . . ... 1 . , . iii. .. 248 Mr. Sanderson . 1 .. ii. .. 289 Garscube . . ... . 2 . , . iii. .. 293 Mr. Wynn Ellis 2 .. ii. .. 296 Nostall Priory ... 1 . , . iii.- ... 336 Mr. Field .... 1 .. ii. .. 335 Orleans Gallery, i. 18, 21 ; catalogue of, ii. Wickham Park . 1 .. iii. .. 27 485. Claverton .... 1 .. iii. .. 176 Orley, Bernard van — Ostendorfer, Michael . iii. .. 252 Devonshire House . . 1 . . ii. .. 94 Ottley, Young, Esq,, i. - 21, , 27, 29, 245, 249, Miss Rogers. . . . 1 . . ii. .. 270 et passim. Hampton Court . ii. .. 367 Otto collection, i. 30, 253, 272-5. Windsor Castle . . . 1 . , . ii. .. 432 Overstone, Lord, i. 36 ; pictures at Wickham Thirlestaine House . . 1 . , . iii. .. 206 Park, iii. 27. Liverpool .... 1 . , . iii. .. 236 Oxford, i. 1 5 ; iii. 46. Lowther Castle . . 1 . . iii. .. 262 Oxford, Bishop of iii. .. 194 Keddleston Hall . . 1 . . iii. .. 392 Althorp .... 1 . , . iii.- .. 456 Ornaments, gold and silver, British Museum, P. i. 80, 84, 85 ; ancient, Mr. Bale, ii. 332. Orrente — Hoskins . . 1 . . ii. .. 259 Pagani, Vincenzo iii. .. 379 Orwell Park, collection of pictures, iii. 439 Paiafa, Satrap, monument to . i. .. 70 Os, Jan van — Painters, historical, of Raphael’s time iii. 8 Bridgewater House . ii. .. 52 Pakington, Sir John . iii. . . 227 Mr. Hope .... 1 . . ii. .. 124 Palamedes .... ^1 iii. .. 347 xli PARLIAMENT. INDEX. PETITOT. Piet. Yol. Page Piet. Yol. Page Parliament, New Houses of * • i. . 425 Patenier , Joachim — Pallas, Temple of i. . 62 Ince 1 . . iii. . . 254 Palma , Giovane . i. . 10 Glasgow . . . . 2 . . iii. 287, 289 Hampton Court i .. ii. . 368 Glentyan . . . . 1 . . iii. . . 314 Garscube 1 .. ill. . 293 Pater 286 Hamilton Palace 1 .. Pavement, mosaic .... iii. . . 31 Palma Vecchio i. 10 12,16 Paul’s, St., Cathedral .... ii. . . 323 Bridgewater Gallery i .. ii. . 33 Paul and Barnabas at Lystra, Mr. Munro . 2 .. ii. . 134 cartoon 382 Mr. Hoi ford . . 1 .. ii. . 197 Paul, St., preaching at Athens, Hampton Court 4 ii. 358, 59, 69 cartoon 387 Thirlestaine House . 2 .. ii. . 202 Paul and Silas in prison, cartoon. ii. . . 394 Edinburgh . . school of 1 . . ii. . 269 Panne, M 25 Garscube 1 .. ii. . 293 Paxton, Sir Joseph .... iii. . . 370 Hopetoun House 1 .. ii. . 309 Peacock, Professor .... iii. . . 444 Wentworth House . 1 .. ii. . 339 Pedestal, monolithic fragment of, Alton Towers . 1 .. ii. . 383 from Xanthus i. . . 69 Fitzwilliam Museum 1 .. ii. . 447 Pedrini, Giovanni di — Palmezzano, Marco — Lord Malmesbury . . 1 . . i. . . 417 Mr. Davenport Bromley iii. . 373 Lord de Mauley . . 1 . '. ii. . . 84 Palomino — Mr. Hoskins i .. . 259 Buckingham Palace . 1 . . ii. . . 4 Panathenaic frieze i. . 55 Devonshire House . . 1 . . ii. . . 95 Pandarus, daughter of . 64 Mr. Seymour . . . 1 . . ii. . . 242 Panshanger ill. 7 Chatsworth . . . 1 . . iii. . . 348 Panther at rest, granite iii. . 255 Orwell Park . . . 1 . . iii. . . 441 Panning Paolo — Pellegrini, Antonio .... iii. . . 318 National Gallery . l .. i. . 325 Pembroke, Earl of, i. 8, 15, 17, 91. Bridgewater Gallery l .. ii. . 30 Penni , Francesco — Stafford House . l .. ii. . 63 Mr. Neeld . . . . 1 . . ii. . . 244 Mr. Neeld . . . l .. ii. . 245 Wilton House . . . 1 . . iii. . . 151 Mr. Hawkins . l .. ii. . 336 Penrice, Mr 26 Dalkeith Palace i .. iii. . 313 Pens, George i. 8,10,299 Castle Howard . 2 .. iii. . 332 Windsor Castle. . . 1 .. ii. . . 430 Orwell Park 1 .. iii. . 443 Perdiswell, pictures .... iii. . . 227 Pape , A. de . Perigaux, Count i. . . 24 Parmigianino . i. 10, 16, 285 Paignon, Dyonval i. . . 27 National Gallery . 1 .. i. . 330 Perkins, Fred., Esq ii. . . 336 Bridgewater Gallery 3 .. ii. . 30 Perrier, Casimir i. . . 24 Stafford House . 2 .. ii. . 62 Persian sculpture i. . . 79 Devonshire House . 1 .. ii. . 91 Perugino, Pietro i. 225, 316 Mr. Munro 1 .. ii. . 133 National Gallery . . 1 . . i. . . 323 Grosvenor House . 1 .. ii. . 170 Mr. Barker . . . . 3 . . ii. . . 127 Mr. Baring. 1 .. ii. . 178 Lord Ward . 2 drawings . . ii. . . 238 Mr. Ford . 1 .. ii. . 224 Mr. Bale . . drawing . . ii. . . 331 . . drawing . . ii. . 224 Dulwich . . school of . . ii. . . 346 Mr. Morrison . 1 .. ii. . 262 Stoke 1 . . ii. . . 418 Miss Rogers 1 .. ii. . 268 Perugino, school of ... iii. . . 375 Hampton Court 1 .. ii. . 368 Peruzzi, Baldassare — Windsor Castle. 3 .. ii. 432-4 National Gallery, drawing . . i. . . 326 . drawings . . ii. . 447 Bridgewater Gallery . 1 . . ii. . . 30 Oxford . . . drawing . . iii. . 48 Chatsworth . . drawing . . iii. . . 354 Wilton House . . 1 .. iii. . 151 Pesello, Peselli — Claverton . 1 .. iii. . 176 Lord Ward . . . . 1 . . ii. . . 231 Leigh Court . 2 .. iii. 184-5 Wooton Hall . . . 1 . . iii. . . 375 Blaise Castle m 2 .. iii. . 189 Pesello, Francesco di, called Pesellino. , iii. Hamilton Palace m 1 .. iii. . 304 233. Chatsworth 1 .. iii. . 350 Pesne, Antoine ii. . . 368 — - . drawings . . iii. . 357 Pesne, Jean, engraver i. . . 300 Parthenon, peculiar excellence of Peter and John at the Beautiful the sculptures of . i. 50, 52 Gate, cartoon ii. . . 392 Patenier, Joachim — Peters , Bonaventura .... iii. . . 222 Mr. Barker 1 .. ii. . . 128 Petitot — Mr. Green . # 1 .. ii. . . 461 Montague House .... i. . . 416 Mr. Fuller Maitland 1 .. iii. . 6 Miss Coutts ii. . . 92 , Ince . . . school of . . iii. . . 253 Burleigh House .... iii. . . 408 xlii INDEX. PETRUS. POUSSIN. Piet. Vol. Page Piet. Vol. Page Petrus , supposed author of Edward Pollajuolo , Antonio — the Confessor’s monument in British Museum, drawing . . .. 224 Westminster Abbey i. . 418 desig ns . . .. 250 11 .. 255 Petworth Miss Rogers 1 .. i. .. 269 1 Phidias 51,65 Mr. Bale .... 1 .. .. 330 Phigalia . 59 Windsor Castle, drawing . . .. 447 ; Philip II., medallion of . iii. . 367 Polydor, see Glauber. Phillips, Thos., R.A. — Polygnotus .... .. 67 Vernon Gallery 1 . i. . 381 Pomfret, Countess of, i. 15 ; iii. 53. Stafford House . 1 . ii. . 72 Pontius, Paulus, engraver i. .. 299 Mr. Green .... 2 . ii. . 461 Pontormo — Phillips, Mrs. iii. . 438 Mr. Baring .... 1 .. ii. .. 176 Phipps, Hon. E., collection . ii. . 226 Lord Ward .... 1 .. ii. .. 232 Pickersgill, H. IV., R.A. — Oxford . . . drawing . . iii. .. 48 Vernon Gallery 2 . i. . 381 / Hamilton Palace 1 .. iii. .. 302 Picture, Assyrian. i. . 84 Poole — Mr. Munro 1 .. ii. .. 142 Pietro , Sano di — Pordenone 10,12 Rev. Mr. Russell . 1 . ii. . 463 Stafford House . 1 .. ii. .. 60 Stanstead House 1 . iii. . 4 Lord Brownlow 3 .. ii. .. 314 Oxford 1 . iii. . 53 Hampton Court 4 .. ii. 355,6,9 ■ Ketteringham Hall . 1 . iii. . 428 Edinburgh .... 1 .. iii. .. 269 Pinara . 71 Hamilton Palace (ascribed to) iii. .. 304 Piombo , Sebastian del i. . 10 Mr. Davenport Bromley 1 .. iii. .. 378 National Gallery . 3 . i. 320-33 Alton Towers . 1 .. iii. .. 383 Lord Malmesbury . 1 . i. . 417 Burleigh House 2 .. iii. .. 404 Bridgewater Gallery . 1 . ii. . 32 Porter, Mr Lansdowne House . 1 . ii. . 150 Portraits, French — Stafford House ii. . . 73 Mr. Baring. 1 . ii. . 175 Portraits, Hampton Court — Mr. Holford 1 . ii. . 197 Of Dutch Gentleman . ii. .. 357 Marquis Breadalbane . 1 . ii. . 239 Lady .. 358 Duke of Bedford . 1 . ii. . 283 Queen Elizabeth ii. .. 361 Mr. Labouchere 1 . ii. . 287 Henry VIII. . . . .. 362 Blenheim .... 1 . iii. . 125 A man .. 367 Longford Castle 2 . iii. . 140 Portrait of a Count of Nassau iii. .. 177 Bowood .... 1 . iii. . 162 Portrait, male iii. .. 198 Claverton .... 1 . iii. . 176 Portland, Duke of i. .. 82 Blaise Castle . 3 . iii. . 187 Portland, Duchess of . i. .. 82 Edinburgh, ascribed to 1 . iii. . 269 Portland Vase . i. .. 81 Hamilton Palace 2 . iii. 303-5 Post .. 460 Mr. Dav. Bromley . 1 . iii. . 376 Post-office] .... Pinturicchio — Pourbus, Franz, the elder — British Museum, drawing . i. . 225 Castle Howard . 1 .. iii. .. 325 design . i. . 248 Marquis of Bute 2 .. iii. .. 475 Lord Ward .... 2 . ii. . 232 Pourbus, Franz — Pistrucci . 333 Stafford House . 1 .. ii. . . 73 Playfair . 276 Hampton Court 1 .. ii. .. 367 Pliny’s Natural History, printed Althorp 1 .. ii. .. 457 Cambridge .... . iii. . 452 Poussin, Gaspar — Poelemburg, Cornelius — National Gallery 6 .. i. 342-4 National Gallery . 1 . i. . 358 Buckingham Palace 1 .. ii. .. 23 Buckingham Palace 1 . ii. . 4 Bridgewater House 4 .. ii. . . 38 Devonshire House . 1 . ii. . 95 Stafford House . 1 .. ii. .. 63 Mr. Seymour . 1 . ii. . 242 Lord Yarborough . 1 .. ii. .. 86 Duke of Bedford 1 . ii. . 283 Mr. Munro .... 1 .. ii. .. 133 Hopetoun House 1 0 iii. . 310 Marquis Hertford . 1 .. ii. .. 155 Dalkeith Palace 1 . iii. . 313 Grosvenor Gallery . 2 .. ii. .. 171 Temple Newsam 1 . iii. . 332 Mr. Baring. 1 .. ii. .. 177 Chats worth 1 . iii. . 347 Mr. Holford 4 .. ii. .. 195 Belvoir Castle . 2 . iii. 398-400 Lord Ward .... 1 .. ii. .. 232 Burleigh House 1 . iii. . 406 Mr. Mackinnon . 1 .. ii. .. 260 Wolterton .... 1 . iii. . 434 Mr. Morrison . 1 .. ii. .. 262 Fitzwilliam 4 . iii. . 449 Miss Rogers. 3 .. : ii. 267,9,70 Marquis of Bute 1 . iii. . 476 Lord Carlisle . 3 .. ii. .. 280 Polidoro Mr. Wynn Ellis . . 3 .. ii. .. 294 xliii INDEX. POUSSIN. RAPHAEL. Piet. Vol. Page Piet. Yol. Page Poussin , Gaspar — P. P . — British Museum, engravings i. .. 260 Dulwich 1 . ii. .. 347 Prague, Theodorich of . . . iii. .. 314 Windsor Castle. 1 . ii. .. 434 Praxiteles .... . . . i. .. 58 drawi ngs . ii. .. 448 Preti, Mattia, called II Calabrese ■ — Petworth 1 . ii. .. 36 Devonshire House . . 1 . . ii. .. 92 Basildon Park . 1 . ii. .. 134 Burleigh House . 1 . . iii. .. 405 Longford Castle 2 . iii. .. 141 Primaticcio — Castle Howard 1 . . iii. .. 322 Charlton Park . 3 . iii. .. 170 Priscus Attalus, coin of . . . i. .. 93 Stourhead House . 1 . iii. .. 172 Procaccini — Leigh Court 3 . iii. 179, 85 Mr. Neeld . . 1 . . ii. .. 245 Blaise Castle 3 . iii. 190,3 Liverpool . . 1 . . iii. .. 239 Thirlestaine House . 4 . iii. .. 198 Edinburgh . . 1 . . iii. .. 273 Hampton Court 2 . iii. .. 225 Mr. M‘Lellan . . 1 . . iii. .. 288 Lowther Castle 2 . iii. . . 260 Procaccini, Camillo— Edinburgh . 1 . iii. .. 279 Blaise Castle . 1 . . iii. .. 192 Torry collection 1 . iii. .. 275 Proctor, Mr. . Mr. M‘Lellan . 1 . iii. .. 280 Pynaker — Hamilton Palace 2 . iii. . . 301 Mr. Munro . . 1 . . ii. .. 139 Temple Newsam 1 . iii. .. 334 Mr. Baring . . 1 . . ii. .. 187 Chatsworth . 1 . iii. .. 348 Mr. Neeld . . 1 . . ii. .. 248 Mr. David Bromley 2 . iii. . . 380 Duke of Bedford . 1 . . ii. .. 286 Belvoir Castle . 3 . iii. 398, 400 Mr. Bevan . . 1 . . ii. .. 396 Burleigh House . 2 . iii. . . 406 Bowood . 1 . . iii. .. 165 Narford. 1 . iii. .. 430 Hadzor .... . 1 . . iii. .. 223 Fitz william Museum 1 . iii. .. 447 Torry collection . 1 . . iii. .. 273 Althorp .... 1 . iii. .. 456 Garscube . 1 . . iii. .. 292 Glendon Hall . 1 . iii. .. 462 Belvoir Castle . . 1 . . iii. .. 396 Marquis of Bute 2 . iii. .. 484 Poussin, Nicolas — Bridgewater Gallery 8 . ii. .. 39 Q. Stafford House . 1 . ii. . . 66 Mr. Rogers . 3 . ii. . . 78 Quellinus, Erasmus — Earl de Grey . 1 . ii. . . 85 Hadzor .... . 1 .. iii. .. 221 Devonshire House . 5 . ii. . . 93 Mr. Munro . 2 . ii. . . 136 Marquis Hertford . 1 . ii. .. 156 R. Grosvenor Gallery . 2 . ii. .. 172 Lord Ward . . \ 1 . ii. .. 236 Radcliffe Library . .. 50 Mr. Neeld . 1 . ii. .. 245 Radnor, Earl of . • • • i. .. 16 Sir Charles Eastlake 1 . ii. .. 266 Radstock, Lord • • • i* .. 26 Duke of Bedford 2 . ii. . . 284 Rae, Sir Thomas . • • • i* . . 12 Lord Listowel 1 . ii. .. 313 Raley Dulwich . . 5 . ii. 347, 8 Ram’s head, colossal . .. 42 Hampton Court 1 . ii. .. 365 Raphael — Windsor Castle drawi ngs . ii. .. 450 Mention of pictures . . i. 7-10 , 13-15 Panshanger . 1 . iii. .. 16 Mention of drawings . . . i. 16, 17 Cobham Hall . 3 . iii. .. 25 British Museum, drawings . i. 224,5 Basildon Park . 1 . iii. . . 134 Engravings from designs by, i. 246, 273, Longford Castle 2 . iii. .. 141 278-282. Stourhead House . 1 . iii. .. 172 Engravings from motive in Spasimo, i. Leigh Court 1 . iii 180 297. Blaise Castle, figures to G.Poussiniii. .. 191 National Gallery, pictures recent, i. 316, 17 1 . iii. .. 192 . 2 . . i. .. 323 Thirlestaine House . 5 . iii. 204, 5 copy . . i. .. 324 Liverpool 1 . iii. . . 240 — drawing . . i. .. 323 Garscube 1 . iii. . . 294 — — — cartoon fragment, i. 324 Temple Newsam 1 . iii. . . 332 Northumberland House, copies Chafs worth 1 . iii* .. 347 of frescoes by Mengs i . . i. .. 394 Keddleston Hall 1 . iii. . . 393 Bridgewater House . 2 .. ii. 26,28 Belvoir Castle . 7* . iii.. . . 400 — 2 repetitions . . ii. . 28,9 Narford 1 . iii; .. 430 Mr. Rogers . . 2 .. ii. .. 76 Glendon Hall . . 1 . iii. .. 462 • . drawing . . ii. . . 80 Marquis of Bute 2 . iii. . . 484 Devonshire House, picture, school of ii. 91 Pourtales Court . i. . . 79 Mr. Munro . . 1 . ii. . . 132 Powers, Hiram — -Lord Ward ii. .. 238 Grosvenor Gallery, 1 repetition ii. . . 169 xliv INDEX. RAPHAEL. REMBRANDT. Piet. Vol. Page Piet. Vol. Page Raphael — Relief— - Mr. Baring . . copy . fi. .. 176 Ugolino and sons . . . .. 50 Lord Ward .... 2 ii. 232,3 Jupiter enthroned, curious .. 145 Mr. Seymour . 2 copies ii. 242, 3 Venus and Mars in a net iii. .. 145 Lady Garvagh . . . 1 . ii. .. 250 Satyr, aged . Apsley House . 5 copies . ii. .. 274 Venus between Tritons & Nereids iii. .. 146 Mr. Wynn Ellis. . copy ii. .. 293 Diana, with stag iii. .. 148 Mr. Bale . . 1 drawing . ii. .. 330 Niobe, family of .. 148 Mr. Hall . 2 drawings . ii. .. 333 female head in profile . iii. .. 244 Hampton Court, the cartoons ii. .. 369 youths and maidens playing at ball : iii. 245 Windsor Castle, drawings . ii. 444-7 Victory. .. 328 Mr. Fuller Maitland . 1 ili. 4 Hercules, birth of . iii. .. 244 Panshanger .... 2 iii. ..8,9 Prometheus with Vulcan & Nereids iii. 255 Petworth .... 1 iii. .. 42 two pediment-shaped iii. .. 256 Christ Church College, fragment sepulchral chamber . . iii. .. 256 of cartoon .... iii. .. 47 / preparations for sacrifice iii. .. 256 . drawing iii. .. 47 sarcophagus with seven ’ Muses iii. .. 469 — drawings, school of iii. . . 47 sarcophagus with Triumph of Bacchus iii. 469 Oxford, collection of drawings iii. 54-60 small, representing the Evil Eye iii. .. 471 Professor Johnson, drawing iii. .. 120 Rembrandt — Blenheim .... 1 iii. .. 127 British Museum drawings i. .. 238 Bowood .... 1 iii. .. 161 — etchings i. .. 299 .. 162 _ vnnnn f rvi/vfnvnp .. 317 Leigh Court ... 2 iii. .. 183 National Gallery . 9 .. i. 352-5 Blaise Court ... 1 iii. .. 191 Sir Robert Peel 2 .. i. 399,400 . repetition iii. .. 193 Buckingham Palace 7 .. ii. .. 4-6 Warwick Castle . copy iii. .. 213 Bridgewater House . 4 .. ii. . . 42 Ince 1 iii. .. 253 Mr. Rogers . 3 .. ii. 79,80 Glentyan . . drawing iii. .. 314 Lord Ashburton 5 .. ii. .. 103 Rock, picture attributed to iii. .. 316 Mr. Hope . 3 .. ii. .. 115 Wentworth House, composition iii. .. 339 Mr. Munro . 2 .. ii. .. 137 Chatsworth . drawings . iii. .. 354 Lansdowne House . 3 .. ii. .. 151 Mr. D. Bromley, school of 1 iii. .. 378 Marquis Hertford . 7 .. ii. .. 158 Alton Towers . . copy . iii. .. 382 Grosvenor Gallery . 6 .. ii. 165, 6 Oakoyer Hall . . copy . iii. .. 389 Mr. Baring . 1 .. ii. .. 182 Barron Hill . . . 1 . iii. .. 390 Mr. Holford . . 3 .. ii. .. 200 Burleigh House . copy . iii. .. 404 . 2 drawings . . ii. .. 204 Orwell Park . repetition . iii. .. 443 Lord Colborne . 1 .. ii. .. 240 Althorp, fragment of cartoon iii. .. 455 Mr. Neeld . 2 .. ii. .. 246 — . . . copy , iii. .. 455 Sir Charles Eastlake 1 .. ii. .. 264 Raphael’s cartoons, copies of . iii. . . 53 Lord Carlisle, London 2 .. ii. .. 280 Raphael, portrait of . Rathbone, Mr. Theodore . iii. . , 47 Sir A. Rothschild . 2 .. ii. .. 281 iii. .. 231 Duke of Bedford 1 .. ii. .. 285 Rauch — Mr. Wynn Ellis 1 .. ii. .. 295 Lansdowne House . ii. .. 150 Mr. Womb well. 3 .. ii. .. 308 Apsley House .... ii. .. 272 Lord Brownlow 1 •; ii. .. 315 Chatsworth .. 352 Mr. Bale . . drawl ngs .'. ii. .. 331 Raven, bronze .. 94 Lady Dover . 1 .. ii. .. 335 Ravenna , Marco di , engraving by i. .. 281 Mr. Gray . 1 .. ii. .. 336 Rawdon, Colonel, pictures .. 250 Mr. Higginson . 1 .. ii. .. 336 Rawlinson, Colonel ..91,2 Hampton Court 1 .. ii. .. 365 Raynham Hall .... .. 439 Windsor Castle . 1 .. ii. .. 430 Razzi , Gio. Ant. — Panshanger . 2 .. iii. .. 16 Bridgewater Gallery . 1 , ii. .. 26 Wickham Park . 1 .. iii. .. 27 Lord Elcho . . . . 1 , ii. .. 82- Lord Ashburnham . 1 .. iii. . . 27 Mr. Hall . . . cartoon , ii. .. 334 Petworth . 3 .. iii. 33,41,2 Hamilton .... 1 . iii. .. 300 Blenheim . 1 .. iii. .. 126 Glentyan .... 1 , iii. .. 314 Basildon 1 .. iii. .. 134 Redgrave, Richard, R.A. — Bowood. 3 iii. 157,64, 5 Vernon Gallery. . . 1 i. .. 378 Stourhead House . 2 .. iii. .. 172 Mr. Sheepshanks . . 3 , ii. 301,5,6 Lord Northwick 3 .. iii. .. 207 Regemorter iii. .. 223 Lowther Castle . 1 .. iii. .. 265 Reisst, M .. 263 Torry .... 2 .. iii. 272-4 old tower from Lycia . i. . . 71 Glasgow 1 .. iii. .. 283 woman and two children . ii. .. 73 Hamilton Palace 2 .. iii. 308-9 xlv INDEX. REMBRANDT. RICHARDSON. Piet. Vol. Page Piet. Yol. Page Rembrandt — Reynolds — Hopetoun House . 1 . . 311 Lansdowne House . . 5 , . . ii. 152, 3 Dalkeith Palace , . 1 • iii. . . 313 Marquis Hertford . . 2 , . . ii. 160, 1 Temple Newsam . 2 • iii. 332,3 Grosvenor Gallery . . 1 . . ii. .. 172 Chatsworth . drawings • iii. . . 360 Mr. Baring . . 1 . . ii. .. 188 Belvoir Castle . . 1 . iii. . . 398 Mr. Ford . 3 . . ii. .. 225 Burleigh . 1 • iii. .. 406 Hon. E. Phipps . 1 . . ii. .. 229 Mr. Colby . . . . 2 . . 432 Mr. Seymour . . 1 . . ii. .. 242 Fitzwilliam Museum . 1 . . 448 Col. Rawdon . 1 . . ii. .. 250 Althorp . 2 . . 459 Mr. Morrison . . 1 . . ii. .. 263 Glendon Hall . 2 . . 462 Miss Rogers . 2 . . ii. .. 268 Woburn Abbey . . 2 . . 465 Mr. Wynn Ellis . 1 . . ii. .. 298 Reme'e, copy of Holbein . 2 . ii. . . 413 Mr. Wombwell . . 1 . . ii. .. 311 Reni, Guido — Earl Amherst . . 1 . . ii. .. 334 National Gallery . . 6 . i. 337, 8 Sir H. Bunbury . 1 . . ii. .. 335 Northumberland House, copy of fresco, i. 394 Holland House . . 1 . . ii. .. 340 Bridgewater House . . 2 . . ii. .. 36 Dulwich Gallery . 5 . . ii. .. 348 Stafford House . . 3 . . ii. .. 64 Windsor Castle . . 1 . . ii. .. 423 Mr. Rogers . . 1 . . ii. . . 78 Cobham . 4 . . iii. .. 26 Lord Yarborough . . 1 . . ii. . . 87 Petworth 10 iii. 33, 7, 9, 40, 1 Devonshire House . . 1 . . ii. .. 91 Blenheim . 4 . . iii. .. 130 Lord Ashburton . 1 . . ii. .. 101 Bowood .... . 6 iii. 158, 60, 1, 6 Mr. Hope . . 1 . . ii. .. 113 Wardour Castle . . 4 . . iii. .. 171 Mr. Munro . . 3 . . ii. .. 135 Claverton . . 1 . . iii. .. 177 Grosvenor Gallery . . 2 . . ii. .. 170 Lord Northwick . 2 . . iii. .. 210 Mr. Baring . . 1 . . ii. .. 179 Warwick Castle . 1 . . iii. .. 216 Mr. Holford . . . 2 . . ii. .. 198 Mr. Galton. . 3 . iii. 220, 1, 3 Mr. Phipps . . 1 . . ii. .. 227 Glasgow . 1 . . iii. .. 283 Lord Ward . . 1 . . ii. .. 236 Mr. M‘Lellan . . 1 . . iii. .. 289 Mr. Neeld . . 1 . . ii. .. 244 Dalkeith Palace . . 3 . . iii. .. 313 Duke of Bedford . 1 . . ii. .. 283 Castle Howard . . 2 . . iii. .. 323 Dulwich . 1 . . ii. .. 346 Temple Newsam . 4 . . iii. 333,4 Hampton Court . 1 . . ii. .. 358 Wentworth House . . 5 . . iii. 338-40 Windsor Castle. . 1 . . ii. .. 434 Chatsworth . . 1 . . iii. . . 352 . drawings . . ii. .. 448 Belvoir Castle . several . . iii. 397-9 Panshanger . . 1 . . iii. . . 15 Apethorpe several . . iii. .. 411 Cobham . 4 . . iii. . . 21 Althorp . several . . iii. .. 459 Longford Castle . 1 , . iii. .. 140 Woburn Abbey . several . . iii. .. 464 Charlton Park . . 1 . . iii. .. 170 Marquis of Bute several . . iii. .. 485 Stourhead House . . 1 . . iii. .. 172 Reynst, Mr. 13, 15 Leigh Court . 1 . . iii. .. 184 Ribalta, Francisco di- Blaise Castle . 4 . . iii. 190, 3 Mr. Ford . . . .. 223 Lord North wick . 2 . . iii. .. 200 Mr. Hoskins . ii. .. 259 Lowther Castle. . 1 . . iii. .. 264 Ribalta , Juan di — Torry .... . 1 . . iii. .. 275 Mr. Hoskins . ii. .. 259 Glentyan . 1 . . iii. .. 314 Ribera , Guiseppe , called Lo Spagnoletto — Temple Newsam . 2 . . iii. 332, 3 British Museum etchings . . i. .. 285 Wentworth House . . 1 . . iii. .. 340 Bridgewater House. . 1 . . ii. .. 37 Chatsworth . . drawing . iii. .. 358 Stafford House . . 1 . . ii. .. 66 Alton Towers . . 3 . . iii. .. 384 Lord Yarborough . . 1 . . ii. .. 87 Keddleston Hall . 1 . . iii. .. 393 Grosvenor Gallery . . 1 . . ii. .. 170 Burleigh House . 1 . . iii. .. 405 Lord Ward . . 1 . . ii. .. 236 Narford Hall . . . 1 . . iii. .. 430 Lord Colborne . . 1 . . ii. .. 241 Reschi, Pandolfo . . iii. .. 270 Alton Towers . . 2 . . iii. .. 385 Reynolds — Ricci , II Maestro , see Bartolommeo. National Gallery, collection of drawings, i, 17 Ricci, Marco — . 7 . . i. 364,6 Devonshire House . 1 . . ii. .. 93 Vernon Gallery . 2 . . i. .. 366 Ince .... . 1 . . iii. .. 248 Sir Robert Peel . 5 . . i. 413-14 Alton Towers . . 1 . . iii. .. 384 Buckingham Palace . . 3 . . ii. .. 24 Ricci, Sebastiano — Bridgewater House . . 1 . . ii. .. 53 Devonshire House .. 93 Stafford House . . 1 . . ii. .. 72 Hampton Court 1 5 . . ii. .. 357 Mr. Rogers . . 6 . . ii. .. 75 Rich, Mr. . Devonshire House . . 2 . . ii. . . 96 Richardson, Messrs. . . 17 Mr. Munro . . 4 . . ii. .. 140 Richardson .. 229 xlvi INDEX. RICHMOND. RUBENS. Piet. Yol. Page Piet. Vol. Page Richmond, Duke of . i. . . 26 Rosa, Salvator — Richomme, engraver . i. .. 300 Mr. Labouchere 1 .. ii. .. 420 Ridinger, drawings i. .. 236 Panshanger . 4 .. iii. . . 15 Rigaud, Hyacinth . iii, .. 434 Cobham 4 .. iii. .. 22 Ring, Peter de iii. .. 388 Longford Castle 1 .. iii. .. 141 Rhamses II., colossal head of, i. 42 : conquest Wilton .... 1 .. iii. .. 151 over the Tahenni, 43. Bowood .... 2 .. iii. .. 157 Rhenish, Lower, school • • • iii. . . 205 Leigh Court 1 .. iii. .. 180 Rhodes, knight of . • • • i. . . 60 Blaise Castle 6 .. iii. 191-3 Robarts, Mr. . i. . . 36 Lord North wick 4 .. iii. 203, 4 Robarts, H., Esq., collector . ii. .. 337 Warwick Castle 3 iii. 212, 13,15 Robbia, Luca della — Ham Court . 1 .. iii. .. 225 Mr. Morrison . ii. .. 263 Ince 1 .. .. 247 Narford Hall 0 • * iii. .. 431 Lowther Castle. 2 .. iii. 261, 5 Roberts , David, R.A. — Torry .... 1 .. iii. .. 274 Vernon Gallery. . 2 .. i. .. 387 Glasgow 1 .. iii. .. 283 Mr. Sheepshanks . . 2 .. ii. 300, 1 Hamilton Palace 1 .. iii. .. 298 Mr. Bicknell . 5 ii 349, 53, 4 Dalkeith Palace 1 .. iii. .. 313 — . drawings . . ii. .. 352 Castle Howard . 1 .. iii. .. 325 Robetta, engravings by • i. 257-60 Wentworth House . 2 .. iii. 338, 9 Robit, Citizen . Chatsworth . 3 .. iii. 350, 1 Roelas — Mr. Hoskins . • • • ii. .. 259 Raynham 1 .. iii. .. 439 Rogers, Miss, collection • • • ii. .. 266 Orwell Park 1 .. iii. .. 442 Rogers, Samuel, Esq., collection of pictures. Marquis of Bute 1 .. iii. .. 484 ii. 74; miniatures, 81 ; bust, candelabrum, Roscoe, Wm., Esq. iii. .. 230 gold ornaments, Greek vases, 81. Rosetta, stone of . i. .. 42 Romanelli, Francesco — Ross, Sir William , R.A. • • ii. .. 97 Devonshire House . . 1 . . ii. . . 93 Rosselli, Cosimo — Leigh Court . 1 .. iii. .. 180 Mr. Maitland . 1 .. iii. .. 4 Liverpool . . 1 .. iii. . . 240 Wooton House . 1 .. iii. .. 372 Ince . 2 .. iii. . . 248 Rothenhammer — Romano, Giulio — Stafford House . 1 .. ii. .. 69 Bridgewater Gallery . 1 .. ii. .. 29 Devonshire House . 1 .. ii. . . 94 Mr. Munro . . 1 .. ii. .. 132 Thirlestaine House . 1 .. iii. .. 210 Grosvenor Gallery . . 1 .. ii. ,. 169 Mr. M‘Lellan . 1 .. iii. .. 237 Apsley House . . 1 . . ii. .. 274 Glendon Hall . . 1 .. iii. .. 462 Hampton Court . 4 ii. 356, 60, 414 Rothschild, Sir Anthony i. ..36,7 , attributed to, 3 ii. .. 358 Collection of pictures, &c, ii. .. 281 Windsor Castle, drawings .. ii. .. 448 Rothschild, Baron Lionel # . i. . .36,7 Oxford . . . drawing . . iii. . . 47 Collection of pictures, &c. ii. .. 129 Thirlestaine House . . 1 . . iii. .. 198 Roubiliac . . . . i. 423,* iii. 226, 445 Liverpool . . 1 .. iii. .. 237 Rousseau, Gerard Jacques iii. .. 371 Torry .... . 1 . . iii. .. 272 Rautbaut .... Chatsworth . . drawings . . iii. 355, 6 Rubens — Alton Towers . . 1 .. iii. .. 383 Mention of pictures . i. 8 , 10 , 12, 16 Oakover Hall . . 1 .. iii. .. 390 Collection of drawings i. .. 17 Romanino, Girolamo — British Museum, drawings . i. .. 226 Thirlestaine House . . 1 .. iii. . . 202 Book of 39 drawing! s i. 236-8 Romeyn, William. . ii. 71,344 National Gallery, pictures recent i. 316, 17 Romney .... 9 .. i. 349-351 Rosa, Salvatm — • Ceiling, Whitehall . i. .. 395 Bridgewater Gallery . 2 .. ii. . . 38 Sir Robert Peel 2 .! i. 398,9 Lord de Mauley . 1 .. ii. . . 84 Drawings i. .. 414 Lord de Grey . . 1 . . ii. . . 85 Oil sketch i. . . 415 Lord Yarborough . . 2 . . ii. ..86,7 Buckingham Palace . 7 .*. ii. ..2,3 Devonshire House . . 1 .. ii. . . 92 Stafford House . 3 .. ii. ..68,9 Mr. Hope . . 1 .. ii. ..113 Mr. Rogers . 3 .. ii. . . 79 Lord Hertford . . 1 . . ii. .. 155 Duke of Norfolk 1 .. ii. .. 86 Grosvenor Gallery . . 1 .. ii. .. 170 Lord Ashburton 4 .. ii. .. 102 Mr. Baring . . 2 . . ii. .. 180 Mr. Hope . 1 .. ii. .. 114 Mr. Holford . . . 1 .. ii. .. 199 Mr. Munro . 4 .. ii. .. 136 Lord Ward . . 2 . . ii. .. 236 Marquis Hertford . 3 .. ii. .. 157 Duke of Bedford . 1 .. ii. . . 285 Grosvenor Gallery . 8 .. ii. 163,4 Mr. Ellis . 2 . . ii. .. 294 Mr. Baring . 2 .. ii. .. 182 Dulwich . . , . 2 . . ii. .. 347 Mr. Holford 2 ii. .. 199 xlvii RUBENS. INDEX. SALT. Piet. Vol. Page Rubens — Mr. Holford . drawing . . ii. . . 204 Hon. E. Phipps 2 . . ii. .. 227 Marquis Breadalbane 1 . . ii. .. 239 Mr. Neeld . 1 . . ii. .. 246 Mr. Morrison . 3 . . ii. 261,2 Miss Rogers 1 . . ii. .. 270 Lord Carlisle . 1 . . ii. .. 278 Sir A. Rothschild . 1 . . ii. .. 281 Mr. Bredel . 1 . . ii. .. 292 Mr. Wynn Ellis 1 . . ii. .. 295 Mr. Wombwell . 1 . . ii. .. 308 Lord Brownlow 1 . . ii. .. 314 Dulwich Gallery 1 . . ii. .. 342 Hampton Court 1 . . ii. .. 365 Windsor Castle 11 .. ii. 433, 5,7 — — — drawings 3 . . ii. .. 450 Mr. Forster 1 . . ii. .. 451 Cobham 5 . . iii. ..23,4 Petworth 2 . . iii. . . 40 Oxford . . drawin g . . iii. .. 49 Blenheim 20 . . iii. 123-6, 129-33 Basildon 1 . . iii. .. 134 Longford Castle 2 . . iii. .. 141 Wilton House . 3 . . iii. 152,3 Wardour Castle 2 . . iii. .. 171 Leigh Court 3 . . iii. 181,2,6 Lord Northwick 1 . . iii. .. 206 Warwick Castle 3 . . iii. 213, 15 Ham Court . 1 . . iii. .. 225 » Hewell .... 1 . . iii. .. 227 Liverpool . copy . . iii. .. 240 Lowther Castle. 1 . . iii. .. 261 Glasgow 1 . . iii. , .. 283 Garscube . .school [ of, 2 . . iii. , .. 293 Hamilton Palace 3 iii. 296, 301, 8 Hopetoun House 1 , .. 310 Rock .... 1 . .. 316 Castle Howard . 2 , 319,23 drawing , .. 326 Temple Newsam 1 , ..332 Wentworth Castle*. 1 . .. 342 Chatsworth . drawings . . iii. , ..360 Belvoir Castle . 4 iii. 396, 9, 400 Narford . . . 2 . . iff. , ..429 Wolterton . 1 . . iff. , ..434 Althorp 2 . . iii. , ..458 Woburn 1 . . iff. , ..465 Marquis of Bute 3 . . Hii. , ..475 Ruqendas .... . ..355 Rumohr, M. von . . . i. . .. 221 Ruthhart .... 3 . . iff. . .. 387 Russell, Rev. John Fuller, i. 15, 36 ; collection, Eagle House, pictures, ii. 461 ; MSS. with miniatures, 464 ; prayer-book, incunabula, woodcuts, &c., 464. Russell, Wm., Esq i. . . 36 Ruysbraeck, Michael , i. 423, ii. 95, iii. 132. Ruysch, Rachel , ii. 309, iii. 388. Ruysdael, Jacob — Sir R. Peel . . . . 3 . . i. . . 409 Bridgewater Gallery . 6 . . ii. . . 49 Stafford House . . . 1 . . ii. . . 70 xlviii Piet. Vol. Page Ruysdael, Jacob — Lord Ashburton 5 . . ii. . . 110 Mr. Hope . 1 , . . ii. . . 122 Baron L. Rothschild 2 , . . ii. . . 130 Mr. Munro . 3 . . ii. . . 139 Mr. Baring . 3 . . ii. . . 187 Mr. Holford . . 1 . . ii. . ,. 202 Mr. Ford . 1 . . ii. . , . 225 Mr. Phipps . 2 . . ii. . , . 228 Lord Ward . 1 . . ii. . , . 237 Mr. Neeld . 1 . . ii. . , . 247 Mr. Heusch i . . ii. . , . 255 Mr. Morrison . 1 . . ii. . .. 261 Lord Carlisle 1 . . ii. . , . 280 Mr. Sanderson . 2 , . . ii. 288,9 Mr. Bredel . 1 . . ii. . .. 289 Mr. Ellis . . . 5 . . ii. 296, 7 Mr. Wombwell . 3 , . . ii. . , . 309 Lord Brownlow 1 . . ii. , . . 316 Mr. Oppenheim 1 . . ii. . .. 329 Mr. Hawkins . 1 . . ii. , . . 336 Dulwich 1 . . ii. , . . 344 Mr. Labouchere 1 . . ii. . . 422 Mr. Forster. 1 . . ii. , . . 452 Petworth 2 . . iii. 35,40 Worcester College . 1 . . iii. . . 50 Bowood 3 iii. 155 >, 9, 64 Claverton . 1 . . iii. . . 177 Lord North wick 2 . . iii. 198, 209 Ham Court. 1 . . iii. , . . 225 Torry .... 3 . . iii. 273,4 Mr. M‘Lellan . 1 . . iii. .. 289 Dalkeith Palace 1 . . iii. . . 313 Nostall Priory . 1 . . iff. . . 336 Belvoir Castle . 2 . . iff. . . 397 Burleigh House 1 . . iii. . . 406 Narford .... 4 . . iii. . . 430 Wolterton . 1 . . iii. . . 434 Marquis of Bute 3 . . iff. 480, 1 Ruysdael, Solomon — Hadzor .... 1 . . iii. . . 220 Ince .... 2 . . iii. 250,2 Hamilton Palace . 1 . . iii. . . 304 Ryland , engraver . . i. . . 300 S. Sabbatini , Andrea, see Salerno. Sabbatini, Lorenzo — Mr. Neeld .... 1 . . ii. .. 244 Sacchi, Andrea — Mr. Rogers .... 1 . . ii. .. 76 Devonshire House . 1 . . ii. .. 93 Grosvenor House . 1 . . ii. .. 170 Burleigh House 1 . . iii. .. 403 Sachtleven, Herrmann — Mr. Hope .... 1 . . ii. 122 Salerno, Andrea da — Bridgewater Gallery 2 . . ii. .. 29 Wolterton .... 2 . . iii. 435, 6 Salisbury Cathedral . . . iii. .. 136 Salt, Mr 39,41 SAN TRIANO. INDEX, Piet. Yol. Page San Triano , Manzuol'i di — Mr. Hope . . . . 1 . . ii. .. 113 Sanford, Rev. John . . . . ii. .. 337 Sandwich, Earl, seat of . iii. .. 454 Santa Croce, Girolamo di — Thirlestaine House . . 1 . . iii. .. 201 Liverpool . . . . 2 . . iii. 234,8 Hamilton Palace . . 1 . . iii. .. 300 Santi Giovanni — Mr. Dennistoun iii. . . 281 Saracino , Carlo , called Yeneziano iii. .. 324 Sarcophagi, Roman and Etruscan i. . . 79 Sarcophagus — Soane Museum ii. .. 320 with story of Meleager iii. .. 145 with events from story of Ceres and Bacchus iii. .. 147 with death of Niobe’s children . iii. .. 148 small .. 255 large .. 258 marble, antique .... iii. .. 450 marble, found at Ephesus . iii. .. 469 with story of Phaedra and Hippolytus , iii. 471 Sarpedon Sarto, Andrea del . . . i. 10, , 12, 17 British Museum drawing . . i. .. 225 National Gallery . . 1 . . i. .. 322 Mr. Rogers . . drawing . . ii. .. 80 Mr. Munro . 1 . . ii. .. 132 Marquis of Hertford . 1 . . ii. .. 155 Mr. Baring . . . . 2 . . ii. .. 175 Mr. Holford . . . 1 . . ii. .. 195 Mr. Neeld . . . . 1 . . ii. .. 244 Mr. Ashburnham . . 1 . . ii. .. 251 Mr. Bale . . drawing . . ii. . . 331 Windsor Castle . . . 2 . . ii. 432,4 . drawings . . ii. .. 447 Panshanger . . . . 6 iii. 11, 12 Oxford . . . drawing . . iii. .. 48 Bowood, ascribed to . 1 . . iii. .. 160 Stourhead House . . 1 . . iii. .. 172 •Claverton . . . . 1 . . iii. .. 176 Leigh Court . . . 1 . . iii. .. 179 Thirlestaine House, school of 1 iii. .. 197 Liverpool, school of . . 1 .. iii. .. 237 Ince 1 . . iii. .. 24a . . . school copy . . iii. .. 251 Hamilton Palace . . 1 . . iii. .. 300 Dalkeith Palace . . 1 . . iii. .. 314 Chatsworth . . drawings . r iii. .. 354 Alton Towers ... 1 . . iii. .. 382 Orwell Park . . . 1 . . iii. .. 443 Marquis of Bute , . 1 . . iii. .. 482 Sassoferrato — Bridgewater House . 1 . . ii. .. 30 Stafford House . . . 1 . . ii. . . 63 Devonshire House . . 1 . . ii. . . 92 Mr. Munro . . . . 1 . . ii. .. 132 Mr. Baring . . . . 1 . . ii. .. 176 Mi*. Seymour . . . 1 . . ii. .. 242 Apsley House . . . 1 . . ii. .. 277 Duke of Bedford . . 1 . . ii. .. 286 Cobham Hall . . . 1 . . iii. .. 20 Lowther Castle . . . 1 . . iii. .. 261 Hamilton Palace . . 1 . . iii. .. 305 VOL. I. d SCHOOL. Piet. Yol. Page Sassoferrato — Glentyan .... 1 . . iii. . . 314 Chatsworth . . . 1 . . iii. .. 350 Wolterton .... 1 . . iii. . . 434 Marquis of Bute 2 . . iii. .. 484 Satyr and Hermaphrodite, marble group of, iii. 255. Savary, Roland — Devonshire House . 1 . . ii. . . 95 Blenheim .... 1 , . . iii! .. 123 Fitzwilliam Museum . 1 . . iii. .. 448 Marquis of Bute 1 , . . iii. .. 476 Schachner of Austria . . ii. .. 413 Schadow , Rudolph . ii, . 417, iii. 366 Schalken — Northumberland House 1 , . . i. .. 394 Buckingham Palace. 3 . , . ii. . . 8, 9 Mr. Hope .... 1 . . ii. .. 117 Mr. Baring .... 1 . . ii. .. 183 Mr. Bredel .... 1 , . . ii. .. 290 Mr. Oppenheim 1 , ... ii. .. 329 Belvoir Castle . 2 , . . ii. .. 400 Schelfhout — Mr. Baring . 1 . . ii. .. 191 Schendel, van — Mr. Baring 1 , , . ii. .. 191 Schiavone, Andrea — Bridgewater Gallery 2 . . ii. .. 33 Stafford House . 1 , . . ii. .. 60 Lord Yarborough . 1 , . . ii. .. 87 Devonshire House . 1 , . . ii. .. 90 Mr. Munro .... 1 , . . ii. .. 135 Grosvenor Gallery . 1 , , . ii. . . 170 Mr. Neeld .... 1 , . . ii. .. 244 Miss Rogers 2 , , . ii. 267,70 Hampton Court 5 . , . ii. 355-7 Cobham Hall 1 , .. iii. .. 19 Bowood .... 2 . , . iii. . . 166 Thirlestaine House . 1 , . . iii. . . 203 Mr. Dennistoun 1 . , . iii. .. 281 Hamilton Palace 1 . , . iii. .. 304 Burleigh House 2 . , . iii. „ . 404 Schidone, Bartolommeo — Bridgewater Gallery 1 . . ii. .. 30 Lord Ashburton 1 . , . ii. .. 101 Mr. Munro .... 1 . , . ii. . . 135 Lansdowne House . 1 . , . ii. .. 152 Mr. Baring .... 1 . , . ii. .. 180 Mr. Neeld .... 1 . , . ii. .. 245 Duke of Bedford 1 . , . ii. .. 284 Stoke 1 . . ii. .. 420 Cobham Hall . . . 1 . . iii. .. 21 Wilton House . 1 . . iii. .. 151 Stourhead House . 3 . . iii. . . 172 Blaise Castle 1 . . iii. .. 192 Ince . . 1 . . iii. . . 250 Hamilton Palace 1 . . iii. .. 304 Belvoir Castle . 1 . . iii. .. 396 Burleigh House . 1 . . iii. . . 405 Schinkel Schongauer , Martin — British Museum, drawings, i. 229 ; old copy of, 246 ; designs, 257, 267 ; copy by him of Master of 1466, 292 ; engravings, 296 ; influence of, 298. School of Design, Glasgow . . iii. . . 286 xlix SCOPAS. INDEX. SOMEE. Piet. Yol. Page Scopas . 60 Schoreel, Jan — Hampton Court , . ii. . . 358 Grove Park . school of . ii. . . 458 Mr. Maitland . . . 1 . , . iii. . . 6 Schotel — Mr. Baring . . 1 . , . iii. . . 191 Schumacher . 423 Schwabe, Mr . 37 Scott, Sir Walter — monument , iii. . . 276 Sculpture, British Museum — Egyptian, i. 39 ; Assyrian, 45 ; Greek and Roman, 49 ; Elgin Marbles, 50 ; Lyeian, 63 ; remarks on, 389 ; Royal Academy, 392 ; Houses of Parliament, 428; Westminster Abbey, 417 ; decline of, 423 ; Bridgewater House, ii. 55; Stafford House, 73; Mr. Rogers, 81; Lord de Mauley, 83 ; Lord Yarborough, 87 ; Lord Ashburton, 98 ; Mr. Hope, 112; Lansdowne House, 143-148; Mr. Ford, 226; Apsley House, 272 ; models for University College, 318; Indian, 324; So- ciety of Antiquaries, 326; old Westminster Palace, 326; Stoke, 416; Windsor Castle, 424 ; Petworth, iii. 34 ; Oxford, 51 ; Pom- fret statues, 53 ; Blenheim, 132 ; Winches- ter Cathedral, 135 ; Salisbury Cathedral, 137 ; Wilton House, 143 ; Warwick Castle, 217; Wells Cathedral, 194; Marbury Hall, 227 ; Ince, 243-259 ; Edinburgh, 267 ; Torry collection, 272; Hamilton Palace, 296 ; York Cathedral, 317 ; Castle Howard, 328 ; Wentworth House, 341 ; Newby Hall, 343 ; Chatsworth, 352-365 ; Apethorpe, 411; Holkham, 414; Ketteringham Hall, 427 ; Trinity College, 445; Fitzwilliam Museum, 449 ; Woburn Abbey, 467. Scyllis . 62 Sea-god as architectural ornament iii. . . 256 Sebastiani, Gen . 25 Seghers, Daniel — Bridgewater House ii. . . 45 Dulwich . . . . 1 . . ii. . . 345 Hampton Court . . 1 . . ii. . . 365 Seghers, Pater . . . 3 . . iii. . . 254 Seguier, Mr . 315 Seiboldt . 364 Selinonte, metopes from . i. . . 61 Sevilla, Juan de — Mr. Hoskins . . . 1 . . ii. . . 260 Seyfarth, Louisa — Mr. Bieknell ii. . . 352 Shakspeare, Chandos portrait, ii. 52 ; portrait, Warwick Castle, iii. 216 ; portrait of, Went- worth, iii. 339. Shauffelein, Hans , engraver . . i. . . 299 Sheepshanks, Mr., i. 30, 37 ; collection of, ii. 299. Shield of Achilles .... iii. .. 52 Shuppen, Peter van .... iii. . . 241 Sicilian coins i. . . 91 Siena , Matteo da iii. . . 233 Siena, Ugolino di, ii. 461 ; iii. 374. Siena, school of iii. .. 375 Sienese school, old . . 4 . . iii. . . 231 Signorelli, Luca di — British Museum . design . . i. . . 258 1 Piet. Yol. Page Signorelli, Luca di — Mr. Barker. 4 .. ii. .. 125 Stoke 1 .. ii. .. 417 Windsor Castle drawings . . ii. .. 447 Hamilton Palace . 1 .. iii. .. 299 Glentyan .... 1 .. iii. .. 314 Keir 1 .. iii. .. 314 Chatsworth . . drawings . . iii. .. 353 Silenus, figure iii. .. 146 Simmons, Richd., Esq. . # . i. .. 318 Sinclair, Miss Catherine . • m iii. .. 309 Sion House .... .. 341 Sirani, Elisabetta — Bridgewater Gallery . 1 .. ii. .. 39 Lowther Castle 1 .. iii. .. 265 Edinburgh .... 1 .. iii. .. 270 Sir Charles Burrell, ascribed to . ii. .. 335 Mr. Green .... 1 .. ii. .. 459 Slade, Mr 21,37 Slingelandt , Peter van — Sir Robert Peel 1 .. i. .. 402 Buckingham Palace 2 .. ii. .. 8 Bridgewater Gallery 1 .. ii. . . 44 Mr. Baring 1 .. ii. .. 184 Stele", with mourning figure . iii. .. 51 Sloane, Sir Hans, collection of . i. 38,73 Smidt, engraver . i. .. 300 Smirke, Sir Robert, R.A. i. .. 38 Smirke .. 327 Smith, Mr., i. 22 ; Messrs collection of en- gravings in British Museum, i. 254. Snayers, Peter — Hampton Court ii. ’.. 358 Snyderhof, engraver . . i. .. 299 Snyders — Northumberland House 1 .. i. .-. 394 Grosvenor Gallery . 1 .. ii. .. 165 Mr. Bale .... 1 .. ii. .. 331 Stoke 1 .. ii. .. 422 Cobham Hall . 3 .. iii. .. 24 Petworth .... 2 .. iii. .. 36 Hewell 1 .. iii. .. 227 Whitehaven . pictures . . .. 265 Edinburgh .... 1 .. .. 270 Torry collection . , 1 .. .. 274 . copy . . .. 276 Glasgow .... 1 .. .. 283 Alton Towers . 2 .. .. 387 Keddleston Hall 2 .. .. 392 Ketteringham Hall. 1 .. .. 429 Orwell Park 1 .. .. 443 Fitzwilliam Museum . 1 .. iii. .. 449 Soane, Sir John, museum. . . .. 320 Sogliano, Giovanni Antonio- Apsley House . 1 .. ii. .. 276 Thirlestaine House . 1 .. iii. .. 196 Solario, Andrea — Stafford House . 1 .. ii. .. 62 Lord Ward 1 .. .. 233 Ince .... repetition . . iii. .. 247 Alton Towers . 1 .. iii. .. 384 Solimene .. 240 Solly, Mr . . 4 Somer, Van — Panshanger 1 .. iii. .. 17 Arundel Castle . 1 . . iii. .. 30 INDEX. STATUES. SOMER. Piet. Vol. Page Piet. Yol. Page Somer, Van — Statues — Wardour Castle 1 .. i!i. .. 171 Apollo, colossal .... iii. . . 148 Combe Abbey . 3 .. iii. .. 219 . . 328 Hagley Hi. .. 227 ■ ■ Sauroctonos iii. . . 177 Somermont, Dr. . i. .. 99 , youthful .... iii. .. 245 Somerset, Duke of ii. .. 337 Bacchus Somerset House . i. 6 , bearded .... iii. . . 418 Sotzmann, Herr, i. 256, 275 note, 286, 290, Cicero, colossal .... iii. .. 51 301, 302. Clio, seated iii. . . 52 Spada, Leonella — Stafford House ii. .. 65 Colossal, male . . . . . iii. . . 148 Spagna , Lo — Commodus . . 331 Lord Elcho .... 1 .. ii. .. 82 Cupid bending his bow iii. .. 146 Mr, Baring .... 1 .. ii. .. 176 iii. . . 331 Lord Ward .... 2 .. ii. .. 232 Cybele (statuette) .... iii. .. 245 Rev. Mr. Russell . 2 .. ii. .. 463 Diana of Gabii (cast) . iii. .. 187 Bowood .... 1 .. iii. .. 159 ....... .. 245 Thirlestaine House . 1 .. iii. .. 197 Hamilton Palace 1 .. iii. .. 304 Discobolus . . 78 Glentyan .... 1 .. iii. .. 314 Esculapius .. 418 Chatsworth . drawi ngs . . iii. .. 354 Egyptian .. 146 Wolterton . . . . 1 .. iii. .. 434 Faun .. 415 Spagnoletto — — > young iii. .. 467 Apsley House . 1 .. ii. .. 276 Faustina, elder iii. .. 148 Wardour Castle . , 1 .. iii. .. 171 Female in armour, fragment of iii. .. 247 Thirlestaine House . 1 .. .. 204 .. 146 Edinburgh .... 2 .. iii. .. 270 Fortuna Stativa . . . . iii. .. 416 Burleigh House 1 .. iii. .. 405 Fury, gilt .. 330 Keddleston Hall 1 ., iii. .. 428 Greek poet ...... i. .. 50 Spanish school, early . . , iii. .. 400 Hercules .. 148 Spelt, Van der ii. .. 71 , colossal .... iii. .. 148 Spencer, Earl of . .. 16 , infant iii. .. 258 Sphynx from Xanthus .. 71 Hermes Kriophoros iii. .. 147 Spinello of Arezzo — Infant with goose .... iii. .. 259 Sir C. L. Eastlake . 1 .. ii. .. 265 Isis .. 416 Rev. Mr. Russell 1 .. ii. .. 463 Jupiter, small iii. .. 330 Mr. Fuller Maitland 2 .. iii. 2 Letitia, Madame . . . . iii. .. 365 Sprotborough Hall pictures . . iii. .. 343 Livia Squarcione — Lorenzo de’ Medici (cast) . iii. .. 187 Supposed engraving by, in Lucius V erus .. 417 British Museum • i. .. 255 Lucius Antonius .... iii. .. 417 Lord Ward . . school of . . ii. . . 234' Lysias, terminal . . . . iii. .. 418 Stafford House, ii. 56 ; entertainment, 56-7 ; Meleager pictures, 59 ; French portraits, 73 ; an- ■ iii. .. 415 tiques, 73. Melpomene, seated . iii. .. 52 Stafford, Marquis of . i. .. 26' Minerva Standart, see Bloemen , # iii. .. 273 Stanfield, Clarkson, R.A.- — — — , black marble . iii. .. 329 Vernon Gallery 2 .. i. .. 386 .. 331 Mr. Young . . . . 2 .. .. 257 iii. . . 416 Sir Chas. Coote 1 .. ii. .. 258 Naked boy Mr. Sheepshanks . . 1 .. ii. .. 302 Neptune Mr. Bicknell . pictures . . .. 353 Philosopher (statuette) iii. .. 245 Bowood . . . pictures . . iii. .. 166 Pomfret .. 51 Mr. Naylor. 1 .. iii. .. 241 Red granite .. 244 Orwell Park 1 .. iii. .. 443 Sabina Stanley, W. Sloane, Esq. . ii. .. 337 Satyr, young . . . , . iii. .. 147 Stanstead House . , , iii. 1 , youthful. . . . . iii. .. 257 Stanwich in Yorkshire , # .. 81 Sea Nymph, restored . iii. .. 147 Stanzioni, Massimo — Spes (statuette) . . . . iii. .. 247 Stafford House . . 1 .. ii. .. 65 Telesphorus, small . iii. .. 330 Mr. Auldjo . Venus Victrix .. 74 Statues, Lord North wick . 9 m iii. .. 211 • , found near Ostia . i. .. 75 Statues — • , fragment . . . . iii. . . 51 Agrippina the elder iii. .. 417 Genetrix . iii. .. 415 Antinous . . . . 4 # iii. .. 145 d 2 Ii INDEX. STATUES. TASSI. Piet. Vol. Page Piet. Vol. Page Statues — Stothard — Victory, small . iii. .. 330 Miss Rogers 1 .. , ii. . . 268 Vulcan, supposed figure of. i. . . 51 Mr. Sheepshanks 4 ., . ii. . . 299 Steele, Mr., sculptor . • • . iii. 267,276 Mr. Bicknell 4 . 8 .. . ii. . . 349 Steen , Jan — Mr. Green . 1 .. , ii. . . 461 Sir Robert Peel . 1 .. i. .. 40 Leigh Court 1 ., . iii. . . 185 Buckingham Palace . 6 . . ii. ..9-10 Burleigh' House 3 ., , iii. . . 407 Bridgewater Gallery . 2 . . ii. .. 44 Stourhead House . . iii. . . 172 Lord Ashburton 2 ii. .. 105 Strange , Richard, engraver . i. . . 300 Mr. Hope . . 3 . . ii. .. 118 Strangways, Mr. Fox . . iii. . . 46 Mr. Munro . . 11 .. ii. 137-8 Stratford de Redcliffe, Lord . i. . . 49 Mr. Baring. . 4 .. ii. .. 184 Street, William , iii, . . 30 Mr. Phipps . . 3 . . ii. .. 227 Strey, Van — Lord Ward . . 1 .. ii. .. 237 Bridgewater Gallery 1 . . ii. . . 52 Mr. Neeld . . . . 1 .. ii. .. 247 Strozzi, Bernardo, called 11 Prete Genovese — Col. Rawdon . 1 .. ii. .. 250 Blenheim 1 ., . iii. . . 131 Mr. Heusch . 1 . . ii. .. 253 Keddleston Hall , 1 . . iii. . . 393 Mr. Morrison . . 1 . . ii. .. 262 Stubbs, George — Apsley House . . 4 .. ii. .. 273 Grosvenor Gallery . 1 ., . ii. . . 174 Duke of Bedford . 1 . . ii. .. 284 Grove Park 1 . . ii. . . 448 Mr. Bredel . . 1 .. ii. .. 290 Wentworth House . 1 . , ii. . . 339 Mr. Oppenheim . 1 . . ii. .. 329 Althorp 2 . . ii. . . 455 Mr. Lambert . . 1 . . ii. .. 336 Strutt, Mr. . 36 Windsor Castle . 1 . . ii. .. 433 Stuart, Mr. . 36 Clewer Park . 1 . . ii. .. 451 Swabian school . , . iii. . . 251 Wickham Park . . 1 .. iii. .. 27 Subleyras, Pierre — Bowood . 1 .. iii. .. 163 Stafford House . 1 . . ii. . . 66 Thirlestaine House . . 2 .. iii. .. 207 Alton Towers . 1 . . iii. . , 386 Hadzor .... . 1 . . iii. .. 224 Sueur, Le — Lowther Castle . 1 . . iii. .. 262 Devonshire House , 1 . . ii. . . 93 Torry collection . 1 .. iii. .. 274 Leigh Court 1 . . iii. . . 186 Mr. M'Lellan . . 1 .. iii. .. 290 Alton Towers . 1 . . iii. . . 385 Alton Towers . . 1 .. iii. .. 387 Burleigh House 1 . . iii. . . 406 Keddleston Hall . 1 . . iii. .. 392 Suffolk, Earl of . • i. 8, 26 Bel voir Castle . . 1 . . iii. .. 397 Sulby . 463 Orwell Park . 1 . . iii. .. 441 Sun-dial, small antique . 246 Marquis of Bute . 4 . . iii. 477-8 Sussex, Duke of . . i. . . 29 Steenwyk, Hendrick van — Susterman, Justus . iii. . . 269 Bridgewater Gallery . 1 .. ii. .. 42 Swaneveldt — Devonshire House . . 1 .. ii. .. 95 British Museum . drawing . 239 Windsor . 1 .. ii. .. 433 Hampton Court 3 . . ii. 358-414 Ince .... . 2 . . iii. .. 250 Petworth 1 . . iii. . . 36 Lowther Castle. . 1 .. iii. .. 265 Wardour Castle 4 . . iii. . . 171 Steenwyk , Jan • • iii. .. 482 Claverton . 1 . . iii. . . 177 Steinhauser, Madame . • • . , ii. .. 152 Garscube 1 . . 293 Steinle, engraver . • . i. .. 300 Hopetoun House 1 . . iii. . . 309 Steinle .... .. 54 Nostall Priory . 1 . . iii. . . 337 St. Stephen’s old chapel • • . i. .. 85 Fitzwilliam Museum 1 . . iii. . . 449 St. Stephen’s, Walbrook . . ii. .. 327 Marquis of Bute 1 . . iii. . . 481 Stewart, Mr., i. 80-89 : executors of, 80-81-90 Swott or Swoll . . iii. . . 235 SUmmer, Tobias, engraver i. .. 299 Sykes, Sir Mark . * i. 29-30-323 Stirling, Captain . . iii. .. 312 Stoke, seat of Mr. Labouchere . ii. .. 416 T. Stone, Frank — Lansdowne House ii. .. 153 Taddolini .... 367 Stone. Old — Castle Howard . . iii. . . 322 Stonehenge 155-6 Talleyrand, Prince • . i. . , . 24 O Stoning of St. Stephen Stoop Storch, Baron . cartoon ii. .. 389 . . 52 Tapestries, Hampton Court, n, Raphael’s cartoons, 403-410; . 9b7 ; trorn old Nether- .. 254 landish, 414; Chats worth, iii. 353. ,. 26 Storck, Abraham — Taylor, Watson, Esq. . • • National Gallery Marquis of Bute . 1 . . 2 . , . i. . iii. .. 358 .. 481 Taylor Museum . Tarrat, M. ... , • , . 36 . . 24 Stothard — Tassi, Agostino — 1 . 1 . .. 177 .. 222 Vernon Gallery . . 5 . . i, Mr. Rogers’ pictures and drawings ii. .. 368 . . 74 Mr. Baring . Hadzor .... • . ii. , , . iii. , lii TAZZAS. INDEX. TITIAN. Plot. Vol. Page Tazzas Temple church Temple of Graces . Temple of Liberty TeMpleNewsam, collection Tempesta ..... Tenerani ..... 2 . ii. iii. iii. iii. iii. iii T .. 323 .. 472 .. 472 .. 332 .. 484 .. 417 366 Teniers — mention of picture . .. i. .. 24 National Gallery 3 .. i. .. 356 Sir Robert Peel 6 .. i. .. 404 Buckingham Palace . . 11 .. ii. 11-13 Bridgewater House . 7 .. ii. .. 41 Stafford House . 2 .. ii. .. 69 Lord Ashburton 5 .. ii. 105-6 Mr. Hope .... 2 .. ii. .. 119 Baron L. Rothschild 2 .. ii. .. 129 Grosvenor Gallery . 3 .. ii. 168-9 Mr. Baring .... 5 .. ii. 184-5 Mr. Holford 5 .. ii. .. 201 Hon. E. Phipps 3 .. ii. .. 228 Lord Ward .... 2 .. ii. .. 237 Lord Colborne . 3 .. ii. .. 240 Mr. Neeld .... 1 .. ii. .. 247 Mr. Bevan .... 1 .. ii. .. 252 Mr. Heusch 1 .. ii. .. 254 Mr. Morrison . 3 .. ii. 260-1 Miss Rogers . . ,. 2 .. ii. .. 266 Apsley House . 1 .. ii. . . 274 Lord Carlisle 2 .. ii. 279-80 Sir Ant. Rothschild 2 .. ii. 281-3 Duke of Bedford 1 .. ii. .. 285 Mr. Bredel .... 2 .. ii. .. 290 Mr. Wynn Ellis 1 .. ii. .. 295 Mr. Womb well . 1 .. ii. .. 308 Lord Brownlow 1 .. ii. .. 316 Mr. Oppenheim 1 .. ii. .. 329 Mr. Bale . . drawing . . ii. .. 331 Mr. Hall . . drawing . . ii. .. 334 Mr. Field .... 1 .. ii. .. 335 Mr. Gray .... 2 .. ii. .. 336 Dulwich Gallery 1 .. ii. .. 342 Mr. Labouchere 1 .. ii. .. 422 Windsor Castle . 1 .. ii. .. 431 Lord Ashburnham . . 1 .. iii. .. 28 Arundel Castle, figures to Artois iii. .. 31 Petworth .... 2 .. iii. 36-43 Basildon . . . several . iii. .. 134 Bowood .... 4 .. iii. .. 163 Hadzor ..... 1 .. iii. .. 222 Ham Court .... 1 .. iii. .. 225 Ince . ascribed to 1 .. iii. .. 251 Lowther Castle 2 .. iii. 261-2 Torry 2 .. iii. 274-5 Mr. M‘Lellan . , 4 iii. 288,9, 90 Garscube .... 2 .. iii. .. 293 Hamilton Palace . 4 .. iii. 302,3,9 Hopetoun House 2 .. iii. 309-11 Glentyan .... 2 .. iii. .. 314 Wentworth House . 1 .. iii. .. 339 Wentworth Castle, figures to iii. 341. Van Uden, Chatsworth 2 ., , iii. 347-50 Belvoir 10 .. iii. 395-400 Burleigh House 1 .. iii. .. 406 Teniers— Piet. Yol. Page Narford ... 2 . . iii. .. 430 Raynham 1 . . iii. .. 439 Orwell Park 1 . . iii. .. 441 Althorp 8 . . iii. .. 459 Woburn ... 1 . . iii. .. 465 Marquis of Bute 3 . . iii. .. 478 Terburg .... Buckingham Palace 2 . . i. ..6,7 Sir Robt. Peel . 1 . . i. .. 400 Bridgewater House . 1 . . ii. .. 43 Stafford House . 1 . . ii. .. 71 Lord Ashburton 1 . . ii. .. 104 Mr. Hope 3 . . ii. 115-16 Baron L. Rothschild 1 . . ii. .. 129 Mr. Munro . 2 . . ii. .. 137 Marquis Hertford . 1 . . ii. .. 159 Mr. Baring 2 . . ii. .. 183 Claverton . 1 . . iii. .. 177 Thirlestaine House . 2 . . iii. .. 207 Belvoir Castle . 1 ... iii. .. 398 Marquis of Bute 1 . . iii. .. 476 Terra cottas, British Museum . iii. .. 73 Terra cotta vases, Claverton . . iii. .. 177 Testa Pietro , engraver . . i. .. 285 Tetradrachon, silver, unique, i. 91 ; of Syra- cuse, 92. Theodor 336 Theotocopuli, Domenico . Theseus, Temple of, casts, from ii. . . 420 i. . . , 58 Thirlestaine House, collection iii. . . 195 Thomas, Mr 91 Thompson, Rev. John iii. . . 271 Thornhill , Sir James, copies of cai’toons in Royal Academy, i. 392. Thorwaldsen, restorations by i. . 62 Lord Ashburton ii. . 98 Mr. Hope .... . 114 Stoke Hadzor . 223 Chatsworth .... Woburn Abbey . . . iii. . 472 Thrasyllus, monument of i. . 58 Tiarini . 192 Tiepolo — • Lord Ward .... 1 .. ii. . 235 Edinburgh .... 2 .. iii. . 271 Tilborg, Van — Lord Listowel . 1 .. ii. . 312 Ham Court . . . 1 .. iii. . 226 Tilburgh, Gillis Van ■ — Bridgewater House 2 .. ii. . 42 Timotheus .... i. . 60 Titian, i. 8, 9, 10, 12, 13, 14, 15 , 16. British Museum, drawings # . i. . 227 design • . i. . 283 National Gallery 5 . . i. 331-3 • . school copy i. . 333 Northumberland House. i .. i. . 393 Buckingham Palace i .. ii. . 1-2 Bridgewater Gallery . 5 .. ii. . 30-1 Stafford House . 1 .. ii. . 60 Mr. Rogers .... 2 .. ii. . 77-9 Lord Elcho .... 1 .. ii. . 83 Earl de Grey . 1 , . ii. liii . 85 TITIAN, INDEX. TURNER. Titian — Piet. Yol. Page Lord Yarborough 2 ii. . . 87 Lord Ashburton . 2 ii. .. 100 Mr. Munro . . 2 . . ii. . . 133 Lansdowne House, ascribed to 1 ii. .. 151 Marquis Hertford . . 1 .. ii. .. 155 Mr. Holford . . 2 .. ii. .. 197 Lord Ward . . . 1 .. ii. .. 235 Mr. Neeld . . school of 1 . . ii. .. 244 Mr. Morrison . . 1 .. ii. .. 261 Sir Chas. Eastlake . copy . . ii. .. 266 Lord Carlisle . . 1 .. ii. .. 278 Lord Brownlow . . 5 .. ii. .. 313 Mr. Bale . . : sketches 2 . . ii. .. 331 Hampton Court 4 ii. 357-8- ■60, 414 Stoke . . 1 .. ii. .. 419 Panshanger ascribed to 1 . . iii. . . 12 Cobham Hall . . 5 . . iii. 18-19 • ascribed to iii. .. 19 Piet. Yol. Page Tintoretto — Edinburgh . 5 . . iii. 269-71 Hamilton Palace 6 iii. 299 , 303,4 Glentyan 1 .. iii. .. 314 Castle Howard . . 4 .. iii. .. 320 Wentworth Castle . 1 .. iii. .. 341 Chatsworth . 3 .. iii. 346-50 Alton Towers . 2 .. iii. .. 384 Burleigh House . 1 .. iii. .. 404 Marquis of Bute 2 .. iii. .. 483 Tivoli, Rosa di # m iii. .. 241 Tol, David van iii. .. 207 Tol, Domenic van — Bridgewater House. 1 .. ii. .. 53 Mr. Hope . 3 .. ii. 117-18 Mr. Baring . . 1 .. ii. .. 184 Tomline, Mr. . Collection . .. 439 Torhido , II, engraver . i. .. 285 Petworth . . . . 2 . . iii. 33-4-42 Blenheim . . . . 2 .. iii. 122-5 . . school copy . Longford Castle . . 2 . Bowood .... 1 . Ward our Castle . . 1 . Stourhead House . . 1 . Leigh Court . school of 1 . Thirlestaine House . . 2 . ascribed to 2 . Warwick Castle . . 2 . Liverpool . school copy .... 1 Lowther Castle. . . 2 Edinburgh . school of 2 Torry Collection, school of 1 Garscube . ascribed to 1 Hamilton Palace . . 1 Hopetoun House . . 1 Dalkeith Palace . . 2 Raley 1 Castle Howard ... 1 Temple Newsam . . 1 Wentworth House, school of Chatsworth .... 3 i. .. 123 iii. .. 140 iii. .. 159 iii. .. 171 iii. . . 172 iii. .. 182 iii. .. 203 iii. 214, 15 iii. .. 211 iii. . . 238 iii. . . 238 iii. 264, 5 iii. .. 269 iii. . . 272 iii. . . 292 iii. . . 299 iii. .. 310 iii. .. 313 iii. . . 315 iii. .. 322 iii. . . 334 iii. 339-41 ii. 346,7, 50 . . drawings Orwell Park . . . 3 . Fitz william Museum . 1 . Tintoretto Bridgewater House . . 4 . Stafford House . . . 1 . Mr. Rogers .... 1 . Lord Elcho .... 1 . Lord Yarborough . . 1 . Mr. Munro . . . . 4 . Mr. Holford . . . 2 . Lord Colborne . . . 1 . Sir Charles Eastlake . 1 . Lord Brownlow . . 1 . Mr. Bale . . drawing Hampton Court . . 6 i Windsor Castle. . . 1 . Cobham Hall . . . 1 . Petworth . . . . 1 . Longford Castle . . 1 . Claverton .... 1 . liv iii. . . 358 iii. 440, 1,3 iii. . . 446 i. ..9, 12 ii. . . 33 ii. . . 61 ii. . . 77 ii. . . 83 ii. . . 87 ii. 134, 5 ii. .. 197 ii. .. 241 ii. .. 265 ii. .. 314 ii. .. 331 355-9, 414 ii. .. 433 iii. . . 20 iii. . . 33 iii. . . 140 iii. .. 177 Torso — Venus ii. . . 226 Esculapius iii. . . 51 small Minerva iii. . . 52 female iii. . . 52 female iii. . . 52 female iii. . . 244 Isis iii. . . 246 like Laocoon iii. . . 246 and leg, pedestal formed of . iii. . . 246 Diana, statuette .... iii. . . 247 female iii. . . 255 nymph iii. . . 257 antique, Dalkeith .... iii. . . 313 Bacchus iii. . . 330 Toschi , engraver i. . . 300 Tourniere, Robert, called Robert de la Haye, iii. 485. Townley, Charles, Esq . . . i. . . 49 Collection i. . . 73 Townley Marbles i. . . 73 Trajan’s pillar,, model of . . . iii. . . 244 Trappola cards i. . . 298 Treviso , Girolamo da — Lord North wick, iii. 202 Tripod, giallo-antico .... iii. . . 298 Tara, Cosimo, called II Cosme — Lord Ward. . . . 1 . . ii. . . 234 Turchi, Alessandro, called I! Orbetto — Bridgewater House . . 2 . . ii. . . 33 Stafford House . . . 1 . . ii. . . 61 Devonshire House . . 1 . . ii. . . 90 Dulwich . . . . 1 . . ii. . . 347 Tulden, Theodor van .... iii. . . 223 Turner, Dawson, Esq. . . . iii. . . 437 Turner, J. W. M., R.A., genius of i. . . 383 Vernon Gallery . . 5 . . i. . . 385 Bridgewater Gallery . 1 . . ii. . . 53 Lord Yarborough . . 2 . . ii. . . 87 Mr. Munro . . several . . ii. . . 141 .drawings . ii. . . 141 Mr. Ford . 3 drawings ii. . . 226 Mr. Young . . . . 1 . . ii. . . 257 Mr. Morrison . . . 1 . . ii. . . 263 Miss Rogers . . . . 1 . . ii. . . 298 Mr. Wynn Ellis . . 2 . . ii. . . 268 Mr. Sheepshanks . . 3 . . ii. 300-5 INDEX. TURNER. VANDYCK. Piet. VoL Page Piet. VoL Page Turner, J. W. Jf . — Vandyck — Mr. Bale . . 1 . . ii. . . 331 Devonshire House . . 4 . . ii. .. 94 - . . drawings . ii. . . 331 Lord Ashburton . 5 . . ii. 102, 3 Mr. Bicknell . . 6 . . ii. . . 350 Mr. Hope . . 1 . . ii. .. 114 Petworth . . 8 . . iii. 378-9 Baron L. Rothschild . 1 . . ii. .. 130 Mr. Naylor . 2 . ii. 241,2 | Lansdowne House . . 2 . . ii. . . 151 Marquis Hertford . . 3 . . ii. .. 157 u. Grosvenor Gallery . Mr. Baring. . 1 . . 1 . . ii. . . 165 . ii. .. 182 Ubertini, Francesco , called II Bacchiacca — Mr. Holford . . . 3 . . ii. .. 200 Mr. Seymour . . . 1 . . ii. . . 242 Mr. Ford . . . . 1 . . ii. . . 225 Thirlestaine House. . 1 . . iii. . . 197 Marquis Breadalbane . 1 . . ii. . . 239 Hamilton Palace . . 1 . . iii. . . 299 Mr. Seymour . . 1 . . ii. .. 242 Uccello , Paolo . i. . . 248 Mr. Morrison . . 2 . . ii. .. 261 Drawings . . 447 l Sir Charles Eastlake . 1 . . ii. .. 264 Uden, Lucas van — Apsley House . copy . ii. .. 277 Devonshire House . . 1 . . ii. . . 94 i Sir A. Rothschild . . * 1 . . ii. .. 281 Wentworth . . 1 . . iii. . . 341 Duke of Bedford 6 : small . ii. .. 286 Chatsworth . . 1 . . iii. . . 350 | Mr. Wynn Ellis 2 . ii. .. 295 Belvoir Castle . . . 1 . . iii. . . 400 Lord Listowel . . 5 . . ii. 312-15 Marquis of Bute . . 1 . . iii. . . 480 Dulwich . 3 . . ii. .. 342 Ulfft, van der — Hampton Court . 3 . . ii. 256, 7, 60 Mr. Hope . . . 1 . . ii. . . 123 j Windsor Castle 22 . ii. 426-9 Ugubio, Giorgio da— Mr. Ford drawings . . ii. .. 450 4 specimens • • - Grove Park . . 23 . . ii. 454-58 Umbrian school . i. . . 417 ! Panshanger . . 1 . .iii. . . 16 University College - - Flaxman’s model. and CobhamHall . . . 2 . .iii. .. 24 statue . . 318 Arundel Castle . . 6 . . iii. 29,30 University Galleries, Oxford . . iii. . . 51 Petworth . . 15 . . iii. 30, 4, 40 Urns, cinerary . .iii. 144; 149 ; 329 Oxford . . . drawing . . iii. . . 49 Utrecht, Adrian van . . iii. . . 393 Blenheim . . 9 iii. 122,3,4, 5 Utcins, T., R.A. . • • • . 396 Basildon 2 . iii. .. 134 Vernon Gallery. . . 1 . . i. . . 379 Wilton House . .* 6 .’ . iii. 153, 4 Mr. Baring . . . 1 . . ii. . . 190 Leigh Court . 1 . . iii. .. 186 Mr. Sheepshanks 2 . 304 Blaise Castle . 1 . . iii. .. 191 Mr. Bicknell .’ ! i ! . ii. . . 353 Warwick Castle . 9 . . iii. 212-14 Combe Abbey . . 5 . . iii. .. 219 Tf Hadzor .... . 1 . .iii. .. 222 V . Ham Court. . 1 . . iii. .. 225 Vaga, Perino del . . . i. . . .10 i Hayley .... . 1 . . iii. .. 227 Mr. Baring . . . 1 . . ii. . . 175 . . . copies . . iii. . . 227 Lord Ward . . . 1 . . ii. . . 233 Lowther Castle. 2 . iii. 261-3 Oxford . drawing . iii. . . 48 Edinburgh . . .* 3 .’ . iii. .. 268 Blenheim . . . 1 . . iii. . . 133 Glasgow . 1 . . iii. .. 286 Hamilton Palace . . 1 . . iii. . . 304 Mr. M‘Lellan . . 2 . iii. 290, 1 Castle Howard . . . 1 . . iii. . . 325 Garscube 2 .iii. .. 292 Chatsworth . drawings . iii. . . 356 Hamilton Palace . 4 iii. 297, 8, 308 Althorp . , . . 1 . . iii. . . 455 Hopetoun House . 3 . . iii. .. 310 Valentin — Dalkeith Palace . 2 . iii. 313-14 Ham Court. . . 1 . . iii. . . 225 ! Castle Howard . *. 1 . . iii. . . 319 Lowther Castle . . 2 . . iii. . . 264 Temple Xewsam . 1 . . iii. .. 332 Glasgow . . 1 . . iii. . . 290 Nostall Priory . . 1 . . iii. . . 336 Garscube . . 1 . . iii. . . 294 Wentworth House . . 9 . . iii. 338-40 Vatidyck . . . . i. , 8, 10, 15,16 Wentworth Castle . . 1 . . iii. .. 342 British Museum drawings . 239 Chatsworth 3 drawings . . iii. . . 360 National Gallery . . 4 . 351-2 1 ’ * . 5 . . iii. .. 364 Northumberland House 1 . . 394 i Apethorpe . . 2 . . iii. . . 410 Sir Robert Peel . . . 3 . . 400 Narford. . 1 . . iii. .. 429 — drawings . . 414 Melton Constable . . 1 . . iii. . . 439 Montague House chiaroscuro . i. . . 415 Orwell Park . 1 . . iii. .. 441 Buckingham Palace . . 6 . . 34 Althorp. . 8 . . iii. 458, 9 Bridgewater Gallery . 2 . . 40 Boughton Hall 2 . iii. . . 460 Stafford House . . . 3 . . ii. . . 69 Glendon Hall . , ! 3 .’ . iii. . . 462 Earl de Grey . several . ii. . .84,5 Woburn Abbey. . . 6 . . iii. .. 464 Duke of Norfolk . . 1 . . ii. . . 86 Marquis of Bute . 1 . . iii. .. 475 lv INDEX. YANVITELLT. VELDE. Piet. Vol. Page Piet. Vol. Page VcmvitelU, Gasparo . iii. . . 250 Velde, Adrian Van de — Vargas, Luis de — Mr. Davenport Bromley, iii. Bridgewater Gallery 1 .. ii. .. 46 380. Earl de Grey 2 .. ii. . . 85 Varotari, Alessandro, called II Padovanino — Lord Ashburton 2 .. ii. .. 108 Stafford House . - . 1 .. ii. . . 61 Figures in Wynants ii. .. 110 Blenheim . . several 'iii. .. 133 Mr. Hope . ... 2 .! ii. .. 120 Vasari, Giorgio — • Figures to Ruysdael . . ii. .. 122 Mr. Baring . . . 2 .. ii. .. 176 Mr. Munro .... 2 ii. .. 138 Liverpool . . . 1 .. iii. .. 267 Marquis Hertford . 1 .. ii. .. 159 Vases — Grosvenor Gallery . 1 .. ii. .. 168 Marble, with bacchanalian scenes, i. 75; Mr. Baring . . . . 1 .. ii. .. 185 Portland, 81 ; fragments of ancient, 82, Mr. Holford . . . 1 .. ii. .. 200 3 ; portion of, 83 ; Greek, British Mu- * * 2 drawings ii. .. 204 seum, 86 ; Miss Rogers, ii. 271; Mr. Mr. Seymour . 1 .. ii. .. 243 Bredel, 292. Mr. Bevan . . . . 1 .. ii. .. 252 Warwick, iii. 218 ; copy of, 228. Mr. Heusch 2 .. ii. .. 254 with bacchanal . iii. .. 255 Apsley House . 1 .. ii. .. 274 Greek, with story of Alcmene . iii. .. 326 Figures to Ruysdael . ii. .. 289 malachite .... iii. .. 352 Mr. Bredel .... i .! ii. .. 290 Lanti ..... iii. . . 467 Mr. Wynn Ellis. figures Vaux, M i. . . 34 in Van der Heyden . ii. .. 298 Vecchia, Pietro della — Windsor Castle l .. ii. .. 433 Lord Malmesbury . 1 .. i. .. 417 Longford Castle figures Stafford House . 1 .. ii. . . 61 in Wynants . iii. 141, 2 Dulwich .... 1 .. ii. .. 347 Bowood . . . figures Windsor Castle . . . 2 .. ii. 426, 9 in Van der Heyden . , , iii. .. 163 Thirlestaine House . 2 iii. . . 223 Charlton Park . figures Ham Court. 1 .. iii. . . 225 to same .... Lowther Castle. 2 iii. .. 265 Thirlestaine Park . l .. iii. .. 208 Hamilton Palace 1 .. iii. .. 298 Torry collection 2 .. iii. 274, 5 Velasquez Mr. M‘Lellan . . . 1 .. iii. .. 287 National Gallery 2 i. .. 347 Hopetoun House . . 1 .. iii. .. 311 Bridgewater Gallery 2 ii. . . 40 Dalkeith Palace 1 .. iii. .. 313 Stafford House . . . 2 . ! ii. . . 67 Temple Newsam 2 .. iii. 332-3 Lansdowne House . 4 .. ii. .. 151 Nostall Priory . 1 . . iii. .. 336 Grosvenor Gallery . 1 .. ii. .. 172 Chatsworth 3 . . iii. 347-50 Mr. Holford . . . 2 ii. .. 199 . drawings . . iii. .. 360 Mr. Ford Oakover Hall . 2 .. iii. .. 390 Mr. Seymour . 1 . . ii. .. 242 Belvoir Castle . 1 .. iii. .. 395 Mr. Neeld .... 1 .. ii. . . 245 Ivetteringham Hall . 1 .. iii. .. 428 Mr. Hoskins 1 . . ii. . . 259 Narford . . . 2 .. iii. .. 430 Mr. Mackinnon, 2 ascribed to ii. .. 260 Orwell Park 1 .. iii. .. 442 Miss Rogers . . . 1 . . ii. .. 267 Marquis of Bute 1 . . iii. .. 479 Apsley House . . . 3 . . ii. 276, 7 figures Mr. Wynn Ellis 2 .. ii. .. 294 in Hackaert iii. .. 481 Lord Listowel . , 1 .. ii. .. 311 figures Dulwich .... 2 .. ii. .. 345 in Van der Heyden . . iii. .. 482 Hampton Court 2 .. ii. . . 357 Velde, William Van de i. 3,15,16 Petworth . . . 1 .. iii. . . 42 British Museum drawings i. .. 239 Longford Castle 2 iii. .. 141 National Gallery . 2 .. i. .. 358 Bovvood .... 2 iii. . . 164 Sir Robert Peel 9 .. i. 411-12 Leigh Court . . . 2 .. iii. 179, 84 Buckingham Palace 4 .. ii. .. 22 Thirlestaine House . 2 . . iii. . . 204 Bridgewater House 7 . . ii. ..50-1 Had z or 1 . . iii. .. 221 Devonshire House . 1 .. ii. . . 95 Liverpool . . school of . . iii. . . 240 Lord Ashburton 1 .. ii. .. Ill Hamilton Palace 1 .. iii. . . 297 Mr. Hope .... 2 .. ii. 122-3 Castle Howard . 2 .. iii. 322, 5 Baron L. Rothschild 1 .. ii. .. 131 Mr. Davenport Bromley 1 .. iii. . . 380 Mr. Munro .... 4 .. ii. .. 139 Wolterton .... 1 .. iii. . . 435 Marquis Hertford . 1 .. ii. .. 160 Marquis of Bute 1 .. iii. . . 184 Mr. Baring. 2 .. ii. .. 187 Velde, Adrian Van de — Mr. Holford . . . 1 .. ii. .. 203 Sir Robert Peel . 2 i. .. 406 Mr. Bevan .... 1 .. ii. .. 252 Sir Robert Peel .■ figures Mr. Morrison . 1 .. ii. .. 262 in Van der Heyden . i. .. 413 Sir A. Rothschild . 1 .. ii. .. 281 Buckingham Palace , 7 .. ii. 15, 16 Mr. Bredel .... 1 .. ii. .. 291 Ivi VELDE, INDEX, VINCI. Piet. Vol. Page Piet. Vol. Page Velde , William Van de — Veronese, Paul — Mr. Wynn Ellis 2 ii. .. 297 Mr. Munro . . . 2 .. ii. .. 134 Lord Listowel . 2 ii. .. 212 Mr. Baring . . . 1 .. ii. .. 179 Lord Brownlow 1 ii. .. 316 Mr. Holford . . 1 .. ii. .. 197 Mr. Hall . drawings ii. .. 334 Marquis Breadalbane . 1 . . ii. .. 239 Sir Henry Bunbury i ii. .. 335 Mr. Neeld . . . 1 .. ii. .. 244 Mr. Field .... i ii. .. 336 Sir Chas. Eastlake . . 1 .. ii, . . 265 Mr. Gray .... l ii. .. 336 Mr. Wynn Ellis . . 1 . . ii. .. 293 Dulwich .... 2 ii. .. 344 Dulwich . . 1 . . ii. . . 346 Hampton Court, several pictures ii. 364, 414 Hampton Court 2 ii. 356-60 Stoke 1 iii. .. 422 school of . . ii, . . 368 Clewer Park 2 iii. 164-5 Cobham Hall . . . 4 .. iii. . . 20 Charlton Park . 1 iii. .. 170 Oxford . drawing . . iii. . . 48 Thirlestaine House . 4 iii. .. 209 Charlton Park . . . 1 .. iii. .. 171 Lowther Castle. 2 iii. 260-4 Stourhead House . . 1 .. iii. .. 172 Torry collection 1 iii. .. 275 , Blaise Castle . . 1 .. iii. . . 189 Mr. M‘Lellan . 3 iii 287-90-91 Warwick Castle . . 1 .. iii. .. 215 Hamilton Palace 1 iii. ..303 Ince . copy . . . iii. .. 248 Marquis of Bute 1 iii. .. 482 Lowther Castle . . 1 .. iii. . . 265 Venetian school, drawings of, British Museum, Edinburgh . . . 1 .. iii. . . 274 i. 228. Mr. M‘Lellan . . . 1 .. iii. . . 290 Venetian school . iii. .. 291 Glentyan . . 1 . . iii. .. 314 Veneziano , Agostino, i. 276, 277, 282, 283 Wentworth House . . 1 .. iii. .. 341 Veneziano, Carlo, see Saracino iii. .. 324 Chats worth . drawings . . iii. . . 358 Venusti, Marcello — Burleigh House . . 1 . . iii. . . 404 Hamilton Palace 1 # # iii, .. 305 Fitzwilliam Museum . 1 . . iii. .. 447 Alton Towers . 1 iii. .. 382 Woburn Abbey . . 1 . . iii. . . 465 Verboekhoven — Marquis of Bute . . 4 .. iii. .. 483 Mr. Baring . . 1 ii. .. 191 Verrio, Antonio . iii. . . 403 Mr. Oppenheim 1 ii. .. 329 Verschurinq , Henrik . . . . iii. .. 310 Verboom — Mr. Baring 1 ii. .. 187 Verstolk, Baron . i. 23, 28, 30 Verelst ..... .. 163 Vessels in silver, i. 81 ; Athenian, ii. 326 ; Verkolie, Jan. .. 477 terra cotta, 332 ; glass, iii. 333. Vernet, Horace — Vicar, M. Marquis Hertford . 4 ii. .. 157 Vico , Enea, engraver i. .. 285 Duke of Bedford . 1 ii. .. 284 Victor, Jan — Vernet, Joseph — Bridgewater Gallery . 1 . . ii. . . 42 National Gallery . 1 i. .. 346 Marquis of Bute . . 1 .. iii. .. 476 Duke of Bedford 1 ii. .. 284 Viego, Herrera di . . 3 . . ii. .. 458 Dulwich .... 1 ii. .. 348 Villegas de Mormoleja, Pedro de- Wardour Castle 1 iii. .. 17D Mr. D. Bromley iii. . . 380 Leigh Court 1 iii. .. 185 Villavicenzio, Don Pedro Nunez de : iii. . . 385 Blaise Castle 2 iii. .. 191 Vinci, Leonardo da i. 8, 10, 15 Thirlestaine House . 1 iii. .. 205 British Museum drawings . . i. .. 224 Mr. M‘Lellan . 1 iii. .. 290“. engravings . . i. 547-8 Garscube .... 1 .. 294 . design . . i. .. 270 Dalkeith .... 1 iii. .. 313 National Gallery, picture ascribed to, i. 319 Alton Towers . 1 iii. .. 386 Eoyal Academy cartoon . . i. .. 391 Vernon, Eobert, Esq. .. 36 copy . . i. . . 392 Vernon Gallery . i. .. 359 Lord Ashburton . . 2 .. ii. ..98-9 Verocchio, Andrea — Mr. Holford . . 1 .. ii. . . 194 British Museum engraving , , i. .. 247 Mr. Seymour . 2 copies . . ii. .. 243 Oxford . . . drawing iii. . . 48 Mr. Mackinnon school of . . ii. .. 260 Wolterton .... l iii. .. 434 Lord Brownlow . . 1 .. ii. .. 314 Verona, Zeno di . iii. .. 189 Hampton Court school of . . ii. .. 360 Veronese, Alessandro , called H Orbetto — Windsor Castle drawings ii . 437-42-47 Cobham Hall . . * l iii. .. 20 Oxford . drawings . . iii. . . 48 Claverton .... i # , iii. .. 176 Basildon Park . . . 1 .. iii. .. 134 Veronese, Paul . i. 9, 10, 12, 16 Charlton Park . . . 1 .. iii. .. 168 National Gallery . 2 i. .. 334 Stourhead House . . 1 .. iii. .. 172 Stafford Gallery . copies .. 58 Leigh Court . . 1 .. iii. .. 182 3 ii. . . 60-1 Thirlestaine House . . 1 . . iii. .. 196 Devonshire House . 1 ii. . . 90 Chatsworth . . 1 .. iii. .. 350 Lord Ashburton 1 , # .. 100 Mr. Dav. Bromley . . 1 . . iii. .. 377 Mr. Hope .... 2 ii. .. 113 llolkham . .MS. by .. iii. .. 425 vol. i. e lvi INDEX. VINCI. WESTMACOTT. Piet. Vol. Page Piet. Vol. Page Vinci, Leonardo da — Waterloo — Fitz william Museum . 1 . . iii. .. 447 Mr. Neeld .... 1 . . ii. . . 248 Glendon Hall . 1 .. iii. .. 462 Mr. Bale .... 1 . . ii. . . 330 Vinckeboom, David — Mr. Baring .... 1 . . ii. . , . 190 Mr. Mackinnon 1 .. ii. .. 260 Mr. Young .... 1 . . ii. . . . 258 Ham Court. 1 .. iii. .. 225 Mr. Sheepshanks 6 , . . ii. 299,307 Glasgow .... 1 .. iii. .. 288 Mr. Bicknell 3 ii. 349-50-53 Marquis of Bute . . iii. . . 476 Hadzor 1 . . iii. . . . 223 Virgin, Coronation of, picture . ii. . . 463 Marquis of Bute 1 . . iii. . , . 480 Visconti . . 52 Watteau — Vite, Timoteo delle . . . i. . . 27 Buckingham Palace 4 . . ii. , . 23-4 Vittoria, Alessandro . . . iii. .. 177 Devonshire House . 1 . . ii. , . . 93 Vivian, George, Esq., pictures in London, ii. Mr. Munro . . . . 1 . . ii. . . 136 248 ; at Claverton, iii. 175. Marquis Hertford . 1 . . ii. . . 150 Vivarini .. 250 Mr. Phipps .... 1 . . ii. , . . 229 Vlieger , Simon de — Mr. Neeld .... 1 . . ii. , . . 245 Bridgewater House 1 . . ii. . . 50 Miss Rogers 1 . . ii. , .. 268 Mr. Phipps .... 1 . . ii. . . 228 Mr. Bredel .... 1 . . ii. , . . 291 Lord Ward .... 1 . . ii. .. 238 Mr. Wynn Ellis i . . ii. . . 295 Lord Listowel . 1 .. ii. .. 312 Stoke l . . ii. . . 422 Petworth .... 1 . . iii. . . 40 Bowood .... 2 . . ii. . . 158 Ham Court .... 2 .. iii. 225-6 Thirl estaine House . 1 . . ii. . . 205 Garscube . 1 .. iii. .. 293 Webster, T., R.A. Fitz william Museum . 2 .. iii. .. 449 Vernon Gallery, 2 . . i. . , 379 Vliet, Van — Mr. Baring . . ii. . . 188 Wells, Mr . . 27 Volterra , Daniel da— Wells Cathedral, iii. 194; sculptures , 194; Charlton .... 1 . . iii. .. 170 chapter-house, 195 ; bishop’s i palace, 195. Blaise Castle 1 . . iii. .. 188 Wells, Dean of . . . . iii. . . 195 Castle Howard . 1 .. iii. .. 325 Wellesley, Dr. i. 36, 258 : iii. 45 ; collection. Volpato’s engravings of Loggie . . iii. . . 272 120. Vos, Cornelius de — Wellington, Duke of, i. 27 ; Apsley House, ii. Hamilton Palace 2 .. iii. 297-9 272. Cambridge . . . . 1 . . iii. .. 448 Wentworth Castle, pictures > iii. . . 341 Vostermann, Jan. 2 . . ii. . . 434 Wentworth House, collection iii. . . 337 Voys, Ary de — Weenix, Jan Baptist — Bridgewater Gallery 1 .. ii. . . 44 Buckingham Palace 1 . . ii. . . 23 Lord Carlisle . 1 .. ii. .. 279 Stafford House . 1 . . ii. . . 71 Vries, de .. 428 Devonshire House . 1 . . ii. . . 95 Mr. Hope .... 3 . . ii. . . 124 Mr. Mackinnon . 1 . . ii. .. 260 W Blenheim .... 1 . . iii. .. 122 \V . Hadzor 2 . . iii. . . 222 Alton Towers . 1 . . iii. .. 387 Wadham College . . . iii. .. Ill Wolterton .... 1 . . iii. .. 434 Wagner, Mr i. .. 30 Werff, Adrian van der— Walker . . iii. 216,342 Buckingham Palace. 2 . . ii. 9 Walkners, Mr. . . i. .. 20 Lord Ashburnham . 1 . . ii. . . 105 Wall-paintings of old Chapel of St. Mr. Hope .... 3 . . ii. 119,20 Stephen’s . . . . . . i. . . 85 Grosvenor Gallery . 1 . . ii. . . 168 Wallerstein, Prince, i. 25 ; collection, ii. 341 Mr. Womb well. 1 . . ii. .. 308 Walpole, Sir Robert . . . i. . . 16 Lowther Castle 2 . . iii. 263,4 Walscapellen . . iii. .. 271 Edinburgh .... 1 . . iii. . . ■ 270 Ward, Lord, i. 35 : collection of, ii. 229. Mr. M‘Lellan . 1 . . iii. .. 388 Ward, G., R.A.— Belvoir Castle . 1 . . iii. .. 396 Vernon Gallery 1 .. i. .. 382 West, Benjamin — Ward, E. M . — National Gallery 4 . . i. . . 366 Vernon Gallery 2 .. i. .. 374 Stafford House . 1 . . ii. . . 72 Water-colour school, English . i. .. 388 Grosvenor Gallery . 3 . . ii. .. 173 Ward our Castle . . . iii. .. 171 Hampton Court pictures , . ii. . . 365 Warwick Castle, pictures, iii. 212 ; ; antique Mr. M'Lellan . 1 . . iii. . . 290 busts, 217 ; relief in wood, 217 ; - Limousin Burleigh House. 1 . . iii. . . 407 enamels, vessels, tankards, &c., arms, bows, Western, Lord . . i. . . 80 217 : Florentine mosaic, Warwick vase. Westmacott, Sir Richard . i. . . 39 Park, 218. Chatsworth .... . . iii. . . 364 Waterford, Marchioness , . . iii. .. 309 Cam bridge \ . iii. . . 445 lviii INDEX. WESTMACOTT. WOUVERMANS. Piet. Vol. Page. Piet. Vol. Page Westmacott, Sir Richard— Wilson, Richard — Woburn Abbey . in. 493 Mr. Bredel . . . . 1 . . ii. . . 291 Westmacott, R., Jun. — Mr. Wynn Ellis . 4 . . ii. . . 298 Bowood .... . iii. 166 Mr. Bicknell . . . 1 . . ii. . . 353 Chatsworth a iii. 367 Mr. Fuller Maitland . 1 . . iii. . 7 Westminster Abbey, i. 417 ; monuments in, Panshanger . 1 . . iii. . . 17 419-424 ; Henry VII.’s chapel, 421 Petworth . . 2. . . iii. . , .38, 9 Westminster, new Palace of . i. 425 Thirlestaine House . . 2 . . iii. . . 211 Westwood Park . iii. 227 Ince .... . 2 . . iii. . . 247 Weyden, Roger van der , the elder Torry collection . 1 . . iii. . . 274 British Museum drawings . . i. 228, 95,6 Keddleston Hall . 1 . . iii. . . 393 Bridgewater Gallery copy . . li. 55 Narford . 1 . . iii. . . 431 Grosvenor Gallery . 1 .. 161 Boughton Hall . 1 . . iii. . . 460 Mr. Green .... 1 .. ii. 459 Wilton House, i. 15 ; collection at, iii. . 142; | Cobharn Hall 1 .. iii. 23 antique sculpture, 144, 150 ; dyptich, 150; Liverpool .... 1 .. iii. 234 pictures, 151. Ince . . . . . 1 .. iii. 251 1 Winchester Cathedral . iii. . . 135 Whewell, Professor . iii. 194 444 Winchester College . iii. . . 136 Whitehall, Palaee of . i. 15 305 Winckelman . i. . 82 Wickham Park iii. 27 Windsor Castle Collection . ii. . . 423 263 rlrawino-s • • . 437 Widens - — Wine cooler, silver . iii. . . 409 Bridgewater Gallery 1 .. ii. 42 Wishawe, seat of Lord Belhaven . iii. . . 309 Ham Court 1 .. in. 225 Witte, Lievin de, of Antwerp . iii. . . 459 Marquis of Bute 1 .. iii. 480 Woburn Abbey, iii. 463; 1 bronzes, 463: Wilkie , Sir David, characteristics of i. 374 collection of pictures, 464; gallery of an- National Gallery 2 .. i. 376 tiques, 467 ; sculpture, 468 ; hothouses, iii. Vernon Gallery 5 . . i. 374 473. Sir Robert Peel 1 .. i. 416 Wohlgemuth, Michael — Buckingham Palace 2 ,. ii. 25 Rev. Mr. Russell » . . iii. . . 463 Stafford Gallery 1 .. il. . . 72 Wolterton, pictures • . iii. . . 433 Baron L. Rothschild 1 . . ii. 130 Wolverhampton . iii. . . 229 Mr. Baring 5 .. ii. 189 Wombwell, Mr., i. 36: collection of pictures, Mr. Holford . . . 1 .. ii. 202 ii. 308. Mr. Phipps .... 2 .. ii. 229 Woodburn, Mr. Samuel . i. . . 27 Lord Colborne . 1 .. ii. 241 Messrs. . . i . 241, 70, 315 Mr. Young .... 1 . . ii. 257 Woodcuts, supposed earliest . . i. . . 29 Miss Rogers 1 .. ii. 268 Woodcuts, Italian, i. 284 : : German, 287, Apsley House . 4 .. ii. 273, 77 Woodcuts, old, British Museum i. . 288 Mr. Bredel .... 2 .. ii. 291 Woodcuts .... . 118 Mr. Wynn Ellis 1 .. ii. 29$ Woollett, engraver . i. . . 300 Mr. Sheepshanks 4 .. ii. 300, 6 Wooton Hall, collection of pictures, iii . 371 drawi ngs .. ii. 307 Wootton , Longleat . 6 , , . iii. . . 173 Petworth .... 1 .. iii. 39 Worcester Cathedral . . iii. . . 226 Bowood .... 3 .. iii. 161, ,2,4 Wotton, Sir Henry . i. . . 12 Hadzor 1 .. iii. 223 Wouvermans, Philip . . . . i. . . 15 Mr. M c Lellan . 1 .. iii. 287 Sir Robert Peel . . 6 , . . i. 407-8 Dalkeith Palace 1 .. iii. 313 Buckingham Palace . 10 , . . ii. 18-19 Wilkins, W., Esq. i. 318 • % ures in Wynants, ii. 21 Willett, Mr. .... 26 Bridgewater Gallery . 3 , . . ii. 47-48 William IV., pictures presented by i. 318 figures in Ruysdael, ii. 49 Williams, II. W . — Lord Ashburton . 5 , . . ii. 109-10 Edinburgh .... 1 .. iii. 271 Mr. Hope . . 2 , . . ii. . . 121 Ketteringham Hall . 1 .. iii. 428 Baron L.. Rothschild . 1 . , . ii. . . 130 Willis, Professor . iii. 46, 195 Marquis Hertford . . 2 . , . ii. . . 160 Wilson, Mr i. 21, iii. 283 Grosvenor Gallery . . 1 . , . ii. . , . 168 Wilson, Richard — Mr. Baring . . 2 . . ii. . , . 186 National Gallery 2 .. 367 Mr. Holford . . . 5 . , . ii. . , . 202 Vernon Gallery 2 .. i. 367 . drawing . , . ii. . , . 204 Bridgewater Gallery 1 . . 53 Marquis Breadalbane . 2 . , . ii. . , . 239 Mr. Rogers .... 1 .. ii. 75 Lord Colborne . . 1 . . ii. . , , 241 Mr. Munro .... 5 . . ii. 140 Mr. Neeld . . . 4 . . ii. . , . 247 Grosvenor Gallery . 1 .. ii. 173 Mr. Bevan . . 1 . . ii. . , , 252 Mr. Ford .... 35 . . ii. 226 Mr. Morrison . . 1 . . ii. . . , 262 Miss Rogers , 1 .. ii. . • 268 Apsley House . 2 . ii. P . , 274 lix WOUVERMANS. INDEX. ZURBARAN, Piet. Yol. Page Wouvermans, Philip — Lord Carlisle 1 . . ii. .. 279 Sir A. Rothschild . 2 . . ii. .. 282 Mr. Bredel . 2 . . ii. .. 291 Mr. Wynn Ellis 3 . . ii. 296 Dulwich 6 . . ii. .. 343 Bowood 2 . iii. 159-63 Thirlestaine House . 1 . . iii. .. 208 Lowther Castle 3 . . iii. 261-2-3 Mr. M‘Lellan . . 2 . . iii. 287-8 Hamilton Palace 1 . . iii. .. 303 Hopetoun House 1 . . iii. .. 310 Dalkeith Palace 1 . . iii. .. 313 Chatsworth 1 . . iii. .. 350 Alton Towers . 2 . . iii. .. 387 Belvoir Castle . 1 . . iii. .. 397 Orwell Park 1 . . iii. .. 441 Fitzwilliam Museum 2 . , . iii. .. 448 ■ Glendon Hall 1 . , . iii. . . 462 Marquis of Bute 1 . , . iii. 480-1 Wren , Sir Christopher . i. .. 418 Wright, Mr. . . . 14 Wyatt .... .. 222 Wyck, Thomas . iii. .. 311 Wyld .. 152 Wynants, Jan — Sir Robert Peel 2 , . . i. .. 409 Buckingham Pa 1 ace 1 . . ii. . . 21 Stafford House . 1 . . ii. .. 70 Lord Ashburton 1 . . ii. .. 110 Mr. Baring . 2 . . ii. .. 292 Mr. Wynn Ellis 1 . . ii. .. 297 Mr. Womb well . 2 . . ii. .. 309 Longford Castle 2 . . iii. 141-2 Bowood 1 . . iii. .. 164 Thirlestaine House . 1 . . iii. .. 209 Ham Court 1 . . iii. .. 225 Mr. M‘Lellan . 1 . . iii. .. 287 Hamilton Palace 1 . . iii. .. 319 Dalkeith Palace 1 . . iii. .. 313 Nostall Priory . 1 . . iii. .. 337 Alton Towers . 1 . . iii. .. 388 Belvoir Castle . 2 . . iii. 296-7 Wytevjael, Joachim . . . iii. ... 224 lx X. Piet. Vol. Page Xanthus, trophy fiom, i. 65 ; friezes from, 68 ; statues from, 68 ; two lions from, 69 ; sepulchral monuments, 69 ; monument to satrap Paiafa, 70. Y. Yarborough, Lord, collection of pictures, ii. 86 ; antique sculpture, 87. Yarmouth iii. . . 437 York cathedral, iii. 316 ; comparison with German cathedrals, 17. Young, Mr., i. 36 ; pictures belonging to, ii. 257. z. Zeeman , Bemigius . o, a ( u, iii. . . a i j 224 Zellotti 314 Zenale, Bernardi . iii. . . 169 Zorgh ...... 336 Zuccarelli — Sir Charles Coote . 1 .. ii. . . 258 Zucchero , Federigo — Sir Charles Eastlake 2 drawings ii. . . 266 Hampton Court 2 ii. 355, 61 Longford Castle 1 .’. iii. . . 142 Wilton House . 2 .. iii. . . 151 Warwick Castle 1 .. iii. . . 215 Dalkeith Palace . 1 .. iii. . . 313 Castle Howard . 1 .. iii. . . 323 Wentworth Castle . 1 .. iii. . . 342 Chatsworth .... 1 .. iii. . . 347 Zucchero, Taddeo, Chatsworth, drawing, iii .356 Zucharelli — Windsor Castle. 9 .. ii. . . 429 Zurbaran — .... 317 National Gallery 1 . . i. . . 348 Stafford House . 3 .. ii. . . 67 Mr. Ford . . . 3 .. ii. . . 223 Mr. Hoskins 1 .. ii. . . 259 Grove Park. 1 .. ii. . . 358 Thirlestaine House . 1 .. ii. . . 204 THE TREASURES OF ART IN GREAT BRITAIN. LETTER I* Passage to London — First impressions of the Thames and the City — Arrival at the house of Mr. Edward Solly. Only three days have passed since I wrote to you from Ham- burg ; but what great and, to me, interesting and new scenes have I enjoyed in that short time ! Before I went on board Chateauneuf took me to the theatre, which, as you know, is built after a design by Schinkel. The lightness arid elegance of the proportions of the spacious theatre gave me the agreeable impression of a fare- well salutation of the arts on leaving home. During the first part of the following day I remained well. Walking on the deck, I considered with great interest sometimes the motion of the wheels, which, with a loud noise, impelled us rapidly forwards, and the heaving of the waves, and sometimes the land as it gradually vanished behind us. Unhappily, in this my first attempt “ to navigate the watery paths,” as Homer says, I was made sensible, like most other persons, that the powerful sea- god Neptune belongs to the faniily of AEsculapius, and in his own element shamefully meddles in the profession of his relation, by administering powerful emetics. I recollected that Goethe relates how, in his voyage from NaplesHo Sicily, he experienced relief, in similar distress, from a horizontal position ; and, lying down on my bed in the cabin, found the remedy tolerably efficacious ; hut the constant creaking of the vessel, with the motion of the engine, the dashing of the waves, which tossed our boat like a nutshell, and the sense of oppression which always seizes me in any confined space, did not afford me a very agreeable substitute. However, I was not without companions in misfortune : a corpulent English- * This letter, in the original edition, was dated May 15, 1835. The large additions, however, and complete revision of the present edition, having brought the work up to the year 1853, the old dates have been expunged, though this letter and such other portions of the first edition as have been retained still belong to that time. YOL. I. B 2 PASSAGE TO LONDON. Letter I. man in particular had a tragi-comic appearance ; he was in the berth below mine, with an immense tasselled white nightcap, which he had pulled over his ears, and which made a striking con- trast with his red face, that was not unworthy of Bardolph. On the second day, when I was in tolerable spirits again, and looking about on deck, the sea running pretty high, the engine was sud- denly stopped. “We shall have some fresh fish,” said the captain, and at the same moment I perceived a boat which put off* from a vessel at a considerable distance, and, now hid by a wave, now shooting down from its crest with the swiftness of an arrow, soon came alongside. There were three persons in the boat, one of whom, a negro boy, half naked, who fixed his eyes on our vessel with a wild, penetrating gaze, particularly struck me by his un- couth appearance. Though the waves ran rather high, a good number of the newly-caught inhabitants of the deep were brought, not without some trouble, on board our vessel ; and, in return, two pitchers of brandy, which the captain filled with great care from a larger vessel, were let down. I shall never forget the wistful, greedy eyes with which the fishermen looked at those pitchers. This appeared to me natural enough, especially in the scantily- clothed negro, since I, though wrapped in a cloak, was shivering with cold, and his dark skin indicated that he came from a warmer country. The engine was again set to work, and the boat quickly vanished from our view on the desert of the ocean. On the third day the less violent motion of the waves indicated that we were approaching the land, which, in fact, soon appeared like a faint narrow stripe, rising from the sea, and agreeably breaking the monotony of the watery horizon. But when we came to the broad hay, into which the Thames empties itself, the great number of ships, near and at a distance, sailing in various directions, which animated the sea, soon made us sensible that we were drawing near to the centre of the commerce of the world, to which the pro- ductions of every quarter of the globe flow, like blood to the heart, to return, though partly in another shape, to all parts of the world. In proportion as the bay narrowed, till it was reduced to the Thames properly so called, the number of ships increased. From the largest man-of-war, to open boats, all moved conveniently together. I counted of steam-boats alone twenty-eight, which darted between the rest like arrows. Just at the right time I Letter I. FIRST IMPRESSIONS OF LONDON. 3 recollected Goethe’s lines on a mighty river : “ The Atlas bears houses of cedar on his giant shoulders : a thousand flags float over his head in the air, testimonies of his glory.” I was charmed to find the poetical expression for this new and grand scene in the poet of my own country, whose clear and noble genius has so often refreshed me in the course of my life, and of whom I could say at an early period, in his own words, “ Thou hast powerfully attracted me ; I have long drunk at thy fountain.” The banks of the Thames, which, after Gravesend, become here and there very animated, were clothed in a vernal green of the most wonderful brightness, so that England appeared to me to be really an Emerald isle, as Ireland is so often denomi- nated. On the left bank I saw Woolwich, with the immense military arsenal, and soon afterwards Greenwich (an asylum for invalid seamen), the splendid buildings of which are adorned with numerous pillars. When we soon afterwards arrived at the port of London, and I expressed my surprise at the forest of masts, I was told that those ships were but a small portion ; the far greater number were in vast artificial basins called Docks. Contrasted with such manifold and grand impressions of the most animated present, the lofty Tower, with its four corner turrets, rose as a remarkable monument of the past. Yet not to its advantage. For the images of the children of Edward IV., of Anne Boleyn, of Jane Grey, and of the many innocent victims murdered in the times of despotism and tyranny, passed like dark phantoms before my mind. I must mention as a particularly fortunate circumstance, that the sea had gradually subsided from a state of violent agitation to a total calm ; and as bright sunshine alternated with a clouded sky and flying showers, I had had an opportunity of observing, in suc- cession, all the situations and effects which have been represented by the celebrated Dutch marine painters, William Van de Velde, and Backhuysen. Now, for the first time, I fully understood the truth of their pictures, in the varied undulation of the water, and the refined “ art with which, by shadows of clouds, shifting gleams of sunshine, and vessels animating the scene, they produce such a charming variety on the monotonous surface of the sea. As an ap- propriate conclusion to this series of pictures, Nature favoured us at last with a thunder-storm, but one fortunately of very short duration. At the Custom-house, after two hours’ waiting, I had an b 2 4 ARRIVAL AT MR. SOLLY’S. Letter I. opportunity of admiring the strictness with which the English custom-house officers perform their duty ; for they not only ex- amined every portion of my luggage, but observed of the shoes, “ The soles seem to be single.” During this whole time I quelled my occasionally rising impatience by ,the saying of the noble suf- ferer Ulysses, “ Bear, O thou dear heart ; thou hast already borne much,” which I have applied with the best success in the many great and little contrarieties of life, ever since my tenth year, when I first drank of the pure fountain of poetry. I was, however, well contented when I had said to a hackney-coachman, in my broken English, “Mayfair, Curzon Street, No. 7,” and was driven at my ease to that goal of my journey. So long as we were in the city, the ancient centre of the commerce and business of London, where, as Homer says, “most furiously the tumult rages,” we proceeded very slowly, on account of the immense crowd of carriages of all kinds. At times, when we halted longer than usual, I had the best opportunity of observing the people busily at work in the shops of the shoemakers, smiths, &c., some of which, by picturesque grouping and striking light and shade, resemble pictures of Adrian Ostade, or Schalken, and far surpassed by their naivete the artificially arranged modern pictures. At last, when we reached the West End, the more roomy and elegant part of the city, where the fashionable world live, we drove so much the more rapidly, and I soon stopped at the door of Mr. Edward Solly. I never feel myself more solitary and forlorn than among a great number of people, none of whom know me ; this feeling had come over me in my passage through the great city, where so many thousands of strange faces passed me. You may therefore easily imagine what a soothing impression I experienced on seeing the old familiar face of Mr. Solly, and, by the kindly recep- tion which I met with in his family, found myself, as if by- en- chantment, suddenly at home. My gratification was enhanced by finding myself in the drawing-room surrounded by excellent Italian pictures of the time of Raphael, and thus, as it were, at once ushered into the sanctuary of the arts, the study of which was the sole object of my journey. The dining-room was ornamented in the same manner ; so that at my first English dinner, which after my Neptunian course of physic I enjoyed heartily, I now and then willingly turned my eyes to the walls. Letter II. PHYSIOGNOMY OF LONDON. 5 LETTER II. Physiognomy of London — Mode of building — Architectural irregularities of Nash — Club-houses — History of the collection, of works of art in England — King Henry VIII. — King Charles I., extent and value of his collections — Collections of the Earl of Arundel and the Duke of Buck- ingham — Fate of those treasures of art — Kings Charles II. and James II. as collectors — Character of the private collections of the 18th century — Orleans Gallery and other collections brought over from France, Italy, Belgium, Holland, and Spain, consequent on the French Eevolution and the wars of Napoleon — List of collectors since 1792 — Collections of drawings — MSS. with miniatures — Engravings — Grecian antiquities — Elgin marbles — Increasing encouragement of the arts by Government — Chief collections formed since 1835 in all departments of art. By the kindness of Mr. Solly, who has generously given up his time to me, I have in these few days become sufficiently acquainted with this most colossal of all cities to find my way about pretty tolerably. The outside of the common brick houses of London is very plain, and has nothing agreeable in the architecture, unless it be the neat and well-defined joints of the brickwork. On the other hand, many of the great palace-like buildings are furnished with architectural decorations of all kinds — with pillars, pilasters, &c. There are, however, two reasons why most of them have rather a disagreeable effect. In the first place, they are destitute of con- tinuous simple main lines, which are indispensable in grand archi- tectural effects, and to which even the richest decoration must be strictly subordinate. Secondly, the decorative features are in- troduced in a manner entirely arbitrary, without any regard to their original meaning, or to the destination of the edifice. This absurdity is carried to the greatest excess in the use of columns : these, originally supporting members, which, placed in rows in the buildings of the ancients, produce the combined effect of a pierced wall, bearing one side of a space beyond, are here ranged in numberless instances, as wholly unprofitable servants, directly before a wall. This censure applies in an especial manner to most of the works of the lately-deceased architect Nash. In truth, he has a peculiar knack of depriving masses of considerable 6 NASH’S BUILDINGS. Letter II. dimension of all effect by breaking them into a number of little projecting and receding parts ; while, in the use of the most di- verse forms and ornaments, he is so arbitrary that many of his buildings — for instance, the new palace of Buckingham House, and some buildings in the neighbourhood of Waterloo-place — look as if some wicked magician had suddenly transformed some capri- cious stage scenery into solid reality. This architect is even more capricious in his churches ; for instance, All Souls’, in Langham- place, a circular building in two stories, with Ionic and Corinthian columns, surmounted by a pointed sugar-loaf. But what shall we say to the fact that the English, who first made the rest of Europe acquainted with the immortal models of the noblest and chastest taste in architecture and sculpture of ancient Greece, when it was resolved a few years ago to erect a monument to the late Duke of York, produced nothing but a bad imitation of Trajan’s pillar? This kind of monument, we know, first came into use among the Romans, a people who, in respect to the gift of invention in the arts and in matters of taste, always appear, in comparison with the Greeks, as semi-barbarians. The very idea of isolating the column proves that the original destination, as the supporting member of a building, was wholly lost sight of. Besides this, the statue placed on it, though as colossal as the size of the base will allow, necessarily appears little and puppet-like, compared with the column ; while the features and the expression of the countenance, which are the most important indications of the intellectual cha- racter of the person commemorated, are wholly lost to the spec- tator. In Trajan’s pillar, the bas-reliefs on the shaft give at least the impression of a lavish profusion of art ; but this Duke of York’s column, with its naked shaft (which, besides, has not the advantage of the entasis), has a very mean, poor appearance. If the immense sums expended in architectural undertakings had always been judiciously applied, London must infallibly have become the finest city in the world. I must, however, add that several buildings are honourable exceptions. Among the older ones, I would only mention Somerset House, which, by the com- bination of simple proportions with great extent, produces the effect of a royal palace ; and of modern buildings, the new Post Office, built by the younger Smirke, the exterior and interior of which, in elegant Ionic order, has a noble effect. Letter II. CHARLES I.’s COLLECTION. 7 Amongst the most stately buildings at the west end of the town are the club-houses. Each of these houses is provided with magnificent apartments for reading-room and library, and also with a complete culinary establishment. The whole arrangement is so extremely elegant, and they are such agreeable places of resort, that the ladies declaim with some justice . against these establishments, as tempting the gentlemen away from the family circle. The taste for collecting works of art in England originated with the court. King Henry VIII., a friend of the fine arts, and a great patron of Holbein, was the first who formed a collection of pictures. It was, however, of moderate extent, since, including miniatures, it contained no more than 150 works. The glory of first forming a gallery of paintings on a large scale belongs to King Charles I., who lived a century later. As this prince united an extraordinary love for works of art with the most refined taste, and spared neither pains nor expense, he succeeded in forming a collection of paintings, which was not only the richest of that age in masterpieces of the time of Raphael, but is perhaps scarcely to be equalled even in our days. The king began to collect before he ascended the throne. After the death of his elder brother, Prince Henry, who was likewise a lover of the arts, the gallery was increased by the addition of his cabinet. But the chief portion consisted of the collection of the Dukes of Mantua, pur- chased through the Duke of Buckingham, most probably of Duke Charles I., in the year 1629.* He is said to have paid 80,000?. for it — a very large sum in fhose days. That collection was, however, one of the first in Italy ; the family of Gonzaga at Man- tua, who reigned till 1627, having been 150 years in forming it ; and this family was second only in patronage of the arts to that of the Medici. In the fifteenth century they attracted the great Andrea Mantegna to their court, and in the sixteenth Raphael’s greatest scholar, Giulio Romano. In this collection there were then, besides several other pictures by the first-named master, his celebrated Triumphal Procession of Julius Caesar, and by Giulio * This date appears to be determined ieyond question by a picture by Domenico Feti in the Belvedere Gallery at Vienna, on the back of which, besides the usual C. R. and the crown, which distinguished the pictures of the collection of Charles I., there is a ticket with the words “ From Mantua, 1629, No. 159.” 8 CHARLES I.’s COLLECTION. Letter II. Romano a number of capital easel-pictures. Raphael probably painted for the Gonzagas the famous Holy Family, now known in the Escurial by the name of the Pearl ; Correggio painted his Education of Cupid, now in the English National Gallery, and two allegorical pictures ; Titian, among many others, the celebrated Entombment, now in the Louvre, and the twelve first Csesars. All these and admirable works by other masters were purchased for England. The king obtained also, through the intervention of Rubens, the seven celebrated cartoons by Raphael. Three-and-twenty fine pictures of the Italian school were pur- chased of one Frosley. Lastly, foreign sovereigns and his own subjects vied with each other in adding to the collection by most valuable presents. On his visit to Madrid when Prince of Wales, King Philip IY. of Spain gave him the famous picture by Titian, called after the palace where it had so long been kept, the Venus del Pardo. The subject is properly Jupiter and Antiope, in one of the grandest and finest landscapes by Titian with which we are acquainted. It is now in the Louvre. Louis XIII. King of France presented him by his ambassador, M. de Lyancourt, with a St. John the Baptist, a highly-finished picture, by Leonardo da Yinci, now likewise an ornament of the Louvre. Among the many Englishmen who presented the king with pictures, those who above all distinguished themselves were Thomas Howard, Earl of Arundel, the Lord Marshal, — the Earl of Pembroke, Lord High Chamberlain, — the Earl of Suffolk, Lord Hamilton, and Lord Abbot Montague. Though the king preferred the great Italian masters, he duly appreciated the principal painters of the German and Flemish schools. Of the earlier masters of the fifteenth and sixteenth cen- turies he possessed works by Gerhard van Harlem, Holbein, Albert Durer, George Pens, Lucas Cranach, Lucas Van Leyden, and Antonio More. He endeavoured to induce Rubens, the greatest painter of his time, to settle in England ; and failing in this, he loaded him with marks of favour, and not only engaged him to paint the ceiling of the banqueting-room in the palace of White- hall, built by Inigo Jones, but also purchased some of his best easel-pictures. On the other hand, he was so fortunate as to attach entirely to his service the most distinguished of the scholars of Rubens, Yandyck ; and the number of masterly pictures which Letter II. CHARLES I/s COLLECTION. 9 this painter executed for him, from the year 1632 to his death in 1642, was very considerable. The above particulars will alone give you a very favourable idea of the collection of King Charles I. A comparison of three existing catalogues, however, will bring the treasures of this col- lection more fully and also more particularly before you. One of them is an extract from a catalogue of all the pictures and works of sculpture which the king possessed, with a statement of their estimated value, and the price for which they were sold by auction after the lamentable execution of the king. It appears that the number of pictures in all the royal palaces was 1387, and that of the works of sculpture, 399. Of all these, only 88 pictures are particularly mentioned as capital works, and the estimated value and sale-price added. The second document is a catalogue drawn up about the year 1679, by Vanderdoort, keeper of the royal collections, which comprehends 77 smaller pictures in St. James’s Palace, and all the works of art in the palace of White- hall, which was the principal gallery. The number of pictures there, including the miniatures, was 497, and of works of sculp- ture, 79. But of the 574 pictures inserted in this catalogue, there are only 38 of the 88 specially enumerated in the above- mentioned extract. Now, as besides these 38 pictures, there are among the 574 enumerated by Vanderdoort 216 by eminent masters, among which are works of the highest class, such as the Education of Cupid by Correggio, Christ with the Disciples at Emmaus by Titian, we may infer with great probability that, besides the other 50 pictures out of the 88, which came from the king’s other palaces, Somerset House, Hampton Court, and the greater part from St. James’s,' there was in them, as well as in Whitehall, a considerable number of other valuable pictures. This inference is partly confirmed by the third document, a cata- logue of the collection of King James II. We find in it, in the first place, two paintings marked as by Raphael, two by Gior- gione, two by Parmegiano, and one by Titian, of which it is expressly stated that they were part of the collection of Charles I., but which are not included in the selection of 88 pictures, nor in Vanderdoort’s catalogue. With the addition of those seven, we still have only 629 out of the 1387 which Charles I. possessed. But there is in the catalogue of King James II. ’s collection a con- 10 CHARLES I.’s COLLECTION. Letter II. siderable number of other pictures under the names of Leonardo da Vinci, Raphael, Giulio Romano, Giorgione, Titian, the two Palmas, Paul Veronese, Tintoretto, Bassano, Parmegianino, Dosso Dossi, Holbein, Rubens, and Vandyck, which are not named either among those 88, or in Vanderdoort’s catalogue, most of which, I am convinced, were part of the 758 pictures in King Charles I.’s collection, respecting which we have no information. But if we look only to what, according to these three catalogues, certainly belonged to the collection, we are astonished at the number of works by the greatest masters which it contained. Of the Florentine school there were, by Leonardo da Vinci, one ; by Andrea del Sarto, three : of the Roman school, by Raphael, thirteen ; by Giulio Romano, twenty-seven ; by Perino del Vaga, one ; by Garofalo, one : of the Lombard school, by Luini, one ; by Correggio, nine ; by Parmegianino, eleven : of the Venetian school, by Giorgione, five; by Titian, forty- five; by Pordenone, four ; by Sebastian del Piombo, one ; by Palma Vecchio, five ; by Paul Veronese, four : of the Bolognese school, by Annibale Carracci, two ; by Guido Reni, four : of the German school, by Albert Durer, three ; by Hans Holbein, eleven ; by George Pens, two ; by Aldegrever, one : of the Flemish school, by Lucas Van Leyden, seven ; by Mabuse, two ; by Rubens, six ; by Vandyck, eighteen. Now, though it may be assumed that the genuineness of many of these pictures was doubtful, or that many were not remarkable ; yet by far the greater number were of the highest class. To give you a more accurate idea of all the principal pic- tures in these catalogues, I send you a list of them, to which I have added, in order to complete it, those in the catalogue of James II. which probably likewise belonged to the collection of Charles I.* Among so many works, the king had selected the finest of all to be placed vrhere he could daily enjoy the pleasure of contem- plating them ; for the forty-six pictures which adorned the three rooms in which he lived at Whitehall, were, with the exception of one by Michael Cocxie, only by Raphael, Correggio, Titian, Giulio Romano, Polidoro da Caravaggio, Andrea del Sarto, Giorgione, Luini, and Parmegianino. In his private gallery adjoining he had a collection of portraits of different princely houses of Europe, particularly of the kings of England, and of his own family. * See Appendix A at the end of the volume. Letter II. THE EARL OF ARUNDEL. li In Vanderdoort’ s catalogue, seventy-nine works of sculpture are noted, among which there are but few of any importance. Most of them are busts, or small copies of modern works — for instance, by Fiamingo, Bernini, &c. The chief collections of sculpture were in the royal palaces of Greenwich and Somerset House. In the former there were 230 specimens, in the latter 120. Little information respecting them has come down to us ; but as the king caused Sir Kenelm Digby, then Admiral in the Levant, to make purchases for him there, and as the sculptures were valued at 17,989/., and some articles were sold for 200/. and 300/., we may conclude that there must have been works of value among them. The king was particularly fond of medals. Vanderdoort enumerates 443, which, however, with the exception of some Greek, and the Imperial Roman medals, are of the sixteenth and seventeenth centuries. Lastly, he had a collection of drawings by great masters, some of which Vanderdoort has likewise specified, for instance, a drawing-book of Michael Angelo Buonaroti. In this general and refined love of the arts the king had a worthy counterpart in the Earl of Arundel, already mentioned ; nay, it was he who first inspired the king with the taste. He, too, collected, with the most universal and discriminating feeling, and with princely magnificence, paintings, drawings, engraved gems, but, above all, antique sculpture and inscriptions. During his long travels on the Continent, he himself made many purchases ; and afterwards employed persons, well versed in such matters, in different parts of Europe. Thus Edward Norgate, a painter, and John Elwyn, a man of learning, were very fortunate in the purchases they made in Italy. William Petty collected a number of sculptures for him in Paros and Delos, all of which were unhappily lost by shipwreck : the Earl, however, obtained, especially from Asia Minor, a number of highly important inscrip- tions, and numerous pieces of sculpture. This endeavour to draw from the original source, which occurred to no one else, proves the high cultivation of mind in this great connoisseur. The col- lection in his house and garden in London, and in his garden at Lambeth, contained thirty-seven statues, one hundred and twenty- eight busts, two hundred and fifty marbles with inscriptions, besides sarcophagi, altars, fragments, and valuable engraved gems. The earl had a special predilection for the works of FIol- 12 THE DUKE OF BUCKINGHAM. Letter II. bein, and had succeeded in collecting an astonishing number of paintings and drawings by that master. He had also succeeded in obtaining admirable drawings by Albert Durer, by the purchase of a part of the celebrated Imhoff collection at Nuremberg. The Duke of Buckingham, the unworthy favourite of Kings James I. and Charles I., holds the third place as a collector of works of art in England at that time. Sir Thomas Roe, ambassa- dor to the Porte, collected works of sculpture for him. He bought of Rubens his fine collection of paintings, and other works of art, for 10,000L Sir Henry Wotton, the English ambassador at Venice, made important purchases for him in that city in his various travels, while the Duke himself added to his gallery. All these treasures were placed in York House in the Strand. The following details will enable you to form some general notion of the value of this collection. After the assassination of the duke in 1628, his property was sequestrated ; and on that occasion a great part of the works of art were dispersed. Some pictures, and certainly not the worst, were purchased by the king, the Duke of Northumberland, and Lord Montague. Yet, among the remainder, according to a catalogue that still exists, there were three pictures by Leonardo da Vinci, one by Andrea del Sarto, three by Raphael, one by Giulio Romano, two by Correggio, two by Giorgione, nineteen by Titian, two by Pordenone, two by Palma Vecchio, thirteen by Paul Veronese, seventeen by Tintoretto, twenty-one by the Bas- sanos, six by Palma Giovane, two by Annibale Carracci, three by Guido Reni, nine by Dominico Feti, eight by Holbein, six by Antonio More, thirteen by Rubens ; besides several by other masters. Many of the pictures undoubtedly were not genuine, others of little worth ; but there were many capital pictures among them, for instance, the celebrated Ecce Homo, by Titian, with nineteen figures as large as life, for which the Earl of Arundel in vain offered the duke 7000L, either in money or land, a very large sum for those days : there were also the finest hunting pieces and landscapes by Rubens. We have no particulars respecting the collection of sculpture ; that of engraved gems seems to have been of considerable value. The example set by the king and the first men in the kingdom, amongst the nobility and other wealthy individuals, could not fail Letter II. DISPERSION OF CHARLES I.’s COLLECTION. 13 to find imitators ; so that the English were then in a fair way of acquiring an elevated and pure taste in the fine arts, by the more general diffusion of works of the finest periods. The political events, however, which led to the death of Charles I. and the Pro- tectorship of Cromwell, put an end for a considerable time to this fair prospect. For in July, 1650, it was resolved by the Parlia- ment to sell by public auction all the pictures and statues, valued at 49,903/. 2s. 6c/., with the rest of the king’s private property. The sale took place in that year and in the year 1653, and attracted vast numbers of agents from foreign princes, and ama- teurs from all parts of Europe. The principal purchasers were, — 1. The Spanish ambassador, Don Alonzo de Cardenas. He pur- chased so many paintings, and other valuable articles, that eighteen mules were required to convey them from Corunna to Madrid. Among the pictures was the large Holy Family, by Raphael, from the Mantua collection. Philip IV. is said to have exclaimed on seeing it, “That is my pearl ! ” hence the name by which this picture has since been known to the lovers of the arts. — 2. M. Jabach, the hanker, a native of Cologne settled at Paris, who afterwards sold his valuable collection to Louis XIV., pur- chased many of the most capital pictures, among which were, by Correggio, Jupiter and Antiope, and two allegorical designs ; by Titian, the Entombment, and Christ with the Disciples at Em- maus, all of which are now among the chief ornaments of the Louvre. Those allegorical designs are also in the rich and excel- lent collection of cartoons and drawings in the Louvre, which has been unhappily withdrawn from the eye of the public for several years past. — 3. The Archduke Leopold William, at that time Governor of the Austrian Netherlands. He expended a large sum in the purchase of some excellent pictures, particularly of the Venetian school. On his accession to the Imperial throne in 1658, these, with his whole rich collection, were transferred to Vienna, and are now in the Imperial gallery in the Belvidere palace. — 4. Mr. Reynst, an eminent Dutch connoisseur of those days. He purchased several fine pictures, which he had engraved in the work on his collection. — 5. Christina, Queen of Sweden. She purchased chiefly the most valuable jewels and medals, and likewise some pictures at high prices. — 6. Cardinal Mazarin. He bought especially works of sculpture, and rich embroidery, tapestry, 14 DISPERSION OF COLLECTIONS. Letter II. and carpets, to adorn his palace at Paris. Lastly, Sir Balthasar Gerbier, and the painters De Critz, Wright, Baptist, Leemput, were eager purchasers. The sum paid for the whole was 118,080Z. 10s. 2d. Thus the greater part of the noble works of art which King Charles I. had collected, were scattered over all Europe. The celebrated seven Cartoons by Raphael were pur- chased by Cromwell’s order for the nation, for 300£. Many other purchases were made by Englishmen, and thus at least retained in the country. In the annexed catalogue of the principal pictures in the collection of Charles I., I have, as far as I was able, stated their origin, and the places where they now are. The collections of the Earl of Arundel and the Duke of Buck- ingham also experienced a similar lamentable fate. That of the last-mentioned nobleman was removed by his son to Antwerp during his banishment, and there sold by auction, to obtain means of subsistence. On this occasion the catalogue was made from which I have extracted the particulars above given. There, too, the Archduke Leopold William was a liberal purchaser, and ob- tained the fine picture by Titian, the Ecce Homo, which is now in the Belvedere gallery. When the Earl of Arundel left England, in 1642, it is said that he took his collection with him ; but this is probably to be under- stood only of his cabinet pictures and engraved gems. Most of his pictures by Holbein, of which the engravings by Hollar give us an idea, are lost. The greater portion of Albert Durer’s drawings were destroyed by the populace in the civil wars, or perished in the great fire of London. Only a series of eighty- seven portraits by Holbein, which the Lord Chamberlain the Earl of Pembroke had exchanged with King Charles I. for a picture by Raphael, representing St. George, which he afterwards gave to the Earl of Arundel, are at present in the Royal collection of draw- ings. They are known to the public by Bartolozzi’s engravings in Chamberlaine’s work. His eldest son, the Duke of Norfolk, pre- sented the marbles with inscriptions to the University of Oxford, where they have become celebrated throughout the learned world, under the name of “Marmora Oxoniensia.” Of the statues in Arundel House, which were confiscated during Cromwelhs usurpa- tion, several were purchased by the Spanish Ambassador, Don Alonzo de Cardenas. What remained were sold in 1678, when Letter II. CHARLES II. AND JAMES II. 15 streets were built on the site of Arundel House and gardens ; and the most important articles in the house were purchased by the Earl of Pembroke for his collection in his country seat at Wilton, where they still are. Those in the garden were bought by Lord Lemster, father of the first Earl of Pomfret, for his country seat, Easton-Neston. But in 1755 these also were presented to the University of Oxford by the Countess of Pomfret. The joyless spirit of the Puritans, hostile to all art and poetry, which prevailed in England, was not favourable to the collecting of works of art, and if the succeeding Kings, Charles II. and James II., took some pleasure in such works, they did not possess their father’s refined taste. The endeavours of the first, however, to recover the dispersed pictures of the collection of Charles I. merits the most honourable commendation. Nor were those endeavours by any means fruitless. After the death of the above- mentioned Mr. Reynst, the States-General purchased all the pic- tures which he had bought from the collection of Charles I., and presented them to Charles II. This monarch also gathered together so many others, that of those mentioned in the select eighty-eight, and in Vanderdoort’s catalogue, seventy may be cer- tainly pointed out, among which the nine pictures of the Triumph of Csesar, by Mantegna, are the most important. Besides the many paintings without the names of masters, most of the pictures which I have given in the Supplement certainly belong here. Charles II. again increased the Royal collection to above 1100 pictures, and above 100 works of sculpture. Among the latter were many articles of the Cinquecento style. What James II. added was not considerable either in number or value. Among the pic- tures, which amounted to little more than 100, the most important are two by Yandyck, two by Wouvermans, five sea pieces by William Van de Velde, and seven pictures by Schiavone. These treasures were distributed among the palaces of St. James, Hampton Court, Windsor, and Whitehall. The latter was still the principal gallery, and contained no less than 738 pic- tures, many of which] were by the most eminent masters. The Royal collection, therefore, suffered a new and irreparable loss by the destruction of the palace of Whitehall by fire in 1697. Of the three by Leonardo da Vinci, three by Raphael, twelve by Giulio Romano, eighteen by Giorgione, eighteen by Titian, six by 16 SIR PETER LELY. Letter IL Palma Vecchio, six by Correggio, seven by Parmegianino, twenty- seven by Holbein, four by Rubens, thirteen by Yandyck, fourteen by William Van de Velde, which were in that palace, and of which a very considerable part were evidently genuine, the greater portion were destroyed on that occasion. Among the private collections in the time of King Charles II. the most important was probably that of Sir Peter Lely, who at that time filled the same place as portrait painter which Vandyck had occupied under Charles I. Among the 167 pictures which it contained there were two by Titian, eight by Paul Veronese, five by Rubens, and three by Claude. The principal pictures in the collection, however, were those of Vandyck. Of the twenty-six by him, twenty-three were portraits, chiefly of great excellence. There was also a series of thirty-seven portraits of eminent persons, painted on a small scale in brown chiaroscuro, for the use of the engravers. Twelve of them are in the Munich gallery ; most of the others in the possession of the Duke of Buccleuch, at Montague House, in London. Lely’s collection was also rich in drawings by the great masters, especially by Raphael, Polidoro, and Michael Angelo, and also in engravings. After his death the whole were sold by auction in 1680. When the taste for collecting pictures revived after the com- mencement of the eighteenth century, it was not encouraged either by the Crown or by Parliament, but solely by private individuals, who, at the same time, introduced the custom of placing their col- lections for the most part at their country seats. The following families have been more or less distinguished by their love of art : — The Dukes of Marlborough, Bedford, Devonshire, and Hamilton ; the Marquises of Lansdowne and Bute ; the Earls of Pembroke, Exeter, Leicester, Warwick, Spencer, Burlington, Radnor, Egre- mont ; Sir Robert Walpole, Mr. Paul Methuen, and Mr. Welbore Agar Ellis ; the three latter more particularly deserve mention. These collections, which were formed by the end of the eighteenth century, are, however, of a very different character from those of the time of Charles I. They betray a far less pure and elevated taste, and in many parts show a less profound knowledge of art. We, indeed, often find the names of Raphael, Correggio, and Andrea del Sarto, but very seldom their works. The Venetian school is better represented, so that there are often fine pictures by Titian, Letter II. COLLECTIONS OF THE EIGHTEENTH CENTURY. 17 Paul Veronese, Tintoretto, and the Bassanos. Still more frequent are the pictures of the Carracci and their school, of Domenichino, Guido, Guercino, Albano ; hut there are among them hut few works of the first rank. Unhappily the masters of the period of the decline of art in Italy are particularly numerous ; for instance, Castiglione, Pietro Francesco Mola, Filippo Lauri, Carlo Cignani, Andrea Sacchi, Pietro da Cortona, Carlo Maratti, Luca Giordano. At this time also a particular predilection for the works of certain masters appears. Among these are, of the Italian school, Carlo Dolce, Sasso Ferrato, Salvator Rosa, Claude Lorraine, and Gaspar Poussin, pictures by the two lattey being frequently the brightest gems of these galleries. Of the French school, Nicholas Poussin and Bourguignon are esteemed beyond all others. Of the Flemish school, Rubens and Vandyck, and, though not in an equal degree, Rembrandt. Of all these favourite masters we see the most admi- rable specimens. Here and there are found fine sea-pieces by William Van de Velde, choice landscapes by Ruysdael and Hobbema, and pretty pictures by Teniers. On the other hand, we seldom meet with a genuine Holbein, still more rarely with a Jan Van Eyck, or with any other masters of the old Flemish and German schools. As the only collection which forms an honourable exception, and was made in the elevated taste of Charles I., I must here men- tion that of the Earl of Cowper, at his country seat, Panshan- ger, in Hertfordshire. This collection, which was formed towards the close of the century, contains chiefly pictures by Raphael, Andrea del Sarto, and Fra Bartolommeo. The amateurs of the eighteenth century were likewise very ardent in collecting drawings. Among the numerous cabinets thus obtained the most distinguished were those of the Dukes of Devonshire, the Earls of Pembroke, and of George III., which still exist ; and those of the two Richardsons and Sir Joshua Rey- nolds, which have been broken up. Private collections of ancient sculpture, some of them very numerous, arose at this period. But here the first glance is suffi- cient to show that the refined critical knowledge of art possessed in our times did not preside in the formation of them. We accord- ingly find works of superior merit more or less mixed with the restorations of Roman workers in marble. The most consider- able collections of this kind are those of the Marquis of Lans- von. T. c 18 SIR R. WALPOLE'S COLLECTION. Letter II. downe and Mr. Hope in London, of Lord Leicester at Holkham, of the Duke of Bedford at Woburn Abbey, of the Earl of Carlisle at Castle Howard, of the Earl of Egremont at Petworth, of Mr. Blundell at Ince, of Mr. Smith Barry at Marbury Hall, and of Sir Bichard Worsley at Apuldurcombe House, in the Isle of Wight. The most important of all, that of Mr. Charles Townley, now forms a portion of the British Museum. Lastly, other articles of ancient art, such as small bronzes, painted vases, terra cottas, household furniture, ornaments — in a word, all that is comprehended in the name of antiquities ; — also medals and engraved gems were eagerly sought for. The most eminent col- lectors, for instance, of terra cottas were Mr. Charles Townley ; of vases, Sir William Hamilton ; of engraved gems, the Duke of Devonshire, the Earl of Carlisle, Mr. Joseph Small, and Sir B. Worsley; of small bronzes, Mr. Kemp (whose collection was sold in 1720) ; and for objects of antiquity of all kinds, Dr. Mead. But England was destined to sustain another grievous loss of works of art. In the year 1780 the gallery of paintings belonging to Sir Bobert Walpole at Houghton Hall, of which I have already spoken, and which was very considerable both in extent and value, was sold for 30,000Z. to the Empress Catherine of Bussia, and is now one of the most important parts of the imperial gallery in the Hermitage. A number of capital works by Bubens and Vandyck were thus lost to England. A collection, too, of eighty antique works of sculpture belonging to Mr. Lyde Brown, mostly col- lected at Borne by the well-known English banker Jenkins from the Barberini Palace and from recent excavations, went in the same manner to St. Petersburg. The time, however, soon came when the consequences of the French Bevolution brought a full indemnification to this country for all its preceding losses in works of art. Of all the collections imported into England during this period the most important was the first, namely, the gallery of the Duke of Orleans. In order that you may be able to form some idea of it, I send you some particulars respecting its origin and subsequent fortunes. Philip Duke of Orleans, known by the name of the Begent, founded it in the first half of the eighteenth century with much taste and at very great expense. The principal acquisition Letter II. THE ORLEANS COLLECTION. 19 that he made was that of forty-seven pictures from the collec- tion of Christina Queen of Sweden. After her death they had come into the possession of Cardinal Decio Azzolini, from whose nephew they were purchased by Don Livio Odeschalchi, Duke of Bracciano. The heirs of the latter sold them to the Duke of Orleans. Among them were the three celebrated works by Cor- reggio — the Leda, the lo, and the Danae. The following im- portant collections were annexed wholly or in part to the Orleans gallery : — those of the three Cardinals Richelieu, Mazarin, and Dubois ; of the Dukes of Grammont, Noailles, Vendome, Menars, and Hautefeuille ; of Lord Melfort ; of the Abbe Maisainville ; of Messrs. Deval, de Nosse, de Seignelay, Forest de Nancre, Tam- bonceau, Paillet, Corberon, de Breton villiers, de Launay, de la Ravois, du Cher de Lorraine, Dorigny, and the Abbe Decamps. Lastly, the duke embraced every opportunity of purchasing single fine pictures, the most celebrated of which is the Raising of Lazarus, by Sebastian del Piombo, painted as a companion to Raphael’s Transfiguration, from the cathedral of Narbonne, Thus the gal- lery, which at his death consisted of 485 pictures, contained the most costly treasures of the most flourishing periods of the Italian, Flemish, and French schools, but was especially rich in Italian pictures of the age of Raphael and the Carracci. The celebrated connoisseur Crozat published a work, with engravings of all the pictures, by which we are made acquainted with the riches which it contained before they were dispersed. Many of the pictures, it is true, will not bear the test of the more strict critical knowledge of modern times. The twelve to which the name of Raphael is given are reduced to five, the twelve Correggios to at most the half of that number. But which of the present galleries in Europe can boast of so many undoubted pictures by those masters ? In the works of other masters the proportion is far more favourable. Thus, of the twenty-seven assigned to Titian, the sixth part at the most, and of the thirty-three by the Carracci a very small number, are liable to any well-founded objection. Though the pictures of the Flemish school were not so numerous, the gallery contained, however, nineteen by Rubens, twelve by Vandyck, seven by Rem- brandt, ten by Teniers, four by Gerard Dow, three by Franz Mieris the elder, seven by Netscher, four by Wouvermans, and many other valuable works. Among the pictures of the French c 2 20 THE ORLEANS COLLECTION. Letter II. school were the celebrated Seven Sacraments by Nicholas Poussin. Louis Duke of Orleans, the son of the Regent, nearly did the gallery an irreparable injury. In a fit of blind fanaticism he cut the heads of Leda and Io out of the pictures of Correggio, and burned them. Those pictures were purchased afterwards at the public sale of a Mr. Pasquier for Frederic the Great, and are now in the Royal Museum at Berlin. If the unhappy fanaticism of Duke Louis of Orleans had thus already deprived the gallery of some of its greatest ornaments, it was entirely broken up by the lamentable ambition of Philip, known by the name of Egalite : in order to procure money for the attainment of his political objects, he sold the whole collection in the year 1792 for a mere trifle. For all the pictures of the Italian and French schools, which amounted to 295, he received from Mr. Walkners, a banker of Brussels, the sum of 750,000 livres ; and for the pictures of the Flemish, Dutch, and German schools the sum of 350,000 francs from Mr. Thomas Moor Slade, an Englishman. With the laudable view of preserving these trea- sures for his country, M. Laborde de Mereville, a wealthy noble- man, bought the first division of Mr. Walkners for 900,000 francs. But when, like so many other nobles, he was compelled to leave France during the Revolution, he caused his pictures to be brought to England, where, having no resources to support himself, he sold them for 40,000?. to the house of Jeremiah Harmann in London. Thus matters stood till the year 1798, when Mr. Bryan, an ardent friend of the arts, prevailed on the late Duke of Bridge- water, the Earl of Gower, afterwards Marquis of Stafford, and the Earl of Carlisle, to purchase this splendid collection for the sum of 43,000/., and thus to secure it for ever to England. These noblemen then employed Mr. Bryan to value each picture sepa- rately, the result of which amounted to the sum of 72,000/. ; and they then exhibited them for public sale from the 26th of Decem- ber, 1798, to the end of August, 1799. After they had selected for themselves ninety-four pictures, of the value, according to Bryan’s estimate, of 39,000 guineas, there were disposed of by private sale pictures to the amount of 31,000 guineas. Lastly, the sixty-six pictures which still remained were sold by auction in the following year, and, with the large sum received for the exhi- Letter II. ACQUISITIONS FROM FRANCE AND ITALY. 21 bition, produced nearly 10,00(F. In this manner the three noble- men obtained the ninety-four pictures, which they had for the most part selected as the finest, for little or nothing. The greater portion of the other division of the Orleans gallery, containing the pictures of the Flemish, Dutch, and German schools, was purchased by Mr. Slade in conjunction with some other gen- tlemen, namely, Lord Kinnaird and Messrs. Moreland and Ham- mersley, and conveyed in the year 1792 to Mr. Slade’s house at Chatham, where it remained for some months. But in 1793 it was brought to London, exhibited, and sold by auction. I send you a list of all the principal pictures of this gallery also, with the names of the first purchasers and the present possessors, as far as I have been able to ascertain them.* The Orleans collection was next succeeded by that of the French minister M. Calonne, consisting of 359 pictures, which he had formed at a great expense during a series of years. It con- tained a number of the finest chefs-d’oeuvre of the Dutch school of the seventeenth century, as well as some admirable works of French and Spanish painters. The prices which were paid at the auction in the year 1795 may, on the whole, be called very mode- rate for England. By the dispersion of these two collections in England a taste for fine pictures was astonishingly increased, and succeeding years afforded the most various and rare opportunities of gratifying it in a worthy manner. For when the storm of the French Revo- lution burst over the different countries of Europe, and shook the foundations of the property of states, as well as of individuals, the general distress, and the insecurity of property, brought an immense number of works of art into the market, which had for centuries adorned the altars of the churches as inviolably sacred, or ornamented the palaces of the great, as memorials of ancient wealth and splendour. Of these works of art England has found means to obtain the greater number and the best. For no sooner was a country overrun by the French than Englishmen skilled in the arts were at hand with their guineas. In Italy, as early as 1797-98, Mr. Day, a painter, made very important acquisitions. Next to him, Mr. Young Ottley, afterwards Mr. Buchanan, a picture-dealer, and Messrs. Champernowne and Wilson success- * See Appendix B. 22 ACQUISITIONS FROM THE NETHERLANDS. Letter II. fully exerted themselves. Instant, pressing necessity induced many families to dispose of celebrated pictures to English bankers. In this manner Mr. Sloane especially obtained many valuable pictures in Home. Thus it happened that most of the great families of Italy lost more or less of their treasures of art. This fate fell with peculiar severity on Rome, and especially on the families Aldrobandini, Barberini, Borghese, Colonna, Corsini, Falconieri, Giustiniani, Ghigi, Lanzelloti, and Spada ; then on Genoa, where the families of Balbi, Cambiasi, Cataneo, Doria, Durazzo, Gentile, Lecari, Marano, Mari, and Spinola sold the whole or part of their collections of art. In Florence the palace Riccardi, in Naples the royal palace Capo di Monte, lost many admirable pictures. Lastly, a great number of churches throughout Italy parted with their altar-pieces. In 1841 the collection of the Duke of Lucca came to London for sale, also a number of the most valuable pic- tures from the Fesch gallery, sold by auction in Rome, 1843-44. Finally, Lord Ward, a few years later, became the possessor of the entire collection of Count Bisenzio, and also of some of the most valuable of the Fesch pictures which had been bought in at the auction. In the same manner, and with the same success, have the English exerted themselves from the year 1798 to the present time in Belgium and Holland. At the beginning of this period Mr. Bryan, who had taken so great a part in the purchase of the Orleans collection, was especially active ; and afterwards Messrs. Buchanan and Smith. Of the immense number of valuable pic- tures spread over each of these countries from their native schools, the greater portion of the finest have been brought to England. It is here we must now look for so many pictures which in former times adorned the collections of Van Zwieten, Van Hasselaer, Lubbeling, Van Leyden, Schlingelandt, Lormier, Braamcamp, and numerous others, and which even in this century belonged to Smeth Van Alpen, Muilman, Brentano, and Van Goll. Two col- lections, moderate in size, but very choice, that of the Countess Holderness, formerly belonging to Greffier Fagel, and that of the banker Crawford, were sold by auction in London in 1802 and 1806. The acquisitions also made in these countries during the last ten years have been very important. The entire collection of Letter II. ACQUISITIONS FROM SPAIN. 23 Demoiselle Hoffmann at Harlaem, containing a set of master- works of the Dutch school, were purchased in 1846 by Mr. Niewenhuys, and brought to London. This was followed in p 1847 by the well-known collection of Baron Yerstolk. From Bel- gium also came single pictures from the collections of MM. Van Schamps and Yan Saceghem at Ghent ; also pictures from the sale of Lord Mornington’s collection at Brussels in 1846. Finally, England may boast of a selection of the finest works from the magnificent collection of the King of the Netherlands, sold in 1850 at the Hague. It was not until the French invasion, in the year 1807, that an opportunity offered of procuring a number of works of art in Spain. This opportunity was the more important, because till that time very few pictures by Spanish masters were to he met with out of Spain, the exportation of them being prohibited under very severe penalties. Besides, it was the more difficult to make any acquisition of importance, because the most valuable pictures belonged either to the Crown, or to rich convents, or were heir- looms in great families. Mr. Buchanan, whom I have already mentioned, determining to profit by the events consequent on 1807 to obtain works of art, had the good fortune to find in the celebrated English landscape-painter Wallis an agent, who, by his knowledge, perseverance, and intrepidity, succeeded in triumphing over all the difficulties and dangers which the dreadful state of the country threw in the way of his undertaking. Thus, chiefly by his own exertions, hut in some instances by those of others, pictures of the first class were brought from Spain to Eng- land. From Madrid the principal pictures obtained were the celebrated Murillos from the palace of Santiago, and many of great excellence from the collections of Alba, Altamira, and the Prince of the Peace ; nay, some pictures were even obtained from the Escurial : besides this, the convent of Loeches, near Madrid, surrendered the celebrated colossal pictures by Rubens, and Seville many fine Murillos. While the English thus took advantage of the circumstances of the times to collect works of art in Italy, Belgium, Holland, and Spain, they by no means lost sight of France, where they had made such a splendid commencement of all their operations by the acquisition of the Orleans gallery. Accordingly, when the collec- 24 ACQUISITIONS FEOM FRANCE. Letter II. tion of Citizen Bobit, which was very rich in masterpieces of the Flemish, Dutch, and French schools, was sold by auction at Paris, in 1801, Mr. Bryan, with two connoisseurs, Sir Simon Clarke and Mr. Hibbert, purchased forty-seven of the best pictures, and brought them in the following winter to London to be sold by auc- tion ; Sir Simon Clarke and Mr. Flibbert retaining a certain number at a stipulated price. Eventually Mr. Buchanan also went to France for the same object. Besides several valuable acquisitions from different quarters, he brought to England some admirable specimens of the Dutch school from the rich collection of Mr. Laperriere, the receiver-general, which was sold by auction in 1817. His most important achievement, however, was the purchase, in the same year, of the collection of Prince Talleyrand. It con- sisted of forty-six pictures, the greater part of them being the most celebrated works of the Dutch school, from the principal collections in Europe. Many of these pictures have certain names : for in- stance, “ Les Fagots,” by Berghem, from the collection of the Duke of Dalberg ; “ La Le^on de Musique,” by Metzu, from the collection of the Duke of Choiseul ; “ Les (Euvres de Misericorde,” by Teniers, from that of the Duke of Alba ; “ La Paix de Mun- ster,” by Terburg, from that of V an Leyden, in Holland. The latter picture contains original portraits of the sixty-nine ambas- sadors of the several European powers, who signed the treaty of Westphalia. ' There was likewise in this collection an admirable Claude Lorraine, from the Electoral gallery at Cassel. This choice cabinet, for which 320,000 francs were paid, was divided, with the exception of a few pictures, between two English gentle- men, Mr. John Webb and Mr. Allnutt. The English have also purchased most of the good pictures from the collections of Erard and Lafitte, which were sold by auction in Paris. The number of excellent pictures which have crossed over from France to Eng- land since 1835, is no less considerable. Many of the purchases at the sales of the collection of the Duchess de Berri, in 1837 ; of Count Peregaux, in 1841 ; of M. Aguado, in 1843 ; of Count Moncalm of Montpellier, in 1848 ; of Count Moray (consisting chiefly of pictures from the Duval collection at Ghent), in 1847 and 1848 ; of M. Casimir Perrier, in 1848, were for England. The small collection of M. Tarral of Paris, which contained several valuable pictures, was sold by auction in London in 1847 and Letter II. FRENCH COLLECTIONS. 25 1848. Finally, many pictures of the old Netherlandish and Dutch schools have come to England, including the collection of Prince Wallerstein, and of the late bookseller, Campe, at Nu- remberg. In proportion as the number of capital pictures thus imported gradually increased, the more did a taste for them spread, so that with the greater demand the prices continued to rise. The natural consequence was, that whoever in Europe wished to sell pictures of great value endeavoured to dispose of them in England. Accordingly, an immense number of pictures were consigned over to England. From the Netherlands, a Mr. Panne, and more especially the family of Niewenhuys, brought many, among which were some of the highest class, from old family collections. As even the smallest towns in Holland contained often pictures by the best masters, that country was regularly explored like a hunting- cover by the picture- dealers ; and in such little towns notice was given by a public crier that those who had old pictures might come forward. By this means charming works by Hobbema, Buysdael, and other masters, were brought to light. In the year 1815, Lucien Bonaparte’s collection of 196 pictures, containing many good specimens of the Italian, Dutch, and Spanish schools, was brought from Italy to be sold by auction in London.* About the same time the collections of Spanish masters were brought to London which General Sebastiani, and the Chevalier de Crochart, Paymaster-general of the French army, had found means to obtain while they were in Spain : among them were some pictures of great value. Lastly, Messrs. Delahante, Erard, Le Brun, and La- fontaine, also brought over pictures of great value from Paris. These were selected from the celebrated French collections of Ban- don de Boisset, of the Duke de Praslin, the Duke de Choiseul, the Prince de Conti, Poulain, Sereville, Sabatier, Tolazan, Robit, Soli- rene, &c., and from the great amount of excellent pictures which the Revolution had brought to France from Italy, Spain, Belgium, Holland, and Germany. Those gentlemen, especially Delahante and Le Brun, were such profound judges of painting, that it is no wonder that these pictures included a series of masterpieces of all the schools. I have been obliged to write all these pages to give you a sum- * About twenty of the best pictures were left at Rome. 26 COLLECTOKS SINCE 1792. Letter II. mary of the best things that have been imported into England since 1792. Add to these the great number of excellent pictures which Englishmen have purchased singly during their travels, or dealers of less reputation have brought to England, and you will be able to form a tolerable idea of the extraordinary treasures which this country possesses. Finally, the number of beautiful pictures which have been brought to England in this last-mentioned way during the last sixteen years has, according to information I have been able to obtain, been especially great. The desire for the possession of works of art being thus excited, the decided tendency of the na- tional taste manifested itself by a general preference for the Flemish and Dutch schools of the seventeenth century, and, among the Italian, by a great predilection for the school of the Carracci. Thus the immense number of pictures of that school, which were in the Orleans gallery, were the earliest and most eagerly purchased. The chief reason that may be assigned for this preference is, that the English generally employ pictures to ornament their apartments, for which purpose the pictures of these schools, by their agreeable and finished execution, are peculiarly suitable. Above all, there was a rage for certain masters of the Dutch school, particularly for Hobbema, Cuyp, Paul Potter, Peter de Hooge, Teniers, Adrian, and Isaac Ostade, and the marine painter, William Van de Velde. But at the same time the ancient predilection for the works of Rubens, Vandyck, Rembrandt, Claude, Nicolas and Gaspar Poussin, and Carlo Dolce, remained in full force. In conclusion, I add a list of the most distinguished collectors in England since 1792, who, by transplanting the most admirable works of art into their country, have conferred upon it a lasting benefit : — The Duke of Bridgewater, the Marquis of Stafford, the Earl of Carlisle, the Duke of Buckingham, the Earl of Daruley, the Marquis of Lansdowne, the Duke of Richmond, Lord Ber- wick, Earl Fitzwilliam, Lord Kinnaird, the Earl of Suffolk, Lord North wick, Sir Abraham Hume, Sir Francis Basset, Lord Farnborough, Lady Lucas (since Countess de Grey), Messrs. Henry and Thomas Hope, Angerstein, Samuel Rogers, Hibbert, Maitland, Willet, William Smith, Penrice, Elwyn, Hart Davis, Lord Radstock, Messrs. Aufrere, George Byng, Watson Taylor, Letter II. DRAWINGS. 27 Walsh Porter, Wells, Jeremiah Harman, Champernowne, Sir Thomas Baring, Mr. Coesvelt, Sir Simon Clarke, Earl Grosvenor (now Marquis of Westminster), Lord Dudley, the Rev. Holwell Carr, Mr. Beckford, the Duke of Wellington, the Marquis of Londonderry, Mr. Miles, Lord Ashburton, Sir Charles Bagot, Sir Robert Peel, and Mr. Munro. I have enumerated these collections nearly in the order in which they rose in importance. Finally, I must mention as one of the most distinguished, the private collec- tion of King George IV., the formation of which coincides, in point of time, with the two last. About one-half of these collections are now partly dispersed, partly transferred to public institutions, and partly diminished in importance, by the sale of some of the pictures ; of the others, which still exist, several are, however, continually increasing. The ancient fondness of the English for drawings by the old masters also found the amplest gratification after the breaking out of the French Revolution. In Italy, Mr. Young Ottley embraced the opportunity of acquiring an admirable collection of draw- ings by the greatest Italian masters, especially by Raphael and Michael Angelo. Subsequently, Mr. Samuel Woodburn, the most eminent dealer in works of art in England, was extremely success- ful. In Pesaro he purchased, of the Marchese Antaldo Antaldi, the remainder * of the collection of drawings in that nobleman’s possession, and which had belonged to Timoteo della Vite, a scholar of Raphael’s, among which there were especially choice drawings by that great master. The harvest that he gathered in Rome was far more important. M. Vicar, a painter residing in that city, a man of refined taste in the arts, had, in his character of one of the commissioners of the French Republic for selecting works of art in Italy to he transferred to France, enjoyed the opportunity of forming for himself a collection of drawings, which contained a selection of the most excellent, and especially a rare treasure in drawings by Raphael. Mr. Woodburn purchased this collection for 11,000 scudi. At Paris, he bought for 140,000 francs the celebrated collection of drawings of Paignon Dyonval, a selection from that of the well-known Baron Denon, which, as French commissioner-general for all works of art which France appropriated to itself in the countries occupied by its armies, he * The others were "bought in 1714 by the famous French dealer Qrozat. 28 ILLUMINATED MSS. Letter II. had obtained in different parts of Europe ; and lastly, the collec- tion of Mr. Brunet, the architect. In Holland, too, every oppor- tunity was seized to obtain drawings by the ancient masters of that country from the collections of old families. In the same manner many articles from the celebrated collection of Count Fries in Vienna, were transferred to England. The greater part of all these treasures flowed into the collection of Sir Thomas Lawrence, late President of the Royal Academy, who, with an enthusiastic passion for works of art of this description, spared no expense, and is said to have laid out 40,000?. upon them. Other important collections were formed, the best known of which were those of Messrs. Esdaile, Ford, Hibbert, Payne Knight, Mordant Cratche- rode, and General Sir Charles Greville. In the last sixteen years also the collections of Baron Verstolk and of the King of the Netherlands have afforded excellent opportunities in this line, of which full advantage has been taken. Another branch of the fine arts, of which the English were very fond, were MSS. illustrated with miniatures, which are of so much value in the history of painting ; for, as more important remains of the early centuries of the middle ages are entirely wanting in most countries in Europe, and are very rare in others, it is only by means of those miniatures that we can obtain a knowledge of the state of painting from the fourth to the fifteenth century. They teach us how Christian art, long faithful, in conception and me- chanical part, to its mother the antique, gradually assumed in both a new and peculiar manner ; and how, subsequently, the tendencies of the different nations were impressed upon it. In them alone is contained the complete and wide circle of representations and inventions which the paintings of the middle ages have described. Nay, from them proceeded the entire development of the art of painting, both in Italy and the Netherlands, in the fifteenth cen- tury. For the celebrated Fiesole, who was the first in Italy who, in his paintings, made the happiest use of the variety of intellectual expression in the human countenance, and thereby led to a new era in the arts, was the pupil of a miniature painter, and first cul- tivated that quality in this branch of the art. In like manner the celebrated brothers, Hubert and John Van Eyck, the founders of the great Flemish school, were essentially disciples of that school of miniature painters, which in the second half of the fourteenth cen- Letter II. MSS. AND ENGRAVINGS. 29 tury was so flourishing, and had attained so high a degree of per- i fection in the Netherlands. Of the great number of these valuable works of art which were brought to light, especially by the dissolu- tion of the monasteries in all parts of Europe, an astonishing pro- portion has come over to England, and is preserved there, partly in public institutions, partly in private collections. The interesting collections of Messrs. Edward Astle and Dent, of Sir Mark Sykes, of the Duke of Sussex, and of Mr. Young Ottley, are already dis- persed. Of those that still exist, those of the Duke of Devonshire at Chatsworth, of the Earl of Leicester at Holkham, contain very valuable specimens. One of the most considerable of all, that of Mr. Francis Douce, was bequeathed by him to the Bodleian Library at Oxford, in 1834. The interest in old engravings which the works of Von Heinike, Bartsch, and Zani, excited all over Europe, was especially lively in England, where it was still further increased by a work by Mr. Young Ottley, whom I have so often mentioned.* With the taste thereby excited for such productions, which was pursued with the natural English aptitude for applying to the right sources, and with the national command of guineas, it followed that the greater portion of all that was most scarce and remarkable on the whole continent, in niello plates, impressions from them, woodcuts, en- gravings, and etchings, which the events of the Bevolution ren- dered accessible to purchasers, all found their way to England. Hither came the famous St. Christopher from the monastery of Buxheim, near Memmingen, which is supposed to be the oldest woodcut inscribed with a date (it bears that of the year 1423), as well as many a niello plate and niello impression from Florence and Genoa. But I must tell you in a few words what a niello plate is. The goldsmiths in the middle ages used frequently to trace with the graver in metal plates, generally silver, all kinds of designs, sometimes only arabesques, sometimes figures ; and to fill up the lines so traced with a black substance of sulphate of silver, so that the design appeared very distinct contrasted with the silver. In Italy, where this species of ornament was executed frequently and with the utmost success in the fifteenth century, it was called from its black colour, in Latin, Nigellum, and in Italian, Niello. In this manner church plate, snuff-boxes, watches, sheaths, buttons, * 1 An Enquiry into the Origin and Early History of Engraving.’ London, 1816. 4to. 30 NIELLO PLATES. Letter II. and many other small silver articles were ornamented. In onr time this art, after having been long forgotten, has been very success- fully revived by Mr. Wagner, a goldsmith of Berlin, who died some years ago in Paris. Now, these niello plates are especially important to the history of art, because, according to Vasari’s account, they gave rise to the invention of engraving on copper, though it is much more probable that it originated in the Nether- lands. According to his account, Maso Finiguerra, a skilful gold- smith, who lived in Florence in the middle of the fifteenth century, was the first who, before he filled up the tracings in the silver plates with the niello, used to apply a black fluid, and laying a damp paper upon them, to pass over it with a wooden roller, by which means the paper imbibed the fluid from the tracings, and thus gave a fac-simile of the design on the plate. Such impres- sions of niello plates are therefore very eagerly sought after by amateurs as the earliest and first specimens of the art of engraving. The goldsmiths used also to make another kind of impression on plates of sulphur; for this purpose, they spread upon the niello plate a clay so fine, that it penetrated into all the tracings, which, the clay being taken off, appeared upon it in relief. Upon this they poured melted sulphur, which adhered to the relief, and, when it was cool, represented the design indented, as in the niello plate. They then filled up the design with a black substance, so that these sulphur plates looked like engravings on yellow paper. The two most considerable collections of this kind formed in England were those of Sir Mark Sykes in London, and of the Duke of Bucking- ham at Stowe. In etchings by the great painters, the collection of Mr. John Sheepshanks, and, for particular masters, that of Mr. Ford, both in London, were very rich and valuable. The recent sales of the Verstolk and Otto collections— the latter at Leipsic — have doubtless sent over many treasures to England. Compared with this great extension of taste for all the various branches of the arts of painting and design, that for works of sculpture appears in England, since the Revolution, only in in- dividual instances. The taste for modern sculpture is the most prevalent, and the works of Canova, Thorwaldsen, and the English sculptors, are therefore very numerous in England. On the other hand, one British nobleman was the means of bringing into this country works of ancient sculpture of the highest importance. In Letter II. THE ELGIN MARBLES. 31 this instance, also, it was done on so grand a scale as to com- pensate for the absence of other collectors ; nay, his acquisitions may be well laid in the balance against all those splendid treasures of pictures which we have just reviewed. This one man was Lord Elgin, and these acquisitions consist in nothing less than in the principal works which have come down to us from the brightest era of Greek sculpture, and are known to every person of education 1 throughout Europe by the name of the Elgin Marbles. Though this undertaking was conducted by Lord Elgin with the greatest caution, it required for its success the political state of things produced by the Revolution: When Lord Elgin, on his appointment, in the year 1799, as ambassador extraordinary of Great Britain to the Porte, went to Constantinople, he took with him from Italy the well-known landscape-painter, Don Tito Lusieri, the Calmuck Feodor, an able designer, two architects, and two skilful moulders, settled them in Athens, and employed them in making accurate plans of all the ancient buildings, and j casts of all the important works of sculpture and architectural ornament. While the artists were thus employed, they saw with grief the destruction which both Turks and travellers daily com- mitted upon the monuments. By such barbarism, an Ionic temple on the river Ilissus, which was still in a tolerable condition in the year 1759, had by this time entirely disappeared; and several of the largest statues by Phidias had been pounded by the Turks and burnt for lime. It was then that Lord Elgin determined to exert himself to the utmost, in order to rescue for England, and con- sequently for civilized Europe, as much of the sculpture and orna- ments as possible from the already dilapidated buildings. The defeat of Napoleon’s expedition to Egypt, and the restoration of that country to the Porte, brought about the opportunity for attain- ing this object; no request proffered by England to the Porte could now well be refused ; and thus Lord Elgin succeeded, in 1801, in obtaining two firmans, by which he had access to the Acropolis with permission to draw, take casts of, and to carry away whatever he thought proper. Accordingly he took from the Parthenon all the statues from the pediments except two, fifteen metopes, and three sides of the bas-reliefs which ran round the cella of the Temple as a frieze, not to mention many other works. By the exhibition of these sculptures in London, and by the dis- 32 ANTIQUITIES. Letter II. tribution of plaster casts of them over Europe, all friends of the arts had, for the first time, the opportunity of making themselves acquainted, by actual inspection, with works which may be indis- putably assumed to have been executed partly by the greatest of the Greek sculptors, Phidias himself, and partly according to his designs and under his directions. The most celebrated antiquaries and artists in Europe, Visconti, Canova, vied with each other in their enthusiastic admiration of the perfection of these sculptures, which very few of the antiques previously known approach in excellence. In my opinion these works are as far superior to all the antique sculptures before discovered, with very few T exceptions, as the works of Ilomer to the later Greek and Roman poems. The acquisition of them by civilized Europe is, therefore, of as much importance, with respect to the fine arts of antiquity, as it would be with re- spect to ancient poetry, if the works of Homer had been lost, and considerable fragments of them only found in later days in the library of some Greek monastery. Many Englishmen have collected objects of antiquity of all kinds in Greece, as well as in Italy, so that a great portion of the finest of such relics are also in England. Among the principal collectors of such articles may be mentioned Mr. Payne Knight (especially of original small bronzes), Messrs. Rogers, Rurgon, Leake, and Hawkins of Bignor ; the latter possesses the wonderfully beautiful chased bronze relief found at Dodona, which represents Paris and Elelen, and is known in plaster casts to all friends of the arts. In comparison with the great and variously directed exertions of private individuals for the acquisition of w^orks of art, the part taken by the English Government has been very small. And even this has proceeded, in the first instance, from private indivi- duals. It was a legacy which first led to the foundation of the British Museum in 1753 ; and the collections which have since raised it to its present height were formed by private persons. A public gallery of pictures was first instituted in 1816, and here again this was formed by the purchase of one private collection, and the legacy of two others. In the warm interest I feel for the advance of the cause of art in England, I have been the more delighted to observe the pro- gress it has made during the sixteen years which have elapsed since my first visit. Not only do I remark a great increase of Letter II. PATRONAGE OF GOVERNMENT. 33 feeling for works of art, both of the old and modern schools, hut also an incomparably greater Catholicism of taste, and a growing conviction of the high importance of the arts, no less as a means of moral culture than as the assistants in various branches of manufacture. The truth of what I state has been brought before me in very various ways. Above all, the Government, both by what it has done for the advance of already existing institutions, and for the foundation of new ones, has proved that it acknow- ledges the duty incumbent upon it. Thus the treasures of art belonging to the British Museum Jiave been increased in a really magnificent spirit. By the acquisition of the Assyrian and Lycian sculptures the collection of large works of sculpture has become the first in the world. While, in 1835, as regards the department of antiquities, vases, and coins, the British Museum stood far behind the Continental Museums, it has now, by a series of fortunate acquisitions, been advanced to a level with them. The purchases of manuscripts with miniatures, of the middle ages, of various countries and schools, have been so important that this department of the library may now fairly compete with collections of the same kind in the Vatican, in Vienna, and Munich, and is only surpassed by that in the Bibliotheque Imperiale at Paris. The collection of engravings also, formerly but poor, has been so enriched by judicious purchases, that in rare specimens of all the schools of the 15th century, and in the etchings of the Dutch masters of the 17th and 18th centuries, it need not fear comparison with the first collections of this kind in Paris, Vienna, Dresden, Berlin, and Munich. In point of drawings by the old masters, however, though possessing single examples of great distinction, the British Museum is still far in arrear, which is the more to be i lamented, since the sale of such collections as that of Sir Thomas Lawrence and of the King of the Netherlands are never likely to recur. The National Gallery has been far less the object of the atten- tion of Government than the British Museum. Nevertheless the mere indiscriminate purchase of pictures has ceased, and it has been enriched by the addition of specimens, partly by the great masters of the most developed forms of art — by Raphael, Rubens, Rembrandt, Velasquez, and Murillo — and partly by works of the 34 ARCHITECTURE. Letter II. 15th century — the period of the formation of the schools of art — • by Francia, Perugino, Giovanni Bellini, and Jan van Eyck. It is true that opportunities have also here been neglected for the acquisition of such treasures as would have rendered the Gallery more consistent with the wealth and greatness of the English nation — such as the sale of the Fesch Gallery, and that of the King of the Netherlands, — and neglected never to he recovered. But while writing this I rejoice to hear that the high national import- ance of a public gallery of pictures has been more fully recognized both by the nation and the Government, and that a proposition on the part of the Royal Commissioners to devote a considerable por- tion of the surplus fund of the Great Exhibition to the purchase of land for the erection of a building fitted for a National Gallery has been met by Parliament in a spirit of equal liberality. It is also very satisfactory to know that Government now recog- nizes the fact, that but little is gained to a people in the acquisi- tion even of the greatest treasures of art unless teachers be also provided who are qualified to instruct both learned and simple in the real appreciation of them. This object has been admirably effected in the British Museum by the appointment of such indi- viduals as Messrs. Birch, Burgon, Newton, Vaux, and Frank in the department of sculpture, antiquities, vases, coins, &c. ; by that of Sir Frederick Madden, and of Messrs. Holmes and Bond, in the department of the illuminated manuscripts ; and of Mr. Car- penter in that of prints and drawings. Nor, in the interest and knowledge thus cultivated for the art of by-gone days has that of the present time been overlooked. Architecture itself in its grandest form has been magnificently encouraged by the erection of the New Houses of Parliament under the auspices of one so gifted as Sir Charles Barry ; while the formation of the Commission of the Fine Arts for the embel- lishment of the interior of the building, under the immediate superintendence of H.R.H. Prince Albert, has promoted the highest monumental forms of art, both in sculpture and painting, and called forth the exertions of the most eminent native talent. Here, again, the Government has done its best in the appoint- ment of a painter of such varied acquirements as Sir Charles Eastlake as Secretary to the Commission. Further, an important Letter II. PRIVATE COLLECTIONS. 35 step has been taken for the encouragement of art as connected with industry, by the institution of Schools of Design, all of which has taken place since 1835. On the other hand, as regards the collecting of works of art of various descriptions, the taste and munificence of private indi- viduals has in no way during that time fallen short of that of the Government. For though, in the nature of things, private must yield to public patronage in the acquisition of the larger speci- mens of sculpture, of objects of antiquity, vases, and coins, yet in that of illuminated MSS. it stands almost on the same level — in that of drawings surpasses it — and as regards pictures has utterly outstripped it. A short summary of the various collections which have arisen, or, at all events, been greatly increased, since 1835, will prove what I have advanced. Among the collections of pictures, that of the Marquis of Hert- ford unquestionably takes the first place, consisting of a series of chef d’ oeuvres, gathered together at the (for a private individual) incredible sum of 200,000L The majority of these, it is true, are of that class of art till lately most popular in England ; some, however, are of the epoch of Raphael. Next in order may be taken Mr. Holford’s gallery, in the collection of which a far greater universality of taste has been displayed, consisting, as it does, not only of the favourite Nether- landish and Italian masters of the 17th century, but also of Italian pictures of the golden age of art. This is worthily suc- ceeded by the collections of the same enlightened class of Messrs. Tomlin, Baring, and Munro. A few but good pictures of the Italian schools are also in the possession of Mr. John Harford,' and of the Earl of Malmesbury. Various collections also exist, extending not only to the Italian schools of the 15th century, but even to the Netherlandish and German schools of the same period ; — a taste formerly unknown in England. Of such class are the collections of H.R.H. Prince Albert, of Lord Ward, Mr. Labouchere, Mr. Fuller Maitland, Mr. Alexander Barker, and Lord Elcho. Others unite even the Italian forms of art of the 14th Century, such, for instance, as the collections of Mr. Davenport Bromley, and of the Rev. Mr. Fuller Russell. Finally, some collectors have especially devoted themselves to the old Netherlandish and German schools alone, 3G PKIVATE COLLECTIONS. Letter II. as Lord Ellenborough and Mr. Green. A number of gentlemen have in their collections adhered, though not exclusively so, to the taste of the preceding period, such as Mr. Wynn Ellis, Mr. Heusch, Mr. Charles Bredell, Lord Overstone, Mr. Ford, Baron Lionel Rothschild, Sir Anthony Rothschild, Mr. Fountaine, Mr. Foster, Mr. Henry Bevan, Mr. Morrison, Mr. Frederick Perkins, Mr. Robarts, and Mr. Wombwell. At the same time the taste for pictures of the English school has exceedingly increased. Among the larger and smaller col- lections of this kind which have been formed since 1835, Lnee~d r only- mention; the following: — That presented to the nation by Mr. Vernon, that of Mr. Sheepshanks, of Mr. Baring, of Lord Lansdowne, of Messrs. Bicknell, Young, and Gibbons. In the department of drawings by the old masters, the collec- tion belonging to the Taylor Museum at Oxford, consisting of a considerable number of drawings by Raphael and Michael Angelo, which would take precedence even in the largest collec- tions of this kind, must be mentioned first here. The drawings were purchased from Sir Thomas Lawrence’s collection by means of the private subscription of a few friends of art, assisted by a liberal present on the part of Lord Eldon. Next in degree among private collections may be considered that of Dr. Wellesley, at Oxford ; Messrs. Bailey, C. Sackville Bale, Davenport Bromley, Bryant, Chambers Hall, Haywood Hawkins, Holford, Andrew James, Proctor, Russell, Strutt, and Stuart, possess also more or less numerous specimens of great value. The taste for the miniatures of the middle ages has also greatly increased, and Lord Ashburnham has amassed a collection which in number and value far exceeds any other private collection in the world, and stands on a par in many respects with those in the first public libraries. Next in order may be considered the valuable though limited collections of the late Duke of Hamil- ton, of Mr. Holford, and of Mr. Johnson, the professor of astro- nomy at Oxford, all containing most interesting specimens. Nor has the popular taste for engravings and etchings in any way. diminished. The principal collections are those of Mr. Holford, containing impressions moderate in number but selected with the utmost taste ; of Dr. Wellesley of Oxford, of far greater extent ; of Mr. Johnson of the same city ; of Mr. Hawkins of Letter II. PRIVATE COLLECTIONS. 37 Bignor, famous for the specimens of Albert Durer ; and finally, of Messrs. William Russell, Chambers Hall, and Andrew James. As regards etchings only I need only mention the collection of Mr. Sheepshanks, purchased by the British Museum. The taste for antique sculpture and antiquities has also gained many adherents during this period, of whom I may instance Lord de Mauley, the Duke of Buccleugh, and Mr. Auldjo. Finally, the feeling for the monuments of art of the middle ages, which commenced with architecture, and was mainly pro- moted by the works of Mr. John Britton, has gone on extending in widening circles, till it now comprises every kind of vessel and implement for w r orldly as well as ecclesiastical purposes, — vases, tapestries, glasses, &c. The amount of interesting objects of this kind collected in England was proved by the Mediaeval Exhibi- tion in 1850 in London. Among the collectors in this line may be mentioned Mr. Maguire, the Duke of Buccleugh, Lord de Mauley, Baron Lionel Rothschild, Sir Anthony Rothschild, Mr. Morgan, Mr. Auldjo, Mr. A. J. B. Llope, Mr. Slade, Mr. Bernal, Mr. Hodgkinson, Mr. Curzon, Herr Rohde Kaerkins, Herr Schwabe, Mr. Field, and Mr. Hailstone. You will now be able to form an idea of the astonishing treasures of art of all descriptions which this island contains. Thanks to the excellent introductions with which I am provided, I may hope to study them at my leisure, and feel no apprehension but that of being unable to master the whole. In this embarras de richesses I frequently wish for the hundred eyes of Argus, all of which would find ample employment here. 38 THE BRITISH MUSEUM, Letter III. LETTER III. THE BRITISH MUSEUM. The British Museum — Origin and Contents * — Egyptian Antiquities — Their character — Impression produced by the colossal figures — Casts from Egyptian sculptures — Sarcophagi and mummy-cases — The Nimroud sculptures • — Their character, morally and artistically considered — Their probable date — Description of various slabs and other objects — Col- lections of Greek and Roman sculptures how formed — Sculptures of the Parthenon — Statues — What distinguishes them from others — Metopes and friezes — The laws of their style — Sculptures from the Temple of Theseus — From the Pronaos — From the Temple of the un winged Victory — Choragic monument of Lysicrates — Friezes of Phigalia — Sculptures from the mausoleum at Halicarnassus — Specimens of the Doric school — Statues from the Temple of Egina — The Lycian sculp- tures — Argument regarding their date — Analysis of them as works of art — Other sculptures of Greek character. On the following day I had the gratification of visiting, for the first time, the celebrated British Museum. I met with the most friendly reception from the director, Sir Henry Ellis, who promised me unrestricted access to every part of the Museum. Like all other collections of works of art in England since the time of Charles I., this great institution is indebted to a private individual for its origin. Sir Hans Sloane left his valuable collection of objects of natural history, ethnography, and antique works of art, which had cost him more than 50,000L, to Parliament, on the condition of its paying 20,000L to his family. After his death, which took place in 1753, Parliament purchased Montague House for the reception of the collection ; and in 1759 it was for the first time opened to the public as the British Museum. Since that time, by means of a number of purchases, presents, and bequests, it has gradually acquired the astonishing treasures of works of art, of literature, of objects of natural history, and ethnography, of the various kinds which it now possesses. Old Montague House, a building of no architectural beauty, was by no means capable of containing such numerous and im- portant objects. Accordingly, after the purchase of the Townley Letter III. EGYPTIAN SCULPTURES. 39 collection, a series of apartments was erected to receive them. Subsequent purchases, however, made a further enlargement neces- sary ; and Parliament therefore resolved, in the year 1823, to erect a more suitable edifice, Sir Robert Smirke, the architect, being intrusted with the commission. This edifice, which is of very great extent, is now so far advanced as to offer sufficient accommo- dation for its multifarious contents. The exterior of the building, with a majestic portico of Ionic pillars, the pediment filled with rich sculpture by Sir Richard Westmacott, illustrative of the pur- pose of the Museum, makes a very imposing effect. These sculptures, which have been only recently completed, prove that the aged and industrious artist, as respects correctness of plastic style, has only gone on to improve, for in no other work that I know by him have the laws of style been so successfully observed. The new buildings, the interiors of which have been finished since my first visit in 1835, were less satisfactory to me. Much as might be separately urged against the suite of little rooms in which the Townley marbles were first placed, I cannot agree that any^change for the better has been made. The small rooms, by their more correct proportion with the size of the sculptures, produced a far more favourable effect, while the sculptures were incomparably better lighted than in the present large and lofty hall in which they are now in great measure lost. The compartment for the Lycian antiquities is also not happily chosen, and the arrangement of them still less so. On the other hand, the rich coloured decorations of the formerly bare walls and ceilings of the great apartments which were executed in 1850-51, in a comparatively short period, is, in my opinion, very successful both as regards design and colour. EGYPTIAN SCULPTURES. The Egyptian Museum consisted, until the year 1835, chiefly of the sculptures taken by Nelson in Egypt from the French ; of the collection belonging to the late Mr. Salt, consul-general in Egypt ; and of some valuable donations. Since that time it has been considerably augmented by various purchases and presents. The purchases consisted of numerous interesting objects from the sale of Mr. Salt’s collection in 1835 ; of the fine collection of James XIaliburton, Esq., in 1836 ; of the well-known collection 40 THE BRITISH MUSEUM. Letter III. of Mr. Anastasi in 1839 ; of the valuable collection of the Earl of Belmore in 1843 ; and of many interesting objects at the sale of the late Mr. Andrews’ collection in 1848 ; also of two gold enamelled bracelets, purchased from the Hon. C. A. Murray in 1850. The most important of the presents are a collection of Egyptian antiquities, including the sarcophagus of Mycerinus, presented by Colonel Vise in 1838 ; some casts of Egyptian and Nubian bas- reliefs by Mr. Hay in 1840 ; and a colossal kneeling figure in black basalt by Mr. Fletcher in 1844. The Egyptian department now constitutes in every respect the most valuable collection of this kind in Europe. At the two sides of the entrance are two lions couchant (No. 1 and 34 of the Catalogue), the worthy guardians of this Egyptian sanctuary ; they belong to the 18th dynasty, when the sculpture of Egypt had attained its greatest perfection ; they are wrought in the granite which the Italians, from the red colour of the felspar, call corallino , and are perfect models of architectonic sculpture. The action is true to nature, and yet at the same time admirably cor- responds with the severe rectilinear, architectonic style of Egyptian art. All the principal proportions are correct ; the forms very much simplified, according to a certain rule ; at the same time, with a fine feeling for what is most characteristic in nature, everything is retained which expresses the grandeur of the lion. Add to this the greatest sharpness and precision in the working of the hard stone, the most beautiful and durable polish of the surface, and you have before you the chief elements of that grandeur of effect which characterises the best specimens of Egyptian sculpture. The lions, formerly before one of the gates of a temple at Mount Barkal, were presented by Lord Prudhoe, now Duke of Northumberland, in 1835. “In England alone are such truly princely presents made by private individuals to public institutions. If it is said that this is possible only with English money, I must add, also only with English public spirit and with English intellectual superiority, which are capable of feeling the importance of such works. When I stood between the two lines in which the principal colossal monu- ments are ranged in the lofty hall, which is lighted on both sides, I felt in full force that elevated and solemn impression which these gigantic objects inspire, and vividly realised the powerful influence Letter III. EGYPTIAN ANTIQUITIES. 41 a whole world of such works must have exercised on the minds of the ancient Egyptians. In the impression of awe and majesty, ' there is a great similarity to that produced by the old Christian mosaics, though rendered more striking here by the massiveness of I the material. The eye is attracted, above all, by two colossal heads, placed ; opposite each other, each, including the ornaments on the head, about nine feet high. The one in red granite, the head of Thotmes III. (No. 15), was found at Carnac, in ancient Thebes, in the year 1818, by the celebrated traveller Belzoni. The features resemble those of most Egyptian statues ; the very broad ; nose, rather depressed at the root, and a little bent down at the tip, the lips thick, and, like the eyes, drawn up at the corners, i The workmanship is of the most extraordinary sharpness and finish : one ear, which is well preserved and stands off from the head, is executed like a cameo. The other far more important head is that of the celebrated statue of the Pharaoh Rhamses the Great, generally called Sesostris, from the Memnoniuin at Thebes (No. 19 of the Catalogue), for with equal excellence in the work- i manship, it is incomparably more noble in form and expression. The nose from the bridge downwards is more prominent and not so broad ; the slight drawing up of the corners of the mouth is by no means disagreeable, but, on the contrary, gives an expression of friendliness and mildness. The oval, too, is far less thick and swollen than usual. The whole gives the immediate impression of a noble, dignified, manly character. The block out of which this head, which is in the most perfect preservation, is wrought, is composed of two different kinds of stone. The upper part, as far as the chin, is a quartzose mass of red colour, the lower a blackish sienite. This principal feature of the whole collection was also presented by two private individuals, Mr. Salt, the English Consul, and Burckhardt, the traveller. Of the statue to which the first head belongs, there is an arm (No. 55), which displays a knowledge in the indication of the sinews and muscles, of which the ordinary monuments of Egyptian sculpture give no idea : a prodigious healthy energy is expressed in this arm. Though it excites astonishment by its size (it is about ten feet long), it yet appears small compared with the doubled fist (No. 9), which is about five feet long. These, as well as other im- 42 THE BRITISH MUSEUM. Lettee III. portant remains, were collected by the French during their do- minion in Egypt, but on the surrender of Alexandria, in 1801, came into the possession of the English by the intervention of Nelson. Among these, the most distinguished for grandeur of conception are a colossal ram’s head from Carnac, of the 18th dynasty (No. 7), and the celebrated stone of Rosetta, which, con- taining an inscription of the same tenor in hieroglyphics, both in the old Egyptian character and language, and in Greek, has afforded a key for the deciphering of the hieroglyphics in which, especially by the efforts of Champollion, so much progress has already been made. It is a block of sienite of considerable magni- tude, of which, however, a great portion of the Greek inscription has unfortunately been broken off. I was much struck, among the many highly important remains contained in the 771 objects in this hall, with a statue of Pharaoh Phthahmenoph, son of the above Rhamses, admirably executed in red granite ; with greater nobility of mien, there appears a strong resemblance to the father, which decidedly indicates that both are portraits. A sarcophagus, with its cover, in sienite (No. 32), of the time of the 26th dynasty, and found at Thebes, exceeds in point of size, number of reliefs, and sharpness of execution, every other Egyptian sarcophagus that I have hitherto seen. Two others also of the mummy-case form — the one of a man (No. 31), the other of a woman (No. 33) — are remarkable for great nicety of workmanship. The figure of a personage, apparently of distinction (No. 36), seated with a female upon one seat, presents a group of unusual ani- mation, and of the most admirable execution. It belongs to the period of the 18th dynasty, and is of calcareous stone. From the Anastasi collection. The figure also of Queen Mautemua, in sienite (No. 43), mother of the Pharaoh Amenophis III., of the 18th dynasty, is quite unique. She is enthroned in a boat, and overshadowed by a vulture. Lastly, a Mercury with the lyre and caduceus (No. 607), in black basalt, is worthy of note. It is a flat relief, in excellent style, and of great truth of nature ; but the folds of the chlamys are very conventionally treated. This figure probably belonged to the temple at Canopus, which Ptolemy Euergetes I. erected for the worship of Osiris. Larger than every other head here is that of Rhamses II. (Sesostris), taken from the statue at the excavated temple of I Letter III. EGYPTIAN ANTIQUITIES. 43 Ysamboul in Nubia, which is let into the wall in a space on the right within the large hall. The features correspond with the other heads of this Pharaoh. Among the seven pictures, chiefly representing subjects of the daily life of the Egyptians, I particularly noticed a herd of black, white, and red bulls (No. 169), from the circumstance that in the black ones there appeared, in the brighter tones of the belly and the shoulder-blades, an endeavour to round off by colour ; whereas, in all the Egyptian paintings that I had hitherto seen, I had found merely a uniform local colour. Lastly, I saw the colossal Scarabeus, the symbol of immortality among the Egyptians. This beetle is about five feet long, and of admirable workmanship. Some casts from Egyptian sculptures — some on the landing of the first floor leading to the Egyptian room up* stairs, and others in the room itself — are highly interesting. The cast representing the conquest of Rhamses the Great over the Tahenni is the most remarkable, both as a specimen of high relief, and also from its exhibiting here and there motives* of the happiest dramatic con- ception and freedom. The king has cast the string of his bow round the throat of the leader of the Tahenni — a figure of excel- lent action — and is about to strike off his head with a sort of axe. From Carnac. On the same landing are also casts from the large overthrown obelisk at Carnac, in which the slender and noble figure of the Pharaoh Thotmus III. exhibits a further proof of the height which Egyptian art had attained under the 18th dynasty. * This word, familiar as it is in the technical phraseology of other languages, is not yet generally adopted in our own, and hence some apology may be necessary for employing it as above. It may often be rendered intention , but has a fuller meaning. In its ordinary application, and, as generally used by the author, it means the prin- ciple of action, attitude, and composition in a single figure or group. Thus it has been observed that, in some antique gems which are defective in execution, the motives are frequently fine. Such qualities in this case may have been the result of the artist’s feeling, but in servile copies like those of the Byzantine artists the motives could only belong to the original inventor. In its more extended signification the term comprehends invention generally, as distinguished from execution. Another very different and less general sense must not be confounded with the foregoing : thus a motive is sometimes understood in the sense of a suggestion. It is said, for example, that Poussin found the motives of his landscape compositions at Tivoli. In this case we have a suggestion improved and carried out ; in the copies by the Byzan- tine artists we have intentions , not their own, blindly transmitted. (Editor’s note to Kugler’s Schools of Painting in Italy, vol. i. p. 18.) 44 THE BRITISH MUSEUM. Letter III. Adjoining this landing is a large room, exhibiting, in a row of glass cases, a rich collection of Egyptian antiquities of various kinds and in various materials, many as remarkable for singu- larity of subject as for excellence of workmanship and costliness of material. In the centre of the room are ten glass cases con- taining a large number of wooden sarcophagi and mummy-cases, with painted linen covers of the richest description, and partially gilt ; some of these covers being decorated with gilt figures such as I have never seen in any other collection of Egyptian anti- quities. The painted linen wrapper of a child in case 48, at one side of the room, is especially remarkable. From the noble and beautiful character of the features, the animated but somewhat over-darge eyes, the free action of the arms, and the broad treat- ment of the whole, this appears to be the work of a Greek artist. The left arm with a bunch of flowers lies on the chest, the right is raised. The little garment is white. Altogether the effect is peculiarly touching. Upon the stove in the centre are two interesting models of obelisks ; one of them the loftiest obelisk at Carnac, 93 ft. 6 in. high, — the other that at Heliopolis. Here again, on the two longer walls of the room, are more of these remarkable painted casts, taken from the entrance of the small temple at Beit-oually, near Kalabsche, in Nubia, and representing the conquest of Rhamses II. over the people of Asia. Battles, sieges, and the carrying off of prisoners are depicted with the greatest animation, and with close distinction of the various races of people. These and the before-mentioned casts were presented to the British Museum by Mr. Hay. These ancient Egyptians were certainly a people endowed with a mighty will, and carrying that will into effect with wonderful energy ; for, while a hundred other nations have disappeared from the face of the earth, without leaving behind them even the slightest trace of their existence, innumerable forms, bearing the impress of incredible labour, and that in the most durable ma- terials — gigantic crystallizations, as it were, of primeval civili- zation — give us even now a clear view of the manner of their existence, and after the lapse of more than 4000 years stand before us as perfect in preservation as if the last stroke had been put to them only yesterday. The Greeks might undoubtedly have Letter III. NIMROUD SCULPTURES. 45 derived from this people, in mechanical skill, everything ; in design far more than was formerly believed. ASSYRIAN SCULPTURES. Nimroud is the name of the ruins upon the Tigris, a few miles below Mosul, where these remarkable relics were discovered in 1846 and 1847 by Mr. Layard. Few can be more impressed with the importance of these sculptures than one who, like myself, : is in the habit of lecturing upon the general history of art, and who, up to the period of the discoveries by M. Botta near Khorsa- bad, and of those by Mr. Layard, h&d been restricted to the small cylinder as the only specimen of Assyrian-Baby Ionian sculpture. The moral element of these sculptures may be at once defined as ! ! ♦ the glorification of power, bravery, and the dignity of man, as exemplified in the one ruler to whom all the other figures, each sufficiently powerful in himself, are subservient. Every detail combines to assist this impression : the peculiar type, variously modified, it is true, of the heads, with the piercing expression of the large deep-set eye — the aquiline and very prominent nose — the protruding lips — the strongly projecting chin, generally adorned with a dignified and carefully kept beard — all exhibit the character of a proud, firm, indomitable energy ; while the general broad proportions, the exaggerated marking of the muscles, the inordinate strength of the arms (in which the power to seize and to hold are perfectly embodied) is found to correspond strictly with the expression of the head. Symbolism also has been made use of to increase the appearance of strength in the person of the ruler by attaching four bulls’ horns to his head-gear. The same intention is also still more evident in the frequently recurring colossal ox, and in the rarer figure of the lion, both represented with human heads of great dignity. This latter may he considered as the artistic realization of the surname “ Man-lion,” so frequently given to the heroes of Oriental song. The subjects also have all the same intention — the glorification of the strength of man, and above all that of the one ruler : successful battles — sieges — lion and stag hunts — in two sculptures at Paris, the strangling even of lions by the hand of the ruler himself, with representations of every kind of homage paid to him. On the other hand, the religious element in the simpler forms of 46 THE BRITISH MUSEUM. Letter III. the Assyrian worship is far less conspicuous here than in Indian and Egyptian monuments. The same may be said in a still greater degree of the feminine element. The seclusion of the women was according to strict Oriental custom. They are there- fore seldom seen in these sculptures, and then only in subordinate relations — such as in the attitude of entreaty at sieges, in a con- quered town, &c. We must next analyse the nature of these sculptures as works of art. In this sense they may be said to assume in some respects a very high, and in others an equally low position. The laws of plastic art are admirably observed, both in the reliefs of various depths, of which the majority of these sculptures consist, and in the few specimens of sculpture in the round. The action ex- presses what is intended ; the execution is sharp, clean, and often* very careful : on the other hand, no knowledge of the human form is apparent ; the proportions are generally arbitrary ; the indica- tions of the single and strongly pronounced muscles are, with few exceptions, given with the coarsest and most barbarous conven- tionality, especially in the legs, which, even when the upper part of the body fronts the spectator, are always represented in profile ; the eyes, as with the Egyptians, are invariably in a front view ; and the heads are destitute of all intellectual expression. The garments, with which, according to Oriental custom, most of the figures are amply draped, exclude, equally by their shape and by the thickness of the material imitated, all indication of organic form. The figures of animals, however, are far more true to nature — horses, mules, and lions are frequently admirably formed and generally of very animated action ; the only conventionality is in the treatment of the hair. Objects of architecture, utensils, trappings of horses, &c., are very perfectly rendered, frequently with good taste, though as frequently overladen. To judge from the great artificial luxury which these latter objects display, and from the mechanical repetition of the conventional forms already described, it may be inferred that these sculptures, which must have taken an immense amount of power to execute, belong to the most flourishing period of the earlier Assyrian kingdom, from the time of Phal to that of Salmassar, from the year 760 to 730 before Christ. It is to be hoped that the deciphering of the numerous cuneiform inscriptions in which the well-known Major Letter III. KHORSABAD SCULPTURES. 47 Rawlinson is now engaged will shortly throw light on this im- portant question of date. The sculptures are in admirable pre- servation, which is the more surprising as they are almost exclusively composed of a soft gypseous stone. By means of these remains not only has a large gap in the history of art been filled up, but the history of the world itself has gained a certain com- pleteness with regard to facts on which all written sources of information were deficient ; and a people and its ruler, with their character, their habits, and their costume, their relations in war and peace, are now presented clearly to our sight. I now proceed to a few observations on these sculptures taken singly. On one slab two entirely draped figures larger than life, their right hands raised in homage, are seen sfanding in strict archi- tectonic arrangement on either side of the merely, conventionally treated sacred tree. It may be remarked that the very flat relief in which this is executed is made to recede with the strictest pro - priety of style within the surface of the surrounding border. Again, the women who appear in two of the slabs, five in number, in the subject representing a besieged city, and in the other several more standing behind a monarch, are distinguished, espe- cially the last, by the most animated gestures of sorrow. One slab, remarkable in subject though somewhat barbarous in execution, represents a fortress surrounded with water, towards which two figures are swimming on skins filled with air. Another represents an embarkation, with ' a figure engaged in distending a skin. As a characteristic specimen „of the conventional treatment of the human form observable in most of these sculptures, I may particularise a colossal figure with wings, holding an ear of barley in his right hand, and a goat in his left. On the other hand, a similar figure, with a stag in his right hand, and a blossoming plant in his left, is an exception to this mode of treatment, and exhibits an attempt at a more natural representation of form. As illustrative, however, of the dramatic action occasionally seen, I refer the reader to a slab with two riders striking a third from his horse with their spears. Among the sculptures from Ivhorsabad I was much struck by the fragment of a relief representing two horses’ heads, remark- 48 THE BRITISH MUSEUM. Letter III. able not only for truth and animation, but for the natural treat- ment of the ear, and for the labour bestowed on the hair. Some colossal figures also, in very flat relief, discovered near Khorsabad — one of them representing a king — are distinguished by the character of the heads, by truth of action and correctness of drawing, as well as by great carefulness of execution. They are seen to great disadvantage on the dark side of the entrance hall. An obelisk of about seven feet high, of a black and apparently very hard species of stone, is remarkable for singularity of form, material, and subject, and for the number of inscriptions upon it. On each side are four rows of figures carrying presents, attended by various animals, lions, horses, &c., very carefully executed in flat relief. Among the animals, the elephant, the tiger, and others are conspicuous for singular truth of nature. Four colossal monuments of the greatest interest, which arrived in England only in the autumn of 1850, have for the present been deposited in the hall of the Museum.* Two of them, executed in high relief, and about eleven feet high, represent two monarchs. The heads are full front, with a stiff smile in the mouth, probably intended for a gracious expression. The hair, which is arranged in innumerable curls, falls on each side upon the shoulder. The similarly treated beard takes somewhat the form of a broad axe. Above the diadem of each are four ox-horns. Although the two blocks of stone of which each of these figures consisted were not placed one upon the other, yet the proportions appeared of a superior character ; at all events, the arms and legs were treated in a less conventional manner, while the hands and feet might be said to be well drawn. The raised right arm holds a fir-cone; the left, which passes obliquely over the person, a basket. One of the figures, with the exception of a damaged nose, is in excellent preservation ; the other is slightly injured in the surface. The other two figures represent a winged bull and a winged lion, which evidently decorated the sides of some great entrance, the front part being in semi-relief, while the back, which was let into the wall, is a flat surface. Both have human heads of similar character to those last described, only of sterner expression. The only distinction between these two consists in the claws on their * Now suitably placed. c Letter III. ELGIN MARBLES. 49 five feet — four being intended for the side view, and the fifth for the front view ; also in the difference in the hair — that of the lion being arranged in straight locks, that of the bull more curly. In both indications of muscles are evident, and even of veins. The claws of the bull are of excellent workmanship , also the large wings, folded, are conformable to style, and very carefully treated. The state of preservation of each is wonderful. Although these are surpassed in size by the figures of the man-bull in the Louvre, yet those are far inferior in execution, and their exaggerated, ill- understood, and coarsely executed forms, especially of the legs, are evidences of the decline of Assyrian art, and indicate a later period. A fresh and considerable transport of Nimroud sculptures had arrived in England but shortly before I quitted it, in the autumn of 1851. I could only inspect them as they lay on the floor, Mr. Birch kindly unwrapping the matting with which they were packed. I was, however, much struck by a colossal lion with wide-extended jaws, which is remarkable for truth of nature and sharpness of execution. Finally, another most interesting object from the rarity of sculpture in the round is the statue of a king in a gypseous stone, of careful execution, but agreeing entirely in character and style with the slabs. GREEK AND ROMAN SCULPTURES. The collections of Greek and Roman sculptures, especially of the former, contained in the Museum, have been formed chiefly by the following purchases and presents. In 1805, the rich collection of marbles and terra cottas belonging to Charles Townley, Esq., was purchased for 20,000/. ; in 1811, his remaining antiquities for 8,200/. In 1815, 15,000/. was paid on the spot for the frieze of the Temple of Apollo at Phigalia, which was increased to 19,000/. by subsequent expenses. In 1816 the Elgin marbles were pur- chased for 35,000/. In 1840, a Greek bronze statue was bought of M. Mimant. In 1842 the Lycian sculptures were obtained. Some very interesting archaic terra cottas — Bellerophon and the Chimaera, Perseus and Medusa — were purchased of Mr. Burgon. As regards presents, the most important are those on the part of the Dilettante Society ; the marble bust of iEschines, and of a VOL. I. E 50 THE BRITISH MUSEUM. Letter III. Greek poet ; with several bas-reliefs, presented by Colonel Leake in 1839 ; the bas-relief from the celebrated Mausoleum at Halicarnassus, presented in 1846 by Lord Stratford de Pedeliffe, English Ambassador at Constantinople. Nor have bequests been totally wanting. Plaster casts from antique sculpture, especially from antique ornaments, were be- queathed by the late Sir Thomas Lawrence. THE ELGIN SALOON. Here, then, I beheld, face to face, those monuments which came from the workshop, and many from the hand, of Phidias himself ; which the ancients themselves most highly extolled ; of which Plutarch says that in beauty and grace they were inimitable. The thought that the greatest and most accomplished men of antiquity, Pericles, Sophocles, Socrates, Plato, Alexander the Great, and Caesar, had contemplated these works with admiration, gave them a new charm in my eyes, and heightened the enthusiastic feeling with which I was penetrated. For a time, indeed, these feelings were interrupted by those of indignation at the thought that the present deplorable state of mutilation of these costly relics was not caused by time alone, but still more by the barbarism of men. Humanity in the aggregate may be likened to a richly- endowed individual, whose spirit is for a time darkened by im- becility or madness, so that he suffers his most beauteous works to perish, or even destroys them with his own unholy arm, till at length, recovering his consciousness, he endeavours, with bitter repentance, to collect together the desecrated fragments, and exerts himself with zeal, but alas in vain, to recall to his soul their former image in all its original loveliness ! I never, perhaps, found so great a difference between a plaster cast and the actual sculpture as in these Elgin marbles. The Pen- telic marble of which they are formed has a warm yellowish tone, and a very fine, and at the same time, a clear grain, which has imparted to these sculptures a peculiar solidity and animation. The block, for instance, of which the famous horse’s head consists, has absolutely a bony appearance, and its sharp flat treatment has a charm of which the plaster cast gives no notion. It gives the impression of being the petrified original horse that issued from the hand of the god, from which all real horses have more or less dege- Letter III. ELGIN MARBLES. 51 nerated, and is a most splendid justification of the reputation which Phidias enjoyed among the ancients as a sculptor of this animal. This head, as well as all the statues from the two pediments of the Parthenon — which, partly from the importance of the place they occupied, partly from the beauty of the work, may be assumed with the greatest probability to have proceeded from the hand of Phidias himself — stand in a long line in the middle of the hall in the order in which it is conjectured they were originally ranged. As the light is immediately over them, they unfortunately do not afford any contrasts of decided masses of light and shade. The sculptures from the eastern pediment, in which the birth of Minerva was represented, commence from the left of the spectator, and rise to the centre in the following order : — Hyperion (No. 91), with two horses of his car ; (92), rising from the ocean ; the statue of the reposing Theseus, of grand forms, full of youthful energy and healthy vigour ; the two sitting goddesses, called Ceres and Proserpine (94), extremely noble in form, attitude, and drapery^ a female figure in rapid motion, called Iris (95), of which no cast has yet been taken ; the momentary effect of motion in the tunic and the fluttering mantle is wonderfully animated and bold. The torso of a Victory (96)' of which, likewise, no cast has been taken : the folds here of the closely-clinging drapery are of finer material than all the others. At this part, where the height of the pediment was the greatest, were the two principal figures of Jupiter, and of Pallas just sprung from his head, with that of Vulcan, all of which are entirely lost. Several of the statues belonging to the other half of the pediment are likewise wanting, for here immediately follows the fine group of the three Fates (97), reposing ; and the celebrated horse’s head (98), which belonged to the car of Night, sinking into the ocean. The statues belonging to the western pediment, representing the contest of Neptune and Pallas for the city of Athens, here commence from the left, rising to the centre, in the following order: — The reposing figure of the river-god Ilissus (99), the most living figure of all. Cast of the mutilated group at Athens, supposed to represent Plercules and Hebe. Having been exposed to the weather ever since Lord Elgin removed the other sculptures of the pediments, the surface is much more destroyed. Next to the Ilissus were two sitting statues, which were left behind in the e 2 52 THE BRITISH MUSEUM. Letter III. 1 pediment, and in Visconti’s opinion represent Vulcan and Venus. A male torso, of which the epidermis is much injured, called Cecrops (100). The fragments of the statue of Pallas, viz., a , a piece of the upper part of the head, consisting of the root of the nose, the eyes, a piece of the forehead, and some hair (101). The helmet was of bronze, as appears from the holes in the marble to which it was fastened. The eyes, now hollow, were also filled up with some other material, which was doubtless intended to represent the owl-eyed 'y’ka.vytuTris ; the hair is treated in the old fashion, like strong packthreads, very simply twisted, lying closely to each other, b , A portion of the chest, very much broken (102), of colossal proportions. A piece of one of the serpent feet of Erichthonius, whom Pallas is teaching to yoke the horse created by Neptune, and who thereby tames him. Next follows the upper part of the torso of Neptune (103), extremely vigorous. These statues, being the principal figures, were in the centre of the pediment. Of those on the other side of it, there remain only, 1 — the torso of the unwinged Victory (105), so represented by the Athenians, in order that Victory might never depart from them. This torso, of which no cast has yet been taken, and which extends from the neck to the half of the thigh, is of very noble form, and astonishingly animated in the motion forwards. There is now also a cast of the head of this statue (105 # ), from the original in the possession of the Count Leon de Laborde, and presented by that gentleman. The style of the forms is very noble, but there are very great restorations. 2. The lap of Latona, with a small fragment of the infant Apollo (106), belonging to a group of that goddess, with her two children, Apollo and Diana. All the thoughts which the study of the plaster casts of these works had formerly suggested to me, now took a more distinct form in their presence. The peculiar excellence which distin- guishes the works of the Parthenon from almost all other sculpture of antiquity arises chiefly, in my opinion, from the juste milieu i which they hold in all respects between the earlier and later pro- ductions of art. Sculpture in Egypt, as well as in Greece, was the daughter of Architecture. In Egypt, the mother never released her from the strictest dependence ; in Greece, on the other hand, Sculpture, after a long education, very favourable to her growth, Letter III. METOPES. 53 was at length set free. Yet, notwithstanding her acquired in- dependence and liberty, she was never, even to the latest period of antique art, entirely alienated from the mother ; while in the earlier time she still clung to her with filial attachment. To this early pe- riod the sculptures of the Parthenon belong. The general arrange- ment is still entirely determined by the architecture, and even the several groups correspond, as masses, with architectonic symmetry. In the execution, however, the greatest freedom is displayed in the manifold alternations and contrasts of the attitudes, which are so easy, unconstrained, and natural, that we might believe that the architecture had been adopted as a frame to the sculptures, rather than the sculptures suited to the architecture. Nor was it only in the local arrangement, but also in the conception of the subject, that architecture had an influence. For in all the subjects repre- sented, even in those requiring the most lively expression and action, as, for instance, in the combats of the Greeks and Centaurs in the Metopes, these requisites are most delicately combined with a certain quiet dignity and solemnity. It is in this com- bination of the laws of architecture with the greatest plastic freedom and animation in the details, that the peculiar sublimity of these monuments consists. Their highest charm, however, like the poems of Homer, is derived from their simplicity. As the authors of them, in the enthusiastic endeavour to treat their subjects with the utmost possible perspicuity and beauty, had at- tained the most complete knowledge of nature, and an absolute command of all the means of .representing their ideas, thereby throwing aside all that was conventional in earlier art, it never occurred to them to use these advantages, except for the purposes of perspicuity and beauty. Nothing was more remote from their minds than, as in later times, to display and make a show of them for their own sake. Hence, all the characters of the figures are so perfectly adapted to the subjects ; hence, in all the motions, such simple, natural grace. Equally unique is the manner in which the imitation of nature, of which the noblest models have everywhere been selected, is combined with the conditions ne- cessary to produce the due effect in art. The execution is so careful, that even the veins and the surface of the skin are repre- sented, thus giving the impression of truth of nature in a very high degree. Yet all is so subordinate to the main forms, that the 54 THE BRITISH MUSEUM. Letter III. effect is grand in the extreme, and every thought of their being portraits excluded. In short, these works display the happy mean between the too individual forms of earlier times (for instance, the statues of Egina), and the usually too general ones of later ages. The healthy energy and life which the forms respire may be traced, however, to a morq particular cause, namely, to the decided contrast in the management of the more solid, and the softer parts. Where bones or sinews are seen under the skin, they are indicated with the greatest sharpness and pre- cision ; where, on the contrary, the larger muscles appear, they are represented tense and broad, but at the same time their softness and elasticity are expressed in the most surprising manner. The fifteen metopes of the south side of the temple (Nos. 1 to 16), with a cast of the sixteenth (No. 9), which is at Paris, are fixed at a moderate height and at a proper distance from each other, in the long wall opposite to the entrance. Casts have also been obtained from three other metopes at Athens (No. 16, a, b, c). Of the first of these, representing two females, the drapery of the standing figure is uncommonly fine ; the two others are very much destroyed. There are also casts of the original heads of one group (No. 3), which, ever since the year 1681, have been in the museum at Copenhagen. These have been fixed upon the bodies, and thus everything has been done to render the whole as complete as possible. These metopes have a very surprising effect in the strong light which falls obliquely upon them from above. The article 1 Basso-rilievo ’ in the 4 Penny Cyclopaedia,’ published here, the author* of which displays the most profound knowledge of the art, contains the best account of these metopes, as well as of the bas-reliefs of the celia of the temple, that I have met with, so that I have found my own observations confirmed and completed. I therefore borrow these remarks from it. The representations of combats, which were chosen for the ornaments of the metopes, chiefly on the south side, afforded the advantage of producing, for the most part, diagonal lines, thus forming a contrast with the vertical lines of the triglyph and the horizontal lines of the cornice and of the architrave. Such a group, too, completely filled the space allotted to it in a natural manner. As these sculptures * Sir Charles Eastlake. Letter III. FKIEZES. 55 were connected with the external entablature, it was necessary that they should produce a strong effect. This was attained by giving them a depth of relief approaching to the round, so that they were very decidedly brought out by their strong cast shadows. At the same time it was a point of importance that the figures them- selves should receive the light as unbroken as possible, and there- fore such positions were avoided as would have thrown cross- shadows on the figures, and thus injured the distinctness of the forms. It is worthy of remark that the Greek artist retained in the metopes, longer than in the other parts, a certain antique rigour, they being the most intimately connected with the archi- tecture : this is evident here, when we compare them with the figures in the pediments. On these metopes the hands of several artists can be distinguished, some being of fine, others of rude workmanship. The celebrated frieze (Nos. 17 to 90) which ran round the whole exterior of the cella of the temple, and on which was repre- sented the great festival celebrated at Athens once in five years in honour of Pallas— -namely, the Panathenaic Procession — is here placed round all four sides of the apartment. Besides fifty- three original slabs, here are plaster-casts of fourteen slabs of the west side (Nos. 48-61) ; also a cast of the one slab in Paris — casts of some of the figures now destroyed, — and six casts from portions recently discovered at Athens (Nos. 25 a, 25 e, 26 a, 26 e, 61 *, 62 *). The lower edge of these bas- reliefs is about four feet from tlie floor, so that they may be very conveniently inspected. On the front or east side of the temple are seen the twelve figures, sitting at their ease, with the Athenian virgins, under the superintendence of the magistrates, bringing the offerings. From the north and south sides, joining the front, come the sacrificial oxen ; then the fine procession of the youths on horseback ; lastly, on the west side, the preparations for this procession. I was never weary of admiring the richness, anima- tion, beauty, and delicacy of the various attitudes. My attention was equally attracted by the excellency of the workmanship. Some inequality, however, in the execution may be detected ; for instance, in the casts of the six recently discovered slabs, which, in the flat and meagre treatment of the folds, display an inferior hand. As this frieze was at the top of the wall in the vestibule 56 THE BRITISH MUSEUM. Letter III. of the temple, it was constantly in the shade, and received the strongest light by reflection from the floor. To produce distinct- ness, under these circumstances, the above-mentioned author ex- plains very correctly that it was necessary to adopt a contrary course to that chosen for the metopes. To quote this writer’s observations : — “ As projection commands shade, so flatness com- mands light, and the flattest relief is hence fitted for an invariably dark situation. . . . The flatness which insures light would, how- ever, be altogether indistinct and formless unless the outlines were clear and conspicuous at the first glance. The contrivance by which this is effected is by abruptly sinking the edges of the forms to the plane on which they are raised, instead of gradually round- ing and losing them. The mass of the relieved figure being some- times very little raised in its general surface, its section would thus almost present a rectangular projection. In many instances the side of this projection is even less than rectangular ; it is undercut, like some mouldings in architecture which require to be particularly distinct, and thus presents a deeper line of shade. But if the figure can thus command distinctness of outline, not- withstanding the inconsiderable light it may receive, it is obvious that its lowness or flatness of relief will, in such a light, greatly aid its distinctness ; above all, this contrivance gives the work thus seen in an obscure situation the effect of rotundity.” * These bas-reliefs are in very different states of preservation. Those of the west side are thh best — nay, astonishingly — pre- served ; those of the south side have suffered the most. This appears to arise in some measure from the quality of the marble, which on that side is mostly of a grey colour and of a slaty tex- ture : at least those slabs which are made of it have suffered the most. (Thus, from Nos. 60 to 68, and again 72 to 74.) It was very interesting to me to turn next to the casts of several sculptures from the Temple of Theseus at Athens, which was built by command of Cimon, about thirty years earlier than the Par- thenon. Three metopes (Nos. 155 to 157), which represent the combats of Theseus, have a more antique appearance than the sculp- tures of the Parthenon : the bodies have some resemblance, in their proportions, to the Egina statues. In the head of one of two wrestlers, which has been preserved, the hair and beard are merely * Literature of the Fine Arts, p. 103. Letter III. FRIEZES. 57 a thick, quite smooth mass, as in the sculptures from Olympia which I saw at Paris three years ago, in which it was evidently left to the painter to indicate the several locks and hairs. The frieze from the Pronaos (Nos. 136 to 149) represents com- bats in the presence of six seated divinities. That from the Pos- ticum (Nos. 150 to 154) represents combats of the Lapithse and the Centaurs. The sculpture of these very nearly approaches that of the Parthenon, and is very excellent, only the proportions are a little shorter. The combats, with respect to dramatic action, may be placed between the metopes of the Parthenon and the frieze of Phigalia. The attitude df Cseneus, who, because he was invulnerable, was pressed to the earth by two Centaurs with great masses of stone, and, only his head and breast appearing, holds up his shield, is very like that in the relief of Phigalia; only here it is more spirited and animated, because he resists with more energy. This relief is very high ; the preservation of the surface, on the whole, is better than in the sculptures of the Parthenon the nar- row folds of the rich drapery especially are not so much broken at the edges, and therefore the effect is admirable. From a small temple of the un winged Victory in the vicinity of the Propylea, here are five reliefs from the frieze, about two feet high. They represent combats between Persians and Greeks (Nos. 158, 158 *, 159), and between Greeks only (Nos. 160, 161). Here, both in the very spirited, highly dramatic conception, and in the management of the drapery, they approach very near those of Phigalia :* the proportions are here also rather short — the execution indifferent. The combat over a dead body, in the first, is the most spirited representation of this kind which has come down to us from antiquity, and realizes Homer’s description of the combat over the body of Sarpedon or Patroclus. Unhappily these reliefs are very much mutilated ; all the faces are wanting, and the surface is for the most part much injured. The casts of three slabs of the friezes which decorated the lower part of the temple (Nos. 5, 159, 160, 161) exhibit, both in the motives and in the unusual delicacy of finish, an equally elevated state of art. Two female figures leading a bull struggling to sacri- fice, with two others, one of whom is stooping to adjust her sandal, exhibit such enchanting grace and freedom, such perfect organic knowledge, and afford by the flow of the delicate drapery such an 58 THE BRITISH MUSEUM. Letter III. incomparable picture of momentary action, that I am inclined to rank them among the finest specimens of the best period of Greek art. Various later copies prove also that the beauty of this group was recognised by the ancients. A half-length female figure in Pentelic marble, the fragment of a stele, is also remarkable for excellence of style and delicacy of workmanship. Presented by W. R. Hamilton, Esq. A striking proof how universally the laws of style in plastic art, established by the works of Phidias and his school, had obtained in Athens, is shown by various stele, the slight workmanship of which evidences that they were only executed for the most subor- dinate purposes. This is especially seen in the casts of figures in relief (Nos. 434 and 435) and in the original marble of orna- mental foliage (No. 351). Here are also some important monuments, about a hundred years later, of the. time of Praxiteles. Among these are the casts of the bas-reliefs of the Choragic monument of Lysicrates (Nos. 352 to 360), commonly called “The Lantern of Demos- thenes.’ ? They represent, in groups full of life and spirit, the punishment inflicted by Bacchus and his attendants on the Tyr- rhene pirates. Some are being scourged or burnt by the Satyrs ; others are in the act of being metamorphosed into dolphins. The representation of the head and upper part of the body, already transformed into a fish, while they struggle with the still human legs, is very peculiar, and yet has something graceful. In the treat- ment of the reliefs of moderate elevation, the same principle prevails in the management of the flat surfaces as in the Panathenaic pro- cession. The execution is not remarkable, yet all the principal parts are marked with masterly precision. From another similar monument, that of Thrasyllus, is the colossal statue of Bacchus, which was placed on the summit of it (No. 111). It appeared to Hie worthy of notice in this statue, that, even at that period, when, in general, the elegant, the agreeable, and the soft prevailed in sculpture, the feeling for architectonic style was so strictly retained. The god is represented sitting in a simple, quiet atti- tude, in large proportions and robust form. His chest is covered with the skin of a lion ; the long drapery is of simple and excel- lent character, but with much broader and more sparingly plaited folds than in the statues of the time of Phidias. All this appears Letter III. PHIGALIAN FK1EZES. 59 to me very judiciously calculated for an elevation of about twenty- | seven feet, at which the statue was placed. But this letter would become a pamphlet were I to attempt to speak of all the objects which attracted my attention among the three hundred and eighty-six which this apartment contains : I therefore request you to return with me into the apartment, also lighted from above, which contains the celebrated bas-reliefs from b . . the Temple of Apollo at Phigalia. These are let into the wall in | such a manner as to be on a level with the eye of the spectator, and therefore admit of the closest examination. They formerly adorned, as a frieze, the interior of the! hypaethral cella of that temple. As the daylight was admitted by an aperture in the centre, the reliefs received a direct and strong light, so that they are executed in high relief. Of the twenty-three marble slabs, eleven (Nos. 1 to 11) represent combats of the Lapithse and Centaurs, and i twelve (Nos. 12 to 23) combats of the Greeks and Amazons. There is a great difference between the design and the. execu- ; tion : as representations of the momentary expressions of the most impassioned action they are first-rate, and the finest things of the kind, in my opinion, that have descended to us from antiquity. The striking contrasts which the two series offer are employed with the rarest inventive skill. In the Centaurs and Lapithse we | see the extreme efforts of brutish rage and ferocity opposed to manly valour. The artist has entered with surprising spirit into the fabulous twofold nature of the Centaurs. One of them, for instance, while holding one of the Lapithse with his hands, kicks at another with his hind legs. On the other hand, in the combat of the Greeks and the Amazons, it is the heroic resistance of female grace against manly strength which claims our sympathy in a more affecting manner. In combat, in defeat, even in death, the element of grace and beauty predominates. The sinking down of the Amazon, who has just received a mortal wound, is pecu- liarly fine. What art, thus to preserve all the terrors of such an event, and yet to invest it with a beauty which renders it attractive ! With a)l this the execution is in the highest degree unstudied ; its beauty does not proceed from any general principle coldly and externally exemplified in it, but proceeds entirely from the subject itself, to which all mere rules are subordinate. Thus in the active scenes, the drapery, where it flies unconstrained, is slightly ruffled ; 60 THE BRITISH MUSEUM. Letter III. but where stretched by the long strides, in the heat of combat, it is in stiff parallel lines, though a modern sculptor would not ven- ture on them, as inconsistent wdth beauty. Lastly, the art is worthy of notice by which the several groups are connected together as a continued whole. Thus while the Centaur is biting one of the Lapithse before him, he is at the same time striking out with his hinder legs, so that by this action we are given to understand that he is defending himself from a figure hastening to ' help his opponent. The proportions of the figures are, however, rather short ; the workmanship on the whole by no means careful, and, besides that, very unequal. In general, the combats of the - Centaurs are more careless in execution than those of the Ama- zons, and show an artist of inferior skill. In the former the exe- cution extends no further than a decided indication of the principal parts — nay, in one place (No. 7) the front half of a Centaur is wholly missing. This circumstance is a remarkable proof in my mind how much greater stress the ancients laid on the richness of invention and motives, than on the accurate representation and neat execution of the single parts. Eleven bas-reliefs in the same room, representing the battle of the Greeks and Amazons, are of great importance ; they formed part of a frieze from the celebrated Mausoleum at Halicarnassus in Caria, erected b.c. 353. Having been built into the castle of St. Peter at Halicarnassus, the present fortress of Boudroum, by the Knights of Rhodes, in 1522, the surface of these marbles is, with few exceptions, much defaced. On this account, the proportions of the figures appear now far too meagre, which may account for the artistic value of these sculptures never having been fully acknow- ledged. To judge them fairly, they must be compared with the casts of two slabs also here, the originals of which were recog- nised at Genoa by the practised eye of Dr. Emilius Braun, to have formed part of the same frieze, and are uninjured in surface. At all events, we recognise in these sculptures several motives which occur in well-known works of antiquity. Here, however, the motives display a still greater animation, bordering in some parts on exaggeration, while our attention is also caught by new inven- tions of the most striking description and rarest beauty. For instance, in the original marbles, the figure of a Greek looking down on a lifeless Amazon, and that of an Amazon between two Letter III. DORIC SCULPTURES. 61 Greeks. Also, in the casts, the figure of an Amazon killing a fallen Greek is a ne plus ultra of freedom and animation. It is true that the fight of the Amazons in the Phigalian friezes has a great advantage over the sculptures we are describing in point of preservation and completeness ; yet no attentive observer of these before us will fail to remark that the proportions here are noble and slender — their separate forms more delicate — the muscles more compact — and finally, that the execution is carried out with a superiority of detail which corresponds with the beauty of the invention. This is obvious, not only in the casts from the more perfect slabs at Genoa, but from the few well-preserved portions of the originals ; for instance, in the left leg of a Greek in the act of pulling an Amazon from her horse. In default of all certain guidance it would be vain to seek to discover to which of the four sculptors engaged in the decoration of the mausoleum — Scopas, Bryaxis, Timotheus, or Leocharis — these particular sculptures are attributable. At all events, by the certainty of their date, they afford more than any other works of antiquity an estimate of the character of the Attic-Ionic school of sculpture of about the middle of the fourth century before Christ, and further prove the existence of that admirable law in Greek art by which every invention, pro- nounced as beautiful, was, in its essential points, adhered to ; being repeated only with increasing beauty and freedom, or leading to new motives invented in the same spirit. While the British Museum possesses by far the greater propor- tion of the wmrks of the Attic and Ionic schools of sculpture which have descended to the present times, it is but scantily supplied in those of the Doric school. This deficiency is compensated, how- ever, as far as possible, by casts' of the principal remains existing, and thus no museum can be said to afford the study of Greek sculpture with greater completeness. Of the four metopes from Selinonte discovered and presented by Mr. Angell, the Hercules with the Cercopes, and the Perseus with the Medusa head, from the centre temple of the citadel, dis- play in the overpowering awkwardness of their positions — the head and upper part of the person being seen in front, the legs in pro- file — in the broad and short proportions, square type ofjiead, and general coarse treatment, such a low stage of art that a later period can hardly be assigned to them than about 580 years 62 THE BRITISH MUSEUM. Letter III. before Christ ; they may even belong to a still earlier period. These reliefs, however, are interesting in three respects — firstly, because they show how barbarous, even in a people more richly gifted than any other with artistic perceptions, were the beginnings of art, and what efforts of centuries were requisite to expand the conception of the Medusa head from the form in which we here see it, to the full beauty of the Rondanini Medusa in the Glyptothek at Munich ; secondly, because we perceive how far the develop- ment of sculpture even among the Dorians was behind that of archi- tecture ; and thirdly, because, in spite of their rudeness, they already show, by the equality of projection, and in general treat- ment, a thoroughly correct feeling for executive plastic art. I pass over the decidedly later, but too much obliterated, relief of the Quadriga, and invite attention to the fourth relief, belonging to the centre temple, and representing a female deity who has killed a giant. Here in every part — in the more correct proportions — in the greater freedom of action — in the treatment of the drapery — and in the better making out of technical portions — we find that mode of art which is usually denominated old Grecian, or Archaic. The Doric origin of these reliefs being indubitable, we perceive that this style of art, probably introduced by Dipoenus and Scyllis, and therefore adopted from about the year 550 before Christ, was in vogue equally with the Dorians and the lonians. Nevertheless, when compared with the Ionic sculp- tures of the Harpy monument, the more compressed proportions and more uncouth forms of the Doric school are immediately con- spicuous. The Dorians seem to have persisted longer in esta- blished modes— witness the heavy forms of many a temple of somewhat later period. This relief may be, therefore, attributed to the first half of the 5th century before Christ. The celebrated statues from the Temple of Pallas at Egina, discovered in 1811, which, in the opinion of one so deeply versed in Greek art as Mr. Cockerell the architect, had decorated the two equal-sized pediments of the temple, exhibit Doric sculpture at that very considerable stage of development which it attained from about 480 to 460 b.c. In these the peculiar feeling of the Doric race is most characteristically seen. The technical part of the art appears fully developed ; the forms exhibit a close under- standing of nature, admirably carried out into the minutest details. Letter III. LYCIAN SCULPTURES. 63 Even in the action there is great truth of nature, but there is no attempt at grace. This is perfectly in keeping with the thickset power and solidity of the proportions, which again correspond with the stem-like character of the Doric column. The heads, how- ever, are still fettered in style, and are not only true to the early type, with the corners of mouth and eyes somewhat drawn up, but are utterly deficient in the slightest expression of feeling. And, if this be applicable to the representations of the human race, it is more so to that of the gods. Here the Dorians de- parted, if possible, still less from the inanimate type of the old wooden idols (Zoava), for even Pallas herself appears here under this aspect, although, as the protector of the fallen Patroclus, she is represented in lively action. In the adaptation of the figures to the space allotted, we recognise the refined architectonic feeling common to all Greeks. As the eastern pediment is but scantily filled by the five only remaining figures, and as it would be highly interesting to have a near view, both of the execution of the ori- ginals, and also of the masterly restorations of Thorwaldsen, I should recommend the placing of these specimens upon a pedestal below, after the fashion of the round sculptures of the Parthenon ; the more so as their somewhat larger figures are superior, both in the understanding of the forms and in the mode of treatment, to those in the western pediment, and are thus calculated to give us an idea of the ability of Onatas, the most celebrated Doric sculptor of that time. THE LYCIAN ROOM. For the treasures contained in this apartment the friends of antique art are indebted to the indefatigable and discriminating exertion* of Sir Charles Fellows, who first discovered them, and who afterwards directed the works undertaken by Government during the years 1842-46. These ancient relics were found in that part of Lycia, in Asia Minor, originally possessed by the Solyrni, or the Termylse, but colonized by the Greeks before the Trojan war. The most remarkable are the Harpy Tomb from the Acro- polis, No. 1 ; and the trophy from the city of Xanthus, Nos. 34- 140, both of which are of Parian marble. Without entering into the various archseological explanations of the subjects upon the Harpy Tomb, and which, excepting the four Flarpies carrying off 64 THE BRITISH MUSEUM. Letter III. the four daughters of Pandarus, hardly admit of any certain solu- tion, I shall confine myself to describing them as works of art. Any one, however slightly acquainted with antique art, must here immediately recognise the so-called old Grecian style. At the same time it is applied in a way which, among all the monu- ments of Grecian art hitherto known, appears only in the low relief of Leucothea in the Villa Albani, as may be clearly proved by a comparison with the recently acquired cast of the same in the British Museum. The very fiat relief is of admirable style, for, while the outer edge of the figures is raised about 14 inch from the ground, their surface, as in the Egyptian reliefs, lies within the projection of the surrounding border. The inner markings of the figure are only expressed by indented lines. The allotted space is appropriately filled with the figures — the five enthroned forms, and the four fiying Harpies— with an agree- able contrast of line. The gestures of the separate figures are, with all their simplicity, very distinct and graceful, without any appearance of that exaggeration which appears in works of this class. The proportions are somewhat slender ; the type of the head, notwithstanding the upward inclination of the eyes and corners of the mouth, has something elegant ; the treatment of the drapery in the disposal of the very narrow and parallel folds is of the utmost simplicity, and shows only in some places the germ of freer motives. The manner in which the Harpies, which are by no means represented under a frightful aspect, avail themselves of their double nature is very good. They are seizing the daughters of Pandarus, here represented under the form of children, both with their hands and their claws. Touching is the action of the eldest daughter, who is caressing the Harpy, and that of the sister left behind bewailing on the earth the fate of the others. In placing the junction of the wings and body along the upper arm, the artist has shown a better understanding of bird nature, and of the real centre of gravity in flying, than later masters have dis- played in setting the wings between the shoulders. In the absence of all more decided traces of evidence, it would be difficult to determine the date to which this remarkable specimen of the old Ionic school of sculpture belongs. Considering, however, the early development of art in the Ionic race, of which I shall have more to say, it can hardly be assigned to a period later than 600-575 b.c. Letter III. TROPHY FROM XANTHUS. 65 Should, however, the elegant form of the chair or settle be urged as an argument against this supposition, I can only remind the reader that in Greece, as also in Egypt, architecture and the constructive arts greatly preceded sculpture in development. In the placing of this unique specimen of its kind in the Museum, both the height of the position, and the circumstance of two sides of it being so near the wall as only to be seen in strong fore- shortening, is very unfortunate. I proceed now to describe the Trophy from Xanthus. It may be assumed as an ascertained fact, that the numerous sculptures in this fine monument represent the Conquest of the city of Xanthus in Lycia by Harpagus, the general of Cyrus, in the year 547 b.c., as related by Herodotus. Respecting the period of the execution of this monument, opinions, however, widely differ. For while Sir Charles Fellows places it about 476 b.c., others bring it as late as the time of Alexander the Great, or about 335 years b.c. In the first of these two suppositions I thought I had discovered a bril- liant confirmation of a long-cherished theory of my own, namely, that the school of Eginetan sculpture was not of itself sufficient, historically speaking, to account for the high perfection of develop- ment in the sculpture of Phidias, as seen in the relics of the Par- thenon. For though their truth of nature and admirable execution may have been borrowed from the school of Egina, yet the beauty of the heads, the grace of the actions, and the understanding of the drapery, show that the genius of Phidias, great as it was, must have been assisted by an influence on the part of the Ionic Greeks. The repeated study of this Trophy, however, and an examination of the best arguments against the early date conjec- tured by Sir Charles Fellows, have entirely convinced me that such an hypothesis is not tenable. The most forcible of the grounds that brought me to this conclusion are the forms of the architectural portions and ornaments, and the great discrepancy between the beauty of the invention and the inferiority of the execution, the latter showing only a certain mechanical and careless imitation of some superior model. Not that I had over- looked these evidences at first, but I had attributed them to the circumstance of the locality — its distance from the centre of Ionic civilization — the barbarous nature of its inhabitants — and the pro- bability of the execution having been intrusted to sculptors of an VOL. i. f 66 THE BRITISH MUSEUM. Letter III. inferior class ; arguments, however, which do not sufficiently account for the peculiarities I have mentioned. If, on the other hand, we admit the supposition that this relic is rather a specimen of the retrospective influence of the Attic school of the time of Phidias upon the Ionic, the question as to date becomes of second- ary importance, though there is sufficient argument, in the circum- stance of the Persians playing so important a part in the sculptures themselves, against assigning so late a date as that of Alexander the Great. From many grounds it appears probable that these sculptures date from the first decennial of the 4th century b.c., a time when the domination of the Persians in the Greek colonies of Asia Minor had, in consequence of the enmity between Athens and Sparta, been newly strengthened, and when it may be ima- gined that one of the last descendants of Harpagus, whose race reigned in Lycia until 388 b.c., may have desired to commemorate the conquest of the country by his progenitors by the erection of this trophy, which would serve at the same time as a standing memorial to the natives. The conclusion thus arrived at of the later date of this work of art has in no way altered my conviction of the influence exercised by the early Ionic school of sculpture upon the Attic school at the time of Phidias, for which the following reasons may be given, viz. : the early developed and general cultivation of the Ionic race evident from the fact that Homer flourished in the 10th century b.c., and also the early development of the art of architecture proved by the erection of such colossal edifices as the Temple of Juno at Samos, and that of Diana at Ephesus, about 580 years b.c. ; and, furthermore, the fact that the pediments of these temples required to be filled with sculptures upon a colossal scale. It is true that sculpture attained its high degree of development far later than architecture, yet a very early cultivation of the art is, in the absence of larger works of antiquity, proved by many of the Plectrum coins of the Ionic cities, which exhibit great beauty and freedom on the obverse, while, at the same time, the qua - dratum incusum (sunk impression) on the reverse bears witness to their great antiquity. Numismatics, in assigning the date of these coins to the 6th century b.c., have perhaps gone a little too far back, but, at all events, they may be ascribed to the beginning of the 5th century. Nevertheless, as the history of art universally Lettek III. TROPHY FROM XANTHUS. 67 teaches us that sculpture on a larger scale has always preceded such subordinate branches as metal dye-sinking, we may infer from these coins that Ionic sculpture had arrived at a considerable degree of development in the course of the 6th century b.c. It would appear that a proportionably early development of painting • — the art which, upon the whole, blossomed later than any other among the Greeks — also characterised the Ionian race, which is proved by the fact that Polygnotus of Thasos was acknowledged in Athens, in or after the year 470 b.c., as the greatest painter of his time in Greece. The influence from Ionian sources may be also further historically proved by the probable circumstance that the Ionians of Asia Minor, in gratitude for their delivery from the yoke of the Persians, assisted the Athenians in the re-erection and decoration of those temples which the Persians had destroyed. It must be remembered also that Polygnotus was sculptor as well as painter, and that it is therefore more than probable that he himself exercised an influence over Phidias. I live, therefore, in the sanguine hope that, should the English, encouraged by their successes hitherto, institute excavations in the former centre of Greek art in Asia Minor, that period of development in the his- tory of the Attic school will be further elucidated by the discovery of large works of sculpture. Having thus indicated the position and the period which this monument appears to me to occupy in the history of Greek sculp- ture, I now proceed to examine it more particularly as a work of art. The general architectural form, of which, as well as of the details, a restored model presented by Sir Charles Fellows gives so distinct and beautiful a view, is of a character tolerably prevalent in Lycia, while the carrying out of the details displays, both in pro- portions and execution, the refined taste of the Greeks. The treatment of some members, such as the lower portions of the three pediments with the egg and arrow ornament one above the other, is a decided evidence of a later time. The most conspicuous quality in these sculptures, and one common to all alike, is the freedom, animation, and distinctness of invention ; we are next struck by the singular beauty and truth of most of the motives, and, finally, by the admirable plastic feeling in the round, as also in all the varieties of relief. On the other hand, the emptiness and con- ventionality of the nude forms, and the suppression of many of the f 2 68 THE BRITISH MUSEUM. Letter III. smaller folds which the cultivated eye requires in drapery of this style, are evidences of that mechanical imitation of some superior model which I have hinted at before. The broadest frieze (Nos. 34-49), which, according to the sup- position of Sir Charles Fellows, ran round the lower part of the basement, represents the combats of the Greeks and another bar- barous people, probably the Carians, against the warriors of Xanthus — Lycians — but also Greeks. The noble and slender proportions, the abundance of fine and momentary action (as, for instance, the mortally wounded warrior on the horse, No. 37), and the admirable treatment of the somewhat flat relief, render this frieze interesting in the highest degree. In the fact, also, that many motives occur here which are found in the Phigalian frieze we only see the evidence of another work by some great leader of Grecian art now lost to us, in which, doubtless, execution and invention were equally matched, thus affording a further example of that correct feeling- among the Greek artists which led them to retain the finest inventions of their school by repeating them freely and in varying grades of excellence. The sculpture of the somewhat narrower frieze (Nos. 50-68) are very attractive for their various and in part unique representa- tions. Here many a feature from the Homeric description of the shield of Achilles is embodied to our view in Greek art. And first we must call attention to the remarkable manner in which the city, with its temples, towers, and walls, is so indicated within the limited compass of the frieze as to give the appropriate motive for that which was the sculptor’s chief aim, namely, for the action of the figures. The advancing to storm the town-— the holding and climbing of the ladders, Nos. 50-53, is of the utmost animation — the leading away of the captives, No.. 54, most touching. Other slabs, Nos. 55-59, where Greek meets Greek, prove again that a portion of the inhabitants were Grecian. Admirable is the con- trast in No. 62 between the proud serenity of the enthroned victor, probably Harpagus, and the figures of the two old men, who, with upraised hands, are pleading for the city. Also Nos. 65-66, the garrison of the city, with several women shrieking and throwing up their arms, as bewailing the approaching fate of the inhabitants. The female statues, Nos. 75-84, which once stood between Letter III. LYCIAN SCULPTURES. 69 the pillars, are of such lively and momentary action as to be equalled by few of the antique sculptures in the round that have descended to us. The action of No. 81 is quite enchanting. The slender person of the female, which is of the most elegant form, is scarcely concealed by the light texture of the drapery which she is holding up by one corner with the right hand, while the disposi- tion of the portion which is fluttering in the air is admirable. No. 83 also displays great boldness of action, and the flying dra- pery is admirably cast. In some of these folds the sudden con- trast between the close clinging and the free fluttering of the draperies sometimes makes the absence of the small intermediate folds which serve as the transition from one state to the other unpleasantly apparent. Whether these statues were intended to typify the different seaports of Greece, an opinion entertained by Mr. Benjamin Gibson, from the supposition that the accompanying attributes denoted the sign of the coinage of the city, or whether they were merely Nereids with these attributes by way of charac- teristics, it would be difficult to decide. The subjects, also, of the narrow and unfortunately much in- jured frieze, Nos. 95-105, which, to all appearance, ran round the cella of the building, are decidedly to be regarded as the cele- bration of victory. Oxen, rams, and goats, , Nos. 101-102, are being offered to the gods. The bringing up of the animals is very animated. A banquet is also being held, Nos. 99-100. with female attendants singing and playing on musical instruments. This is one of the most beautiful representations of the kind that has descended to us, and it is also the portion of the frieze best preserved. The other narrow and in part 'well-preserved frieze, Nos. 110- 123, contains the presentation of gifts — horses, garments, &c. — to the victorious Harpagus ; a bear-hunt, and a boar-hunt, a combat between horsemen and footmen. Here also the inven- tions are most happy, the bear-hunt full of humour, but the exe- cution, doubtless from the high position for which the frieze was destined, not so careful as the others. The folds of the drapery, for instance, are still poorer than in the other reliefs. The sculptures on both the pediments are of very deep relief : those on the eastern pediment, No. 125, consist of male and female figures standing and sitting ; the diminution of the scale 70 THE BRITISH MUSEUM. Letter III. towards the end is not happy, and may he considered as a sign of provincial art. Those on the western pediment, of which only half are preserved, represent, probably, the moment of victory over the Xanthians, being a charge of cavalry indicated by one impetuous horseman against six foot soldiers, one of whom is already overthrown. The actions are here also very speaking. Two lions, Nos. 139-140, found at the base of the trophy, though admirable in the action with which they are crouching before taking a leap, are yet very conventional in treatment, especially in the stiffly curled manes. It is possible, as Sir Charles Fellows believes, that they may not originally have belonged to the monument. Next to these I may mention two sepulchral monuments from Xanthus, Nos. 142-143, which, as specimens of Lycian archi- tecture, are very remarkable ; the projecting beam in the lower part of the first shows clearly the imitation in stone of a some- what rude wooden construction. The roofs display in a singular way the form of the pointed arch. The sculptures in fiat relief leave no doubt as to the influence of Grecian art, although de- cidedly executed by Lycian artists. The barbaric element is particularly observable in the fact that they are placed upon the ridge of the roof, a position unfavourable alike for execution and for preservation, as well as for sight, and one which the right feeling for art in a Greek artist would never have permitted. It is no wonder, therefore, that we find the surface of the marble much destroyed with the influence of the weather. On the monument of the Satrap Paiafa, No. 142, the figures on each side of the roof, probably Glaucus and Sarpedon, as the local heroes of Lycia, appear in a Quadriga : they are of good invention and right feeling for style. The same may be said of the combat of horsemen along the ridge of the roof, and of the other sculptures. On the other monument, dedicated to one of the name of Merewe, I was parti- cularly struck with the invention displayed in the Chimsera on the narrow side — a ferocious lioness walking along with her head down, and attacked by Bellerophon in his chariot. Both these relics were doubtless executed earlier than the Xanthian trophy, and the monument to Paiafa the earliest of the two. Among the other sculptures bearing more or less the impress of Grecian art, I may mention the following : — Several slabs, Nos. 2-8, found in the walls of the Acropolis of Letter III. LYCIAN SCULPTURES. 71 Xanthus, composed of the stone of the country, a very porous volcanic tuffo stone, with subjects of satyrs, a lion devouring a deer, a panther, a dog, an ox, and a hear, represented in excellent style and in very flat relief. The animation in the figure of the lion is particularly remarkable, and also the masterly conception of the character of the panther. A frieze, also from the Acropolis, Nos. 17-21, a procession of two chariots with two old men, two youthful charioteers, and other male and female figures on foot, in very flat relief. The portions that are in tolerable preservation show a wonderful animation and truth, while the execution bespeaks an earlier period than the trophy. The fragment of a relief, No. 23, apparently of great antiquity, treated in strict architectonic style, representing a male and a female figure between two Ionic columns, with a harpy upon each. A sphynx, also from the Acropolis at Xanthus, upon a frag- ment, No. 27, with the body of a winged lion and the head of a woman ; of most admirable style and workmanship. Three female torsos, Nos. 28-30, found at Xanthus, of admirable archi- tectonic style and workmanship. The well executed drapery is treated with extreme flatness, and, in No. 29, even finished on the back of the figure. Sir Charles Fellows drew my attention to the excellent preservation of the edges, entirely attributable to the wax colours with which they had been painted. A narrow frieze of cocks aiid hens, Nos. 9-16, in somewhat high relief, must be also mentioned for its astonishing truth and animation ; also from the Xanthous Acropolis. Finally I remarked a set of extremely interesting casts from sculptured reliefs in Xanthus and other Lycian towns, which it was not possible to remove. The following are the most important : — A flat relief, Nos. 148 and 149, representing the complete view of an old town surrounded with walls, taken from an excavated tomb at Pinara. Also from the portico of the moat of that city, Bellerophon mounted on Pegasus, and hurling a lance at the Chi- mera The head of the hero very noble, and in very flat relief ; the action highly animated ; the Pegasus of unusual slender form. Part of a monolithic pedestal at Ilos, No. 157. The attack of a city, very remarkable for the landscape treatment, with small 72 THE BRITISH MUSEUM. Letter III. figures, but of good action. Also some combats and athletic games of great animation. The gable end of a tomb near the Chimsera at Xanthus, No. 161. Two lions devouring an ox. The action highly spirited. The character of the animals excellently conceived. A relief from an excavated tomb at Myra, male and female figures of gods and mortals ; of great ease of action, and of exemplary style in the fiat relief ; painted in the same way as the originals. The figures are well raised from a partly blue, partly red ground, and are so painted, according to the conventional laws of art, as to render certain portions more distinct, without in any way attempting illusion, but rather giving the whole a more har- monious effect. Letter IV. TOWNLEY COLLECTION. 73 LETTER IV. Townley Collection.* — Terra cottas — Statues and busts — Old Persian and East Indian sculptures, antiquities, bronzes, &c. — Portland vase — Nineveh ivories — Bronze Paterse — Etrurian ornaments — Mediaeval objects — Fragments of wall-paintings — Vases — Cups — Drinking- vessels — Coins — Bronstedt breastplates. TERRA COTTAS. In this ordinary material, which allowed even persons of moderate fortune to surround themselves with the noblest ideas of art, the ancients have left us an abundance of the most beautiful designs, and especially of those elegant grotesque inventions which fre- quently served to adorn friezes. Of the eighty-three here collected the greater part are distinguished by their composition, and many by their excellent workmanship. For instance, combats between Amazons and Gryphons (No. 4), and between Gryphons and Arimaspi (Nos. 7 and 8), of very graceful motives, symmetrically treated in the manner of an arabesque. A female figure (No. 12), surrounded by her maidens, and expressive of the most pro- found and touching grief ; she is supposed to he Penelope mourn- ing for Ulysses. The bearded Bacchus (No. 14), with Methe, or personified drunkenness, both' with the thyrsus, of severe yet free treatment. Machaon wounded, to whom Nestor is giving something to drink (No. 20), from the collection of Sir Hans Sloane. The anxiety of the old man is admirable. A hero, probably Orestes, imploring the protection of Apollo : grief and supplication are expressed in a very noble manner (No. 53). Two fauns kneeling, celebrating the Vintage (No. 22), and two looking at their reflection in a vessel of wine (No. 31). A Bac- chante presenting a basket of figs to the goddess Pudicitia (No. * I have retained the same order of succession in these objects which they occupied in the no-longer-existing little rooms, since the present arrangement is also only to be temporary. The same applies to the majority of the numbers, as the objects are still inscribed with the old numbers. In order, however, to give something permanent, I have retained the old Townley numbers. They may be distinguished from the others by not being in brackets. 74 THE BRITISH MUSEUM. Letter IV. 27). A Satyr and a Bacchante dancing, and rocking the infant Bacchus in the corn van (No. 41), are all of the most charming invention and animation. Lastly, I may mention two female figures at the sides of a burning candelabrum (No. 54), not only on account of the extremely elegant workmanship in the more ancient Greek style of art, but especially on account of the treatment of the drapery, which marks the transition from the regular plaits to the freer cast of the folds. The statues of two Muses, about three feet high (Nos. 38 and 40), are distinguished by their beautiful proportions and elegant drapery. TOWNLEY MARBLES. A large statue of Venus has a fine effect, No. 15. The upward look, the noble character of the head, and the slender and dignified figure, show it to he a Venus Victrix. The lower part of the body is clothed like the celebrated Venus from the island of Milo, in the Louvre ; and the nude parts, especially the breast, have close affinity with it : the form and attitude are, in my opinion, more noble than in the celebrated Venus of Arles, also in the Louvre, which belongs to the same class of statues of Venus. This statue was found by Gavin Hamilton in the baths of Claudius, at Ostia, in the year 1776 : the tip of the nose, the left arm, and the right hand are new. It is made of two blocks of marble, which are joined where the drapery begins. A Caryatis, No. 44, which formerly supported the portico of a small temple of Bacchus, near the Via Appia. It is very interesting to compare this statue with a similar one among the Elgin marbles which came from the Pandroseum. The broad rectilinear, strictly architectonic style of the latter, which is much more noble, is in this statue freer and more flowing, without, however, losing the distinctive character. We see from this how closely the ancients adhered to a form of conception once recognised as correct, and contented themselves with modifying, without departing from it. This is one principal foundation of the high perfection of ancient art. Four colossal busts, two of Pallas and two of Hercules, are very remarkable. One of the latter, No. 77, is a highly important example of the transition from the earlier conventional to the later and freer style. The character of Hercules is fully developed in the face, though still retaining the Letter IV. TOWNLEY MARBLES : BUSTS. 75 dignified moderation of the older style ; the forehead and mouth in particular are very noble ; the nose is new. On the other hand, the short hair consists, as in the Egina statues, of detached spi- rally twisted locks, which look as if they had been moistened. The workmanship is very careful and decided. The other colossal bust of Hercules, No. 75, found near Vesuvius, and presented to the Museum by Sir William Hamilton, is entirely in the later style, with very prominent forms. The swollen Pancra- tiast ears, as they are called, are particularly developed. The nose and part of the right cheek are new. The workmanship is quite free and very good, the character more noble than in the Farnese Hercules. The bust of Minerva (No. 16), found by Gavin Hamilton, near Rome, is also an interesting example of the transition style. The cheeks, in their breadth and fulness, approach the Egyptian sculptures. On the other hand, the cha- racter of the goddess is fully expressed in the finely formed nose and the delicate open mouth. It is of Parian marble, and the workmanship very sharp. The sockets of the eyes were formerly filled with some other material, and the locks of the hair and ear- rings were of metal. This is proved by a spot of rust on the left side, and a small piece of metal on the right ; also by the ears being pierced. The helmet with the two owls, and the tip of the nose, are new. In the other bust of Minerva (No. 1) the great injury it has sustained is the more to he lamented (the nose, chin, under lip, a part of the upper lip, and one ear are new) from the circum- stance that the forehead and cheeks are exceedingly grand and noble ; the hair admirably managed —both far superior to the Pallas of Velletri. Two marble vases (Nos. 7 and 9), with Bacchanalian scenes, which, in form, invention, ' and the execution of the bas- reliefs, have all the charm of Greek art. Unfortunately they have required great restorations, particularly the last. No. 16, an almost undraped Venus, about three feet high, found in the year 1775, near Ostia, is very remarkable for its noble slender propor- tions and exquisite workmanship. The arms are new. Next to this (No. 35) may be mentioned a terminal figure, about three feet high, playing on the flute, found in the villa of Antoninus Pius. The delicate workmanship of the curly, pointed heard indicates a work of ancient Greek art ; also the expression of the mouth blowing the instrument is very natural. This statue, which 76 THE BRITISH MUSEUM. Letter IY. belongs to the Bacchanalian class, is here called Pan. A number of Greek busts, partly of gods, partly portraits, are highly interest- ing. You feel yourself, among them, in the most excellent society, with goodness and benevolence, refinement, and beauty, loftiness of mind, and calm genuine enthusiasm alternately attract- ing your attention. The portraits are called Homer, Periander, Pindar, Sophocles, Hippocrates, Epicurus, and Pericles. Though some of them, as, for instance, Pindar and Sophocles, are very doubtful, and Periander, considering that the art of his time was not capable of such detailed portrait-like workmanship, can only be considered as a later representation of him, yet the busts are worthy of such names. It was a point of particular interest to me to see the bust of Pericles, No. 91, rightly designated, enabling me positively to recognise as a Pericles a bust in the Berlin Mu- seum (No. 396) which has hitherto been marked in the catalogue as unknown. The bust of Hippocrates, No. 82, is one of the most beautiful Greek busts that have come down to us. Nor did I ever before see heads of the bearded Bacchus so finely expressive of the noblest character, so full of intellect and benevolence, in various gradations of style, from the Qarly antique to the late and almost over free, as in Nos. 62, 63, 64, and in that which is called Sophocles (No. 26). For this bust is either a Bacchus or an ideal portrait of the poet, to whom, as the most worthy disciple of his patron god, these features have been given. On the other hand, a terminal figure of Bacchus, No. 65, has something of individuality, and may probably be a portrait. Also an unknown bust (No. 44), which represents a man of genius, is a masterpiece, both in conception and execution : a worthy companion is a head of Mercury, on a modern terminus (No. 21), of very refined expression, in which only the wide open eyes and the tips of the locks call to mind the older period of the art. A terminal figure of the young Hercules, wearing a poplar wreath (No. 46), is, both as regards the workmanship and the elevation of the design, one of the most beautiful representations that I know of that demi-god. Most of these busts are in an extraordinary state of preservation. Among the fine reliefs here preserved the most distinguished are the well-known Apotheosis of Homer (No. 123), formerly in the Colonna Palace, purchased for the Museum, in the year Letter IY. TOWNLEY MARBLES : STATUES. 77 1819, for 1000/., and Castor taming a horse (No. 121). In the very flat relief the same principle is observed as in the Pana- thenaic procession, and the fine design is treated with much free- dom ; but the profile, in the line from the forehead to the tip of the nose, has still the same oblique direction as in the paintings on the older Greek vases, with black figures on a red ground. It was found by Gavin Hamilton, in the year 1769, in Adrian’s Villa. In this room, too, is the visit of the bearded Bacchus to Icarius, No. 12, which is often met with; a relief of spirited design and very good workmanship v w r hich was engraved by Santo Bartoli, when it was still in the Villa Montalto. The large statue of an Apollo (No. 2) is above all important, as a work of transition from conventional to free art. The forms of the body are grandly treated, yet with a certain severity ; the head is rather small in proportion, the features noble, though rather rigid. The widely-opened eyes, and the manner in which the locks of hair are curled at their tips, are especially in the older manner. The execution is extremely careful and precise, the state of preservation excellent, only the nose, the end of the right arm, and the left hand, being new. This work (which is in the centre, between the Egina sculptures and those of the Parthenon) came from the Choiseul Gouffier collection. The statue of a Thalia (No. 5), found in the baths of Claudius at Ostia, is par- ticularly remarkable for the drapery, which is in small folds and very carefully executed. Here are also some very good Roman busts: Trajan (No. 1), Adrian (No. 12), Marcus Aurelius (No. 6), and Lucius Verus (No. 7). The head of a young Hercules (No. 9) is remarkable for the noble character, the precise work- manship, and the admirable treatment of the short hair — only the nose, and part of an ear, are new. The torso of a Venus (No. 20), about a foot high, is graceful in motive and of excellent workmanship. Some reliefs also are distinguished by clever invention. These are, firstly, Achilles among the daughters of Lycomedes (No. 2), the workmanship of which is very good. Secondly, Captive Amazons with their shields and battle-axes (No. 9). Thirdly, a lightly-clothed Bacchante (No. 131), wonderfully graceful and spirited, in passionate excite- ment, brandishing a knife in her right hand, and the hind quarter of a deer in her left hand. The right foot, a piece of the drapery, 78 THE BRITISH MUSEUM. Letter IY. and the deer, are new. Fourthly, animals in repose, with an old and a young Faun (No. 57), so full of life and character, that you fancy you behold an Idyl of Theocritus transformed to sculpture. Next to this, the head of an Amazon (No. 25) deserves mention, for the noble expression of grief, and the admirable workmanship ; while the severity in the stringy treatment of the hair belongs to the older period. A bust of Caracalla (No. 51) is very spirited and careful. Lastly, I was extremely interested by two frontlets from Athens (No. 57), of terra cotta. They are painted in white ornaments on a red ground, on a thin layer of stucco, which pro- duces a very good effect. A bust (No. 43), marked as unknown, has much resemblance with Heliogabalus ; a profile head, in relief (No. 1), described as an unknown Greek philosopher, appears from the character and workmanship to be a piece of Roman sculpture, perhaps from a triumphal arch. The finest example of the celebrated Discobolus, Myron, is here, of which, as is well known, many copies have descended to us. The moment of his throwing the discus is expressed with incom- parable spirit in the attitude of the whole body. Though extreme exertion produces a very strong action of the muscles, they are by no means exaggerated by excessive prominence, but are kept flat. In the other repetitions of this statue, he is looking round after the discus ; here, sideways. Though the head does not appear to belong to it, it has been very happily adapted by the restorer to the attitude and expression of the statue. This care- fully-executed work is, on the whole, very well preserved ; for, except some small pieces which have been let in, only the left hand, and the right knee, and on the head only the nose and upper lip, are new. Next to this, the statues of two Fauns are worthy of notice. In that from the Rondanini Palace, playing the cymbals (No. 18), the old portions, the torso, and the right leg to the knee, are admirable in the character and execution of the vigorous muscles. This statue was not purchased till 1826. In the other, the pleasures of' intoxication are expressed with uncommon life, and the workmanship of the few original portions (for it is very much injured and restored) is very good. On the head are holes, which served to fasten a wreath of metal. Among the bas- reliefs, the fragment of a Bacchanalian group (under No. 13) is distinguished by good workmanship, and by the wonderfully-beau- Letter IV. OLD PERSIAN AND INDIAN SCULPTURES. 79 tiful attitude of a dying Bacchante. A bust (No. 39), stated m the catalogue to be unknown, of good workmanship, I take to be i that of Julius Caesar ; at least, it has a most striking resemblance | with the admirable bust of him in the Berlin Museum. Head of Apollo (No. 4). In the noble form and the animated expression, it recalls the Apollo in the collection of Count Pour- i tales at Paris : the admirable execution of all the parts, espe- , daily of the rich, sharp, beautifully-arranged hair, heightens the charm. Unhappily, the nose, and a part of the cheeks, are new. The head of a Diana (No. 2) is, for execution, especially of the rich hair, one of the most highly finished that I know ; half the nose, the chin, and part of the cheeks, are unfortunately restored. A beautiful female bust (No. 79), the lower part of which is i enclosed in a flower, on which account Mr. Townley pronounced it to be Clytie, metamorphosed into a sunflower. He bought it at Naples, from the Lorenzano Palace, in 1772. A valuable collection of Homan and Etruscan sarcophagi and inscriptions, such, however, as are frequently met with elsewhere. There are in all forty-six pieces. OLD PERSIAN AND INDIAN SCULPTURES. The first consist of a considerable number of bas-reliefs which : adorned the ruins of the ancient palace of the kings of Persia at Persepolis ; partly the originals themselves, partly plaster casts. The heads are dignified ; this is in an especial degree peculiar to the sovereigns on the throne, towards whom several figures, fol- | lowing each other, bow with much solemnity. The rectilinear snapped folds of the long garments have also some resemblance to ; those of the old Greek sculptures. The proportions of the bodies I are correct, the hands natural and well formed. Horses too, where J they occur, are well made, except that the heads are too short and thick. The relief, which is throughout low, does not so decidedly stand out from the back-ground as in the Greek sculpture ; but within the exterior outlines of the figures the same principle is fol- lowed, by which the several parts are indicated, more by abrupt sinking than by rounding. The execution is, on the whole, neat and careful, especially in Nos. 86 and 89. Some architecture | with stellated ornaments in No. 22, and the wheel of a carriage, 80 THE BRITISH MUSEUM. Letter IY. are very elegant. These monuments certainly give no unworthy idea of the manners and actions of the old Persian kings, such as Cyrus or Darius Hystaspes. The specimens of Indian sculpture are far inferior to them. They consist of statues, or very high reliefs ; extremely defi- cient in style, and very barbarous. The type of the face is very disagreeable, the lips swoln, the eyes placed obliquely, the nose long, narrow, and like the whole oval, very pointed. The bosom and hips of the females excessively large, and the waist extravagantly slender : the execution, however, is tolerable. We must not, however, draw a conclusion from these sculptures respecting the art of the Indians in general ; for many sculptures from Java, in the Museum at Leyden, and some in the Museum at Berlin, show far more feeling for style, and a better taste. ANTIQUITIES. The collection of antiquities, small sculptures, sarcophagi, utensils, weapons, ornaments in gold, silver, bronze, terra cotta, and glass, belonging to the Babylonians, the Indians, the Greeks, Etruscans, Romans, and ancient Britons, contained, in the year 1835, many objects of great interest, including the Portland Vase, and the Bronstedt breastplates. It consisted chiefly of the collection, in great measure of bronzes, bequeathed to the Museum by Mr. Payne Knight, which had been principally formed by the purchase of that of the Duke de Chaulnes, and of other acquisitions in Greece and Italy ; also of the collection of Babylonian-Assyrian cylinders purchased in 1825 of Mr. Rich. The following purchases and presents have since considerably added to this department, and have in many respects rendered it the richest collection of the kind : — 1836. A large British corslet of gold, found at Mold, in Flintshire. 1839. A fine white Roman lavacrum, presented by Lord W estern. Etruscan sarcophagi, and various gold ornaments found with them, purchased of M. Campanari. 1841. A fine collection of Etruscan gold ornaments, purchased of the same. A collection of bronzes, including a Venus with Pantheistic emblems, purchased of Mr. Millingen. Letter IV. TOWNLEY COLLECTION: ANTIQUITIES. 81 Babylonian cylinders and other antiquities, purchased of Mr. C. Stewart. 1846. A collection of Etruscan gold ornaments, purchased of M. Campanari. A valuable collection of bronzes and terra cottas, chiefly from the Basilicata, purchased from Mr. J. R. Stewart’s executors. A large collection of Babylonian cylinders and oriental engraved gems, purchased of Mr. J. R. Stewart’s executors. A collection of Britanno-Roman antiquities in metal, portions of horse-furniture, discovered on the Paldon Hills, Somerset- shire. 1847. A collection of bronzes, some of very fine style, found in the lake of Monte Falterona, purchased of M. Campanari. A collection of Britanno-Roman antiquities, consisting of por- tions of armour, horse-furniture, and pottery, discovered at Stan- | wich, in the North-Riding of Yorkshire, and presented by the ! Duke of Northumberland. 1848. A collection of sacred vessels and implements in silver, found at Lampsacus in Asia Minor ; among them are a patera, I spoons, and candlestick : presented by Lord Cowley. Ivory earrings, bronzes, and other antiquities, from Mr. Layard’s I excavations at Nimroud. 1849. Five inscribed mirrors in bronze, purchased from Dr. Emilius Braun. 1850. Roman fibula, chains, and bracelets, purchased from Dr. Emilius Braun. Roman antiquities found in France, purchased from Mr. Martin. Finally, a few purchases have contributed to the commence- ment of a collection of Christian and mediaeval antiquities. Considering how richly England is endowed with monuments of j mediaeval art, and how much the feeling for this department has | been lately awakened, it may be fairly expected that presents and ! legacies, as well as purchases, will soon raise this collection to a par with the others. A quadrangular apartment, lighted from above, contains a variety of small objects, chief of them of the greatest value. In the centre of the room stands, upon a pedestal, the universally- celebrated Portland Vase. This vase was found in the sixteenth YOL. I. G 82 THE BRITISH MUSEUM. Letter IV. century in a sarcophagus, in the sepulchral chamber called Monte del Grano, on the road from Rome to Frascati, and was called, after the family into whose possession it first came, the Barberini Vase. About sixty years ago, Sir William Hamilton, who had become possessed of it, sold it to the Duchess of Portland, from whom it received its present name of the Portland Vase. In the year 1810 it was placed by the Duke of Portland in the British Museum. This very elegantly-shaped vase, which is about ten inches high, consists of a dark blue glass, over the surface of which a fine coating of white opaque glass was melted. On this white coating the figures which were to adorn the vase were drawn, executed in the manner usual in cameos, and then all that part of the white coating not included in the outlines of these figures was ground off, so that they are very strongly relieved by the dark ground of the blue glass, and produce an effect resembling that of the onyx cameos. The relief of these figures in the thin coating is so low, that the general form of the vase is not broken by it, and all the parts within the external outline are most delicately modelled on the principle of the reliefs in the Panathenaic procession, by almost imperceptible elevations and depressions. Winckelman endeavoured to establish an identity between this subject and the fable of Peleus and Thetis. This interpretation, however, met with but few supporters, from the circumstance of the hero being here welcomed by the female figure with the serpent, while the generally received version of the fable supposes him to have obtained her after great opposition. An English archaeologist, Mr. Watkiss Lloyd, has, with much ingenuity and learning, endeavoured to establish Winckelman’s interpretation.* If, however, he be disposed to consider the workmanship of this vase as coeval with the sarcophagus in which it was found, namely, the period of Septimius Severus, I am not prepared to adopt this opinion ; but the delicacy of the forms and the singular grace of the movements show that they are of the period when art was in its highest perfection. The execution of the heads and the folds of the drapery is very slight, and sometimes almost meagre. This vase, which was probably made in the first century, has once been broken, but all the pieces are there, except one very small one.f Mr. Haw- * The Classical Museum, No. 21, 1848. f The restoration of the vase after its wanton destruction in 1845 is most admirable. I Letter IV. TOWNLEY COLLECTION : IVORY RELIEFS. 83 kins, the obliging superintendent of this department, showed me a considerable number of ancient fragments of similar vases, which throw an interesting light on the mechanical process of such works. Some were still superior in execution to the Portland Vase. I greatly admired the variety of the beautiful patterns in manifold assortments of colour. A similar fragment, now placed on one side of the small pedestal on which the Portland Vase stands, is of marvellous beauty. The profile of a youthful head in a Phrygian cap shows a singular purity, roundness, and delicacy of form. The stooping position, the forefinger pointed towards the mouth, most admirably give the expression of reflection. The drapery is also of excellent style. Of the objects arranged in the glass cases on two sides of this same room, the following are the most remarkable. First, the ivory reliefs discovered at Nimroud by Mr. Layard, many of which correspond in character with the large sculptures ; for instance, a winged lion in walking action, the mane of which hangs between the front feet in an apron-like form. The frag- ment of another similar lion shows that several of these figures were arranged together in arabesque fashion. The same is apparent in the figures of several cows, which are all looking round after their calves, and also in two small sphynxes in an architectural framework, which, especially in some of its convo- luted forms, bears a surprising resemblance to the mannered inventions of the Renaissance style of the latter half of the 16th century. Lastly, I noticed the largest piece of all, representing fantastic winged beings, unfortunately much injured. The work- manship of these ivories, especially^ of the last, is very careful. By far the larger portion of them, however, prove the reaction of Egyptian art in these countries. The proportions of the figures, the character of the heads, the conceptions of the forms, and the treatment of the flat relief within the deep, circumscribing intaglio, display an astonishing coincidence with Egyptian sculp- tures. In some parts also hieroglyphics are found. The deci- phering, however, has brought a name to light which does not occur in Egypt, and belongs to another language. Two figures seated opposite each other, in excellent preservation, and a portion of another, are of extraordinary delicacy of workmanship ; a kind of honeycomb ornament on the throne, on the borders of the gar- g 2 84 THE BRITISH MUSEUM. Lettek IV. ments, and on tlie head-dresses, which was formerly filled with a black substance, is still perceptible in some parts. Also two figures standing, one opposite the other, and seven single standing figures, some of them with one foot upon a lotus-flower, are very remarkable. Four separate heads, seen in front, and enclosed in an architectural framework, as if looking over a balustrade, cor- respond wonderfully with the heads upon Egyptian capitals of columns, only that the eyes here are not inclined upwards One small head is remarkable as approaching the round ; also two pairs of clasped hands are distinguished for truth of action. The fragment of a foot, however, surpasses in purity of beauty and excellence of workmanship all the other ivory specimens. In 1851 a considerable addition was made to these Assyrian antiquities, in a collection of bronze paterae, discovered also by Mr. Layard in the ruins of Nimroud. The greater number of these are in a very shattered condition and strongly oxidized. The form is simple, but elegant. Two of them, which have been cleaned, were found to be decorated with excellent embossed work in the very thin metal. The figures of goats are of wonderful truth of nature. The representation of the goddess Athor gives evidence of Egyptian influence. The same may be said of a third dish, beneath the thick patina of which, slender and delicate figures in the Egyptian style have appeared, and which is espe- cially remarkable for the tasteful border which, with much feeling for beauty, diversifies the flat surface. Among interesting fragments of objects, a portion of the lip of a vase, of rock crystal, is remarkable for the beauty of its polish. No one would have thought that an Assyrian specimen of so perishable a kind as that of painting could have been preserved to us. A small picture, however, is to be seen here, which repre- sents in decided and delicately drawn outlines, a king, with an attendant bringing sacrifice to an idol. The latter personage is only partially visible, but the other figures correspond in every way with the sculptures. The collection of engraved gems in another glass case contains some that are very beautiful, hut it cannot be compared with that of the same kind at Paris, Vienna, or Berlin. Another case exhibits a very interesting collection of antique ornaments in gold, the greater part found in tombs in Etruria. Letter IV. TOWNLEY COLLECTION : ANTIQUITIES. 85 Some necklaces and earrings are remarkable for the uncommon elegance of their forms and the delicacy of the filigree work. In other glass cases are deposited objects belonging to the middle ages. A quantity of silver ornaments found in old burial- places in Ireland are particularly interesting. A row of armlets resemble those occasionally discovered in the graves of the. ancient Germans. Another case also of gold ornaments of the middle ages con- tains some choice specimens of ecclesiastical relics. Among them may be particularly noticed a stately metal cross, which was used in processions, and a very ancient Irish crozier, which, instead of terminating in the usual spiral form, ends in a simple crook. Here also may be mentioned several other interesting objects of the middle ages, kept in glass cases in the adjoining room. The half of an ivory dyptich, with a Greek inscription, which I had not time to transcribe, though judging from its pure antique style, unmixed with any trace of Byzantine feeling, it is scarcely later than the 5th century. The half of another dyptich, with various Christian subjects, may be considered of German origin, and belonging to the end of the 11th or beginning of the 12th century. Some chessmen, more than sixty in number, made of walrus- teeth, are very remarkable. They were found underground in the north of Scotland. The human forms are very contracted and rude, but the Roman decorations which form a different pat- tern on the back of each are careful and beautiful. The most interesting objects to' my view were some fragments of wall-painting, representing the history of Job. These formerly decorated the old chapel of St. Stephen’s, which was removed to make way for the new Houses of Parliament. They are painted upon a red coating of the stone, with a very considerable body of colour, the thickness of which may be seen from the black ground, which is cracked like an oil painting, and has fallen off in por- tions. Although much injured, they show both in the heads and in the motives a very admirable master, who, in flowing forms and feeling for beauty, exhibits a striking likeness to the Sienese school, and especially to Pietro Lorenzetto. The expression of a female figure, struck by a falling building, which a demon is 88 THE BRITISH MUSEUM. Letter IV. demolishing, is particularly beautiful. The modelling is also very careful, and the light broad and freely laid on. These small figures may he therefore safely attributed to an English painter embued with the influence of the Sienese school. They are con- sidered, and rightfully so, to belong to the latter period of Edward III. VASES. Until the year 1835 the collection of vases in terra cotta consisted merely of those belonging to Sir William Hamilton’s col- lection of antiquities, purchased as early as 1772 for 8400/., and thus fell far short of the chief collections on the Continent. Since then, however, no department of art has been so richly increased as this, so that the collection of vases in the British Museum may now be considered as the first in the world. This especially applies, both in number and choice, to those which were found in Greece itself ; also to those derived from Magna Grecia, which are as re- markable for size and beauty as they are for the character of the representations upon them. In vases also of the hieratic style, this collection yields to no other, either in number or quality of art. The separate purchases which now constitute this collection are as follows : — 1836. A numerous selection from the Durand collection at Paris. 1837. A selection from the Canino collection. 1842. The rare and interesting collection of Athenian vases found by Mr. Burgon in the course of excavations at Athens ; among them the celebrated Panathenaic amphora, published by Mr. Millingen and O. Muller. A large vase in the Basilicata style, representing Pelops and (Enomaus, purchased from Mr. Millingen. 1843. Eighty vases and twenty tazzas, comprising many of the more choice specimens of the Canino collection, purchased from that prince. 1846. Two jugs, surmounted by tall female figures in coloured terra cotta, with other vases, part of the above-mentioned collection of bronzes, &c., belonging to Mr. J. R. Stewart. 1847. A few vases collected by Mr. Millingen. A very remarkable Greek crater representing the death of Letter IV. TOWNLEY COLLECTION : VASES. 87 Memnon, and a cup with the gods seated, purchased from Dr. Emilius Braun. 1849. A vase from Ruvo, with the subject of Pelops and Ly- curgus, purchased from Mr. C. Stewart. Several vases from Mr. W. Hope’s collection : among them, one representing the birth of Minerva ; another, a scene from an ancient comedy. 1850. Very ancient vases, found with Egyptian bottles and ala- baster figures at Follidrara, near Yulcy, in Italy. Many of them are covered with designs of an Assyrian character. Tazza, with the labours of Hercules ; another with figures en- gaged in gymnastic exercises ; an amphora, with Hercules in the garden of Hesperides, purchased from Dr. Emilius Braun. Among the presents are particularly interesting handles of terra cotta vases, found at Alexandria and in Sicily by J. S. Stoddart, Esq., and presented by him. These are stamped with the names of magistrates, and with the devices or types which occur on the coins of Rhodes, Cnidus, and other Greek cities. They afford much his- torical and numismatical information. The terra cotta vases are contained in a fine apartment lighted by three windows from above, the walls of which are appropriately decorated with copies of the wall pictures in the excavated tombs of the Tarquinii. The greater portion of them are placed in glass presses. Besides these a considerable number are preserved in eleven glass cases in two double rows in the centre of the room, so that they may he inspected on all sides. These cases contain three shelves, one above the other, the lowest being almost on a level with the ground, and far too low for examination. It is a pity that a fourth shelf above is not rather provided for the very beautiful vases thus unfavourably placed, and that vessels only of an inferior quality, such as always occur in large collections, are not trans- ferred to these low positions. Of the vases in the so-called archaic style, more particularly valu- able for the designs upon them, and as specimens of old Grecian art, I will only remark that a considerable number are preserved here of which many are distinguished for their size and subjects. The class of vases of the so-called transition style, with black figures on a light ground, is also considerable. The size of the vessels, the strange subjects, careful execution, and excellent pre- 88 THE BRITISH MUSEUM. Letter IV. servation, render this department very interesting. I must content myself with noticing a few of the most remarkable. A hydria, or water-vase (No. 447). On one side the Dionysiac festival, with Ariadne, Mercury, Vulcan, and Bacchantes ; on the other, the combat of Achilles and Memnon over the body of Antilochus. A hydria, No. 454, with Hercules at banquet, the strangling of the Nemsean lion, and a stag-hunt. A hydria, No. 475. On the one side the combat between Hercules and Cycnus ; on the other, female figures drawing water from the fountain of Calirrhoe. A vase, No. 564, with the birth of Minerva from the head of Jupiter, one of the richest and most interesting representations of this subject ; and with a warrior named Callias, with his charioteer in a chariot. The celebrated Panathenaic amphora, No. 569, discovered by Mr. Burgon in 1813, without the walls of Athens. Of all the prize vases, so called from the inscriptions showing them to have been given as prizes in Athens, this, judging from Jhe Biga and the Minerva represented upon it, is probably the most ancient and re- markable. Five other prize vases are also here. I proceed now to those vases of a fine style, with yellow figures on black grounds. The lover of Greek beauty will be quite dazzled with the abundance here presented of the finest things of this kind. The examination of the paintings on these vases has renewed my conviction that many a thought of the great Greek painters is embodied in the finest forms of beauty that we possess. Meanwhile it is interesting to observe the variety of artistic feeling which characterises these vases. The vases with Bacchus and Ariadne, No. 42, and the sacrifice of Jason, No. 804, have that simplicity in the composition of the lines and conception of the forms which we associate with the pictures of Polygnotus. Menelaus and Helen, No. 807, unite with this some- thing touching and dramatic, which reminds us of pictures by Timanthes. The birth of Pallas, No. 741, is worthy to be placed on a par with this last. Another vase, No. 1266, the subject of which is unintelligible to me, is so graceful in the movements, so delicate in drawing, so rich in tasteful accessories, and so complete in execution, that we may fairly imagine we see in it a reflex of Apelles Letter IY. TOWNLEY COLLECTION : VASES. 89 himself. The vase also, No. 788, with Bacchus killing' an enemy whom his panther is also biting, is as original as it is beautiful. The Bacchanalian, No. 270, is one of the most beautiful of the innumerable representations of this class ; and the comic vein of the Greeks is admirably seen in two kneeling figures of satyrs who are see-sawing. Other vases are very attractive for the form in which they bring well-known subjects before us : as, for instance, Medea, No. 707, from whose caldron the figure of the juvenilised ram is rising ; also Ulysses listening to the song of the Sirens. The vase, No. 801, with the subject of the arrival of Perseus at the court of Cepheus, is of rare elegance, and very rich in the details. It proceeds evidently from the same studio as the beauti- ful vase in the Berlin Museum, with the fight of Cadmus and the Dragon. Of the large number of beautiful cups I have only space to notice the following : — A banquet of the Gods, No. 84*, with their names written by the side, of uncommon delicacy of drawing in the details. The other with the acts of Perseus, No. 824, among which the defeat of the sow of Cromyonis the chief subject. No. 864, with some of the labours of Hercules : within, the over- coming of the Nemsean lion ; without, his fight with Achelous, and his driving away the oxen of Cacus. No. 840, a young man on horseback, which corresponds in style and feeling with the youths in the Panathenaic procession. Especially choice is the set of drinking vessels (rhytons) in the form of human heads ; for instance, a head of Venus, No. 1256, of uncommon delicacy and elevation of form, and in wonderful preservation. A bacchanalian dance also, on the upper part of the vessel, is charming. Another head of the same goddess, No. 1564, is of equal interest. A room next to this, filled with antiquities, contains in eight cases the rich collection of vases found in Greece. A number from Athens itself, in a style of art of the highest antiquity, are very remarkable. In the rudeness of style with which the ornaments and animals are painted in brownish colour upon a somewhat lighter ground, they agree with those archaic vases so often found in Sicily, which were formerly mistaken for Phoenician. Among the many lecythi or oil-vases, the commonest form of vase found in Athens, I may remark No. 2835, Minerva in the 90 THE BKITISH MUSEUM. Letter IV. act of pouring out nectar for Hercules. In these small figures, consisting of black outlines with separate coloured portions, such a feeling for beauty, delicacy of form, and mastery of execution is evinced as to warrant the highest estimate of the development of such painting during the prime of that period of art in Greece, when every variety of this style was practised. The preservation is also admirable. I was next struck with the representation of a woman at her toilet-table, with a female attendant behind her. The largeness of the forms, the elevation of the motive, and the considerable remains of the thickly laid on paint in hair and drapery, render this very interesting. Besides these, here is a considerable number of vases which are not often found in Greece, with black figures upon a yellow ground, and yellow figures on a black ground. Of the former, a Theseus and the Minotaur, without number, is as remarkable for the sub- ject as for the beauty of form of the vase. Also a Minerva, No. 2670. Of the latter, Nos. 2929 and 2930, representing two youths in animated action, evince, in the beauty of conception, elegance of form, and mastery of execution, the full spirit of the noblest time of Greek art. A small pyxis, No. 2923, with Cupid and other figures in white and blue, is most attractive for the extreme free- dom and elegance of motive and delicacy of execution. A small oenochoe, or wine-jug, No. 2933, with a boy creeping towards a footstool on which an apple is lying (the figure treated in white), is of the highest charm and naivete. Surpassing, however, every other in the marvellous beauty of motive, is a lecythus, No. 2847, Electra with her maids at the tomb of Agamemnon, sketched with intelligence, in blue, crimson, purple, and green. In point of invention, Greek painting is here presented to us in its highest form. As a remarkable proof that in Athens even funereal urns were painted, I may mention a vase found in the Pyrhceus, of circular form, in which there are still some remains of bones. i COINS. The collection of coins in the British Museum, up to the year 1839, contained many valuable Greek and Roman speci- mens ; but both in number, rarity, and good preservation, was inferior to the collections of Paris and Vienna. Since that time, however, the acquisitions in this department have been so con- Letter IV. TOWNLEY COLLECTION : COINS. 91 siderable and so fortunate that the collection may now he con- sidered first-rate in every respect. I give the most important purchases according to the years in which they occurred : — 1839. 568 Greek coins, collected in the East by the Rev. T. V. J. Arundell. 1840. 420 coins, principally of Magna Grecia, collected by Mr. Millingen. 806 Greek coins, purchased from Mr. Stewart, 525 of which were the best in his collection. 1841. Mr. Burgon’s collection of Greek coins, the result of many years’ residence in the East, and containing many speci- mens of the greatest beauty and rarity. Mr. C. Stewart’s collection, containing many Sicilian specimens of extreme beauty. 1843. About 2600 coins and medals from the collection of the late Dr. Nott, of which 35 are gold, and 1041 silver. 1844. About 4050 coins from the collection of the Duke of Devonshire, comprising a large number of very rare Greek im- perial coins. 140 gold, 258 silver, and 281 copper coins, from the well-known collection of Mr. Thomas. This purchase has greatly enriched the collection, as Mr. Thomas’s coins were unrivalled for beauty and preservation. Among the number are the unique silver tetra- drachm of Alexander of Pheroe, and the gold octodrachm of Berenice Queen of Egypt. 1845. 24 silver decadrachms of Arsinoe, the wife of Ptolomseus Philadelphus ; and 103 tetradrachms of Ptolomseus Sotor, pur- chased from Mr. Harris, of Alexsrndria. 1847. The very valuable collection of 2500 Oriental coins, formed by the late James Stewart, Esq., and purchased from his executors. 1848. About 200 Grecian, Roman, and English coins, from the Pembroke collection ; some of them of great rarity. 1850. A small collection of very rare Greek coins, formed in the East by Colonel Rawlinson. A collection of Greek coins, purchased from Mr. Borell, of Smyrna. It would be impossible for me to enter into any particular de- scription of these rare and beautiful coins thus gathered together. 92 THE BRITISH MUSEUM. Letter IY. A selection of specimens belonging to the finest period of Greek art, in a state of such admirable preservation that they looked as if only issued yesterday, afforded me the highest artistic gratifi- cation, and are calculated to lead to most interesting conclusions as to the perfection developed by the best sculptors of works of that large scale most popular among these much favoured ancients. Of the progress of antique sculpture in detail no idea can now be formed, except from a full and chronologically arranged set of coins belonging to one city. The coins of Alexander the Great present a wonderfully rich succession of this kind. Of those coins alone bearing the head of Pallas on the obverse, and of Victory on the reverse, no less than 53 gold specimens, from various mints, are here seen in the most admirable preservation. Of the silver coins belonging to the same reign, with the head of Hercules on the obverse, and Jupiter enthroned on the reverse, one of those pur- chased from Mr. Burgon is particularly remarkable. The head of the Hercules, in whom the Pancratiast ears are distinctly formed, is of noble conception ; and the relief is distinguished by a treat- ment of fine style and by a masterly execution. A tetradrachm, with the same types, discovered at Nimroud by Major Rawlinson, is a unique. V ery admirable coins are also among those issued by the Generals and successors of Alexander. A silver coin of Lysimachus is especially worthy of note. It is in admirable pre- servation, and contains on the obverse the head of Alexander — the best representation, without all doubt, existing of this great indi- vidual, who combined the heroic soul of an Achilles with that development of Greek cultivation such as Aristotle was fitted to impart. It is not possible to conceive a more living and poetic union of lion-hearted courage and noble enthusiasm than these grand features convey. The ram’s horn at his side indicates him as the son of Jupiter Ammon. The execution of this coin, which is in bold relief, is of singular breadth, and of a carefulness only to be compared to a cameo. On the reverse is Pallas. Another coin of the same type is also very beautiful. A coin of Demetrius Poliorcetes is as remarkable for the noble features of the head on the obverse as for the beautiful motive of the Neptune on the reverse. Among the Sicilian coins, some from Palermo are worthy of mention as next in interest to the well-known tetradrachm of Letter IV. TOWNLEY COLLECTION : COINS. 93 Syracuse, with the head of the nymph Arethusa, of which several specimens of the highest class are here. Also four silver coins, one with the head of Ceres on the obverse, and a horse on the re- verse ; two of the same type, only that a palm-tree is introduced next the horse ; and one with a particularly grand conception of the head of Ceres, with Pegasus on the reverse. Finally I may mention two great rarities. The one is a large brass coin of the Emperor Commodus, called in the surrounding inscription Britannicus, with the impersonation of Britannia, an enthroned figure of noble motive on ,the reverse, hearing a kind of sceptre in her right hand and a spear in her left, and with a shield beside her. This coin is of the utmost significance and interest for England. The second is a silver medal of the Emperor Prisons Attalus, of unusual size, with his head on the obverse, and a full length figure of him upon a throne decorated with lions’ heads, and a Victory on the right hand, on the reverse. The form of the crown is the original type of those which occur in the old miniatures of the Carlovingian kings. The execution is very rude and barbarous. The two celebrated breastplate fastenings, or fragments of a Greek suit of armour, which were found in a tomb in southern Italy, and were long in the possession of Mr. Bronstedt, are by far the most valuable. Each of these has the group of a Greek overpower- ing an Amazon, most delicately chased in very thin plates of metal. Both have suffered much by oxidation, so that each of the Amazons wants an arm. The surface of the right one is especially much corroded. They are the finest specimens of this kind that have come down to us from antiquity, which I have yet seen. All the advantages of entire freedom in the art are united in them with the salutary architectonic laws of the earlier period. As these ornaments were placed symmetrically on the two sides of the breast, the general design in each is the same. The Greek, wearing only the chlamys and helmet, has already with the right hand laid hold of the hair of the Amazon, who has sunk upon her knee, and holds in her left hand a large round shield, which, however, is preserved in only one of them. They rather express in general, victory and defeat, than the act of putting to death. In the same manner as in the Metopes of the Parthenon, a certain composure is united with the most violent exertion. In the details, however, a slight variation may be discovered, for the one Amazon still resists, the 94 THE BRITISH MUSEUM. Letter IV. other makes no further effort to ward off death. In the rather short proportions and the treatment of the drapery, there is a great resemblance with the frieze of Phigalia ; hut here everything is most delicately and perfectly executed in the figures, which are scarcely three inches high. The expression of pain in the counte- nance of the mortally-wounded Amazon on the right breastplate is very remarkable, and the head of the Greek on the left particu- larly noble. Even the little shields and helmets have delicate ornaments. We see how high in the scale of art such an ancient Benvenuto Cellini must have stood. Among the other bronzes a large raven struck me, by the sin- gular finish of the plumage. Also a lectisternium of the most delicate shape, in which beautiful silver ornaments are inlaid ; and a candelabrum, which, in size, form, and workmanship, is of a very rare kind. Lead weights, marked with the names of different emperors, which were found in England, are interesting, as proving the ancient working of the lead-mines in this country. Letter Y. MSS. WITH MINIATURES. 95 LETTER V. ■ Byzantine MSS. Remains of Book of Genesis. Evangeliarium (Additional, No. 4949). Ditto (Add., 5111). Ditto (Add., 11,838). Psalter (Egerton, 1139). Evangeliarium (Harleian, 1810). Ditto (Harleian, 5790). Carlo vingian MSS. Evangeliarium, called the Codex aureus (Harleian, 3788). The Vulgate. French MSS. Evangeliarium (Add., 11,739). Psalter (Add., 16,975). Apocalypse (A, vivens in secula seculorum,” with 44 Hoc opus fecit Frater Wills : (Wilhel- mus) de ordine minorum socius beati Francisci Secundus in ordine (here illegible) sanctus natione Angelus.” The estimation in which this drawing was held at the time of its execution is proved by the words written high on the reverse side, explaining that it was left unwritten upon in order not to injure the picture, and directing the reader at the same time to hold the picture up against the light, so as to see it to most advantage. Unfortunately the head has been retouched in some of the princi- pal outlines by a later hand. The Psalter (Biblia Regia, 2 A. xxn.), large octavo, 227 leaves, in one column, moderate-sized minuscule letters. The English origin is evidenced both by the local saints in the calendar, and also by the style of art. It was probably written soon after the middle of the 13th century. The pictures in pp. 12, 13, and 14, occupy the whole page. The subjects are the Annunciation, the Visitation — in which the motive of the two women embracing is very earnest — and the Virgin enthroned, with the Child in the act of blessing, which is very stately. In the costume of both these last figures, as well as in the yellowish flesh tones of all, a Byzantine influence is evident. Christ enthroned in the almond- shaped glory, in the act of blessing ; in his left hand the Book of Life ; in the four corners the attributes of the evangelists, and David playing on the psalter, all in body-colours of great beauty and brightness, carefully finished in the heads, but the drapery poor and feebly indicated. The borders of all these pictures, like the B on the next page, consist of delicate and bright flourishes, of great elegance, frequently graceful in form and tender in colour- ing, especially in the picture of the Virgin enthroned. Their pre- servation is marvellous. Towards the end are some pen drawings, 160 THE BRITISH MUSEUM. Letter VI. slightly shaded with Indian ink, and illuminated in the French style with much skill, which were later added, and belong to the close of the 13 th century. The motive of a knight in chain armour, kneeling before a king, who is adorned with a coat of fleurs-de-lis, is very true and animated. In St. Christopher carrying the Child the moral sentiment of the two heads is well given ; in the coun- tenance of Christ, a somewhat circular oval of the Mosaic type, an attempt at an expression of dignity is very perceptible. The support which art received from Henry III. was so effec- tually continued also during the reigns of the three Edwards, that the best specimens of English miniature-painting excel those of all other nations of the same time, with the exception of the Italian, and are not inferior even to these. Nor, if we consider the height attained by English sculpture, both as regards style and technical execution, as exhibited as early as 1284, in the angels in Lincoln Cathedral, the excellence of contemporary paint- ing will not appear so surprising. From the year 1300 to 1360 the English miniatures agree in the chief features with those of France and the Netherlands. Like them, the heads exhibit little more than one type, with small features, drawn with a thin white substance with the pen : also the folds of the drapery, which is treated more or less in the Gothic taste, are drawn skilfully with the pen alone, upon a ground of body colour. Instead, however, of the gaudy and sometimes entirely unbroken colours, the blue and vermilion seen in the French and Netherlandish schools, the English miniatures have retained the less bright colours of the thirteenth century, which are even harmoniously broken with lighter tints. A careful rendering of light and shadow is also observable, with fine gradations from one to the other. The motives are certainly sometimes forced, but occasionally very happy, and capable of expression, earnestness, solemnity, and dignity, and, in the female figures, of grace of movement. The proportions incline to the over slender, but are correct, and even short figures occur. The hands are very deli- cate, but the feet, which are almost always shod, are generally too small. Animals frequently exhibit great truth of nature. Besides the scrolled and raised gold grounds, we observe the very elegant panelled ground. As regards the moral elements of a picture, the fantastic and the allegorical are no less conspicuous than in Letter VI. ENGLISH MSS. 1G1 manuscripts of other countries, but the inventions of the English in this line are very original. They developed the allegory of the two trees, the one bearing virtues, the other vices, more fully than any other nation. In the initials important changes are seen. In the larger ones, figurative subjects are gradually substituted for the mechanical flourishes, while in the smaller initials the body of the letters consists of burnished gold heightened. The square panelled ground, in which the letter is contained, is filled with body colours, generally blue or brown, &c. From the corners of this quadrangle proceed borders, which t in the course of the century spread themselves round, the whole edge, and sprouted forth into little branches, sometimes of golden, sometimes of coloured leaves. In these borders the English manuscripts are distinguishable from those of the Continent by great peculiarity of forms. In the border decorations also a quantity of droll inventions occur. Here and there, by way of exception, we find historical representations ! introduced. Altogether, the preservation of the beautiful colours, among which a rose colour is particularly remarkable, and the | very clever and precise execution, are worthy of admiration. The most distinguished specimens of this period are the following : — The Vulgate (MSS. Regia, 1 D. i.), small folio, in two columns, 580 leaves, in small minuscule letters, probably shortly after 1300. The F commencing St. Jerome’s well-known letter to Paulinus is surrounded with the finest panelled ground. On the border are four candelabras, with four short little monks on the stiff poles ; at the side are pretty drolleries. P. 4 b is almost entirely filled with pictures. Below is the Virgin with the Child in a red gar- ! ment ; St. Peter and St. Paul on V each side ; below the Virgin, St. Martin dividing his cloak ; above, the Crucifixion, with the Virgin and St. John in very animated gestures of sorrow ; next them, two cherubim ; and quite above, the Coronation of the Virgin. On the opposite page, in a J occupying the whole length of the page, divided into three compartments, and most concisely ar- ranged, are the six days of the creation. The First Person of the Trinity, here always in the Mosaic type of Chirst, enthroned on the Sabbath day ; the Fall ; the expulsion from Paradise ; the tilling the earth ; Christ delivering the Patriarchs from Purgatory ; and the Virgin and St. John. Also on the border the most amusing drolleries ; for instance, a hunt ; below, a monk and a VOL. I. M 162 THE BEITISH MUSEUM. Lettek VI. bishop represented with the heads of a bird and a dog. P. 231 b, four other pictures. The Crucifixion again above with six figures, the action of the fainting Virgin very excellent. On the opposite page, heading the Psalm, the letter B, with David playing the psalter above, and David killing Goliah below. P. 429 b, the stem of Jesse, in the usual arrangement. At the beginning of the New Testament an M, and at p. 443 b an S, of unusual elegance of form, colour, and execution. With the exception of the fea- tures of the face, which are drawn with the pen, the pictures are quite in the style of the thirteenth century, and very cleanly and precisely treated. A Psalter (Arundel, 83), small folio, 136 leaves, in large and powerful minuscule letters, two columns. To judge from the character of the writing, the date about 1310. This specimen is interesting in many ways, — for the tolerable certainty of the date, for the unusual amount of symbolic and allegorical representations of the highest importance, and for its decided English origin. The first five pages are occupied chiefly with circles and stripes, with numerous inscriptions of emblematic and symbolic import. P. 3 b contains in the centre an enthroned Christ, of the type of the fourteenth century, slightly drawn ; and p. 5 b, a Cherub, in the same style, occupying the whole page, with its six wings covered with inscriptions. The Calendar, occupying six pages and unornamented, contains many English local saints. P. 12 a bears an inscription in the centre, “ Duodecim articuli fidei.” At the sides the twelve prophets ; the twelve apostles on the left, eight of whom have their attributes; each holds a large scroll before himself which reaches to the centre. The intermediate spaces are filled with a fine red, with the yellow lion of the English arms upon it. The ground is alternately gold dotted, and the panelled pattern. In contradistinction to the usually long proportions, the figures are here very short. P. 12 b, with the superscription “ Septem opera passionis,” contains in the centre, on stripes, one below the other, Christ before Caiaphas ; the Scourging ; Christ bearing his Cross ; the Fastening to the Cross ; the Crucifixion, with the Virgin and St. John ; the Descent from the Cross ; and the Entombment. Seven scrolls on each side, with the superscriptions “ Septem horae canonice” (sic), and ‘‘Septem dicta recordationis.” P. 13 a, above, the Crucifixion, in the Byzantine arrangement. Letter VI. ENGLISH MSS. 163 In the tree-shaped form of the cross we recognise the legend of its being made out of the tree of knowledge. Above the Cross, the well-known symbol of the Pelican feeding her young with her blood. Below the Cross, small, the repentant thief and the believing centurion. On each side, in half-length figures, six prophets, including David and Solomon, with scrolls reaching up to the Cross. Below, in whole-length figures, Moses and St. Paul on the right ; Daniel, Ezekiel, and St. Peter on the left, the last represented young. The panelled ground is formed of red, white, and blue. P. 14 a, in the B commencing the psalm, the stem of Jesse. On the border, in the corners, the attributes of the four Evangelists ; above, in the centre, the Crucifixion ; on the right hand the English arms ; on the left the French. At the sides, in the lozenge-shaped compartments formed by the trellis- work, are ten prophets. Below, but by a later hand, two stags | and a bird-trap, with an owl for a decoy ; and also by the same ! hand, three golden crowns on blue ground, and three on red. ] A very curious representation heads the psalm “ Dixit insipiens in corde suo non est Deus, etc.” — David as if transfixed, and the fool j represented as a court jester, with a flail. P. 55 b, the frequent subject of David playing the bells. From pages 125 a to 126 a, events Irom the life of Christ, beginning with the Nativity, repre- sented in six compartments on each page of Gothic form ; with the exception of the blue, in very light and broken colours, the faces meagre, drawn with the pen, and, excepting a spot of red on ! the cheeks, quite white ; the ground usually gold, also panelled in ’ light colours. P. 126 b, the Crucifixion above, as before, with pro- phets at the sides ; below Daniel, Ezekiel, St. Peter, and St. Paul. P. 127 a, in the centre of a circle with inscriptions, diverging like rays, the head of Christ, in the Mosaic type. P. 127 b, the same head in a circular arrangement, only with ten circles at the border of the inner circle, containing the different classes of society — viz. the King, the Priest, the Knight, &c. — with inscriptions round them. In the four corners, the four ages of man. P. 128 a, the popular legend of the middle ages, the three living and the three dead Kings, as given in Orcagna’s Triumph of Death, in the Campo Santo at Pisa. On the upper part of the page on the right are the three living Kings, all youthful, one with a falcon on his wrist, another with a golden sceptre. The forced attitudes and gestures of grief M 2 164 THE BRITISH MUSEUM. Letter VI. are here quite in the Gothic taste ; the fine colours and well-modelled drapery have an harmonious effect. On the left, the three dead Kings in different stages of corruption ; above them English inscriptions, with “de vivis regibus,” and “ de mortuis regibus.” P. 128 b, above, the First Person of the Trinity, in the Mosaic type of Christ, and with the cross-shaped nimbus, and the two tables of the law, and Moses, as usual with horns. Below, Moses again, pointing to the Brazen Serpent, here represented as a small gold dragon. P. 129 a, the superscription “Duodecim articuli fidei,” with the same arrangement as above described, but above, in the centre, projecting from the border, the head of Christ, and, in two compartments at the side, prophets, apostles, and saints. Below, well arranged in the corners, the dying Lazarus, accom- panied by two angels, and the dying rich man, accompanied by two demons, who are drawing the souls in the forms of long infants from their mouths. Above, a majestic figure of Christ enthroned, with the soul of Lazarus in his lap ; below, the jaws of hell, with the soul of the rich man, which is watched by a demon. P. 129 b, the Tree of Knowledge, represented as a beautiful light creeper, with the serpent and Adam and Eve at the sides ; according to the inscription a Arbor vitiorum,” conceived as the Tree of Evil, the names of the sins being introduced upon it in numerous circles ; also some birds occur. Below the tree, “ Radix vitiorum superbia.” In the corners, to the right, a man with a bag of gold, a demon on his shoulder, and the inscription “ Dives avarus on the left, a countryman, a sickle in his hand, a demon also at his side, pointing to a field of corn, with the inscription “ Pauper super- bus.” P. 130 a, a similar tree, but in gold, with the inscription Letter VIII. DRAWINGS BY THE OLD MASTERS. first-rate. — The Sloane collection. Also a head of a beardless man, with a large cocked hat, drawn with black chalk ; very animated and spirited. Dated 1521 ; probably executed during his stay in the Netherlands. — The Sloane collection. The Virgin with the Child, drawn with the pen, with the monogram and the date 1503 ; beautiful in invention, and of very fine feeling. — -Purchased from Mr. Domenic Colnaghi. The Virgin with the Child and two angels, one of whom supports the drapery of the Virgin, whose head is perhaps one of the noblest executed by the master. Admir- ably drawn with the point of the brush, on brown paper, but the lower part of the angels rather feeble in the drawing. A dead bird, hung up, with beautifully-coloured feathers, in body colours, executed so delicately that even every small feather on the I breast is given. Monogram and 1521. — Cracherode collection. Studies of camels, on both sides of the paper, of the greatest truth, and broadly and slightly executed with the pen. A dog i upon the one side and two women on the other. The first espe- cially of the greatest truth and freedom. A recent purchase. I must here mention a singular proof of the admirable various technical talents of this great master. On a small plate, seven 1 inches and a half high, and five and a half broad, made of the limestone found near Pappenheim, which is now used for litho- graphy, he has represented the birth of John the Baptist. In this very high relief, as in the gates by Ghiberti, the principle of painting prevails, so that it is composed according to the depth in different planes. The date of the year 1510, which accompanies the monogram, proves that it is of Albert Diirer’s ! best period, and, in fact, it contains in a high degree all the qualities which so eminently distinguish his finest works. In the aged Zacharias in the foreground there is all the gravity and dignity with which the master conceived such subjects. In a 1 young man with a smile on his countenance there is the good- natured archness which he loved to introduce ; and in Elisabeth, who is in the background, and just going to take her caudle, we feel the natural manner in which he renders such scenes familiar, by the introduction of domestic circumstances of his own times. Lastly, all the parts, from the greatest to the least, are executed with that scrupulous nicety and devotedness to his work, which is so peculiarly his own. — Collection of Payne Knight. 236 THE BRITISH MUSEUM. Letter VIII, The most important of the drawings by Holbein are — a set of seven, representing the Passion, with architectural borders in the taste of the Renaissance, drawn with the pen, and washed with Indian ink. The large size and general style proves that these drawings were executed as cartoons for painted glass. The inequality of these drawings in point of merit indicates an early period of the artist. The set is mentioned by Sandrart as in his possession. Only the one representing the Saviour bearing his cross was in Rubens’ collection, and is retouched by him. — From the collection of Sir Thomas Lawrence. The portrait of Fisher, Bishop of Rochester, in chalk and Indian ink ; a perfect specimen of the master, but much injured with damp. — Cracherode. The design for a dagger-sheath. A female enthroned upon a triumphal car, drawn by three horses out at length, probably Queen Tomyris. Towards the point a king, probably Cyrus, killed by warriors. In the point a dead warrior. Spiritedly com- posed and most freely drawn with the pen ; washed with a greenish tint upon a black ground. A goblet of beautiful composition, and richly decorated. Upon the top two little genii holding a crown, with the inscription, twice over, “bound to obey.” Most spiritedly drawn with the pen. A drinking-vessel, of pretty form, with the story of Mutius Scaevola thrusting his hand into the fire. A masterly pen-drawing, tinted with a bluish colour. — Payne Knight. Some of Albert Durer’s pupils are also well represented here. Among a set of frieze compositions, some drawings by Hans Sebald Beham are particularly remarkable ; one especially, representing a young witch on a chariot, to whom a bloody head is presented, with two other witches on oxen. Capitally drawn with the pen and sepia, with the monogram of the master. Also three others (Nos. 132, 135, 136), representing combats are full of spirit, and in my opinion by the same hand. Also two Bacchanals of most animated character. All froir the Sloane collection. Albrecht Altdorfer. — A very delicate pen-drawing of £ landscape. He was the first who cultivated this department of ari in Germany as a separate study, and with far more success thar attended Joachim Patenier, who did the same in the Netherlands. Letter VIII. DRAWINGS BY THE OLD MASTERS. 237 The following excellent drawings are more in the style in which Holbein developed the taste of the Renaissance. A circular dish, with Abundance enthroned in the centre ; in the inmost circle mythological figures, of which only Perseus and Andromeda were intelligible to me ; in the next circle, and of very rich character, Neptune, with his train of Tritons ; and finally, nearest the edge, the marriage of Pirithous, Venus and Adonis, a fierce combat, and the hunting of the Calydonian boar. The execution with pen and wash is so entirely in the manner of Holbein, that I should not have hesitated to ascribe this drawing to him, if the motives and composition, clever as they are, were not here and there somewhat mannered. The date appears to be about 1550, and belongs perhaps to Holbein’s latest time, of which, as far as I know, we have no historical compositions re- maining. Recently purchased from Mr. Graves. A design for a font, with a cover ; of fine taste, and excellently drawn with pen and sepia. Of the German school of the beginning of the 17th century, two drawings by that rare master Adam Elzheimer are here. A I procession to Calvary, drawn with the pen, and an Entombment, washed in bistre, and heightened with white. Roth are charac- terized by the very attractive feeling of this master. Of the 18th century, drawings by Ri dinger of animals are here, remarkable for their truth of nature and refined knowledge. Among the admirable drawings of the late Netherlandish school, which have been greatly added to of late years, I may particularize the following : — Rubens. — The Flight into Egypt by moonlight, a well-known and frequently repeated composition ; in black chalk, and partially coloured ; a masterly drawing. A sheet of studies of bearded heads, highly animated ; drawn in black chalk and with the brush. By far the most interesting specimen of this great master is, however, a book of 39 plates, purchased recently from Mr. Boon, j in which Rubens has delineated above 200 costumes of the 14th, 15th, and 16th centuries, and also many of his own time ; most masterly drawings, some only with the pen, and others occasionally tinted. The costumes of the earlier period he took from older sculp- tures or pictures ; when from the latter the colours of the originals are often written by the side. From a written sentence it appears 238 THE BRITISH MUSEUM. Letter VIII. that many of these were meant to illustrate a history of the Counts of Flanders, which Rubens intended to write. This accounts for the many figures of Counts of Flanders, and of Dukes of Brabant connected by marriage with them ; also, for the same reason, of the Dukes de Croy and Lalaing. In many instances the names of the personages and the dates of their deaths are given. They are either full-length or half-length figures. Independent of the cos- tumes, which may be found elsewhere, these drawings have a three- fold interest — first, as the only representations from contemporary monuments of historical personages, thus presenting a picture of the manners of the Netherlands in the 15th century ; secondly, as proving that Rubens, though, according to his own style, he has somewhat increased the breadth of his figures, has still given the spirit of each monument with great fidelity ; and, finally, be- cause we gather from this work how considerable, even in the time of Rubens, and consequently long after the ravages of the Icono- clasts, was the amount of sculptures and pictures in the Netherlands which have since disappeared. I proceed to describe a few of the most interesting of these as drawings. The portrait of Duke Anthony of Brabant, p. 3, is remarkable for careful shading with the pen. Also that of Josse de Lalaing, p. 4, for a similar treatment in Indian ink. A very stately figure is that of “ Jaqueline de Luxembourg,” whole length, in a gor- geous dress, with a long inscription in Flemish. Also “ Jean, Conte de Hainault,” p. 13, and his wife, are very beautiful draw- ings. On the reverse of the page is a copy from an old picture representing a lady kneeling, in the costume of 1400-1450, and seizing a falcon by the wing, who is pecking at a heron lying on the ground : the whole representation is as peculiar as the action is animated. P. 16 is “ Dame Jacoba de Baviere, Contesse d’Ollande,” who appears in a very wide and tasteless headdress ; some ladies attending her are remarkably pretty. Three of them have a particular naivete, and are splendidly drawn. A study from Israel van Mecken’s Salome dancing is remark- able for the greater elevation of the characters of the heads, and for the peculiar charm which Rubens has imparted to it. Plate 22. A wild-boar chase, with two couples on horseback, is interesting for the animation of the motives, and the light, delicate, and exact execution. The costumes indicate a picture of about 1420-1440. Letter VIII. DRAWINGS BY THE OLD MASTERS. 239 Three women and three men, and two heads, pi. 28, are very stately and masterly. The same may be said of the right-hand and centre figures, in pi. 29 ; the third figure is drawn over in a i scrawling way by another hand. The five figures also in pi. 30 are admirable. The no less beauti- ful pi. 31 represents a “ Dame de Castille ” and “ la servante de vil- lage hors de Pampelone,” the latter slightly tinted in water-colours. Plates 34 and 36 contain studies for Turkish costumes, obviously from Gentile Bellini. Plates 38 and 39 finally give us specimens of Persian costumes. It would be well worth while publishing lithographic fac- similes of this work. Vandyck. — Studies for the Virgin looking up to the Cross, in the well-known picture of the church of St. Rombout at Mechlin. j A red and black chalk-drawing, of broad and masterly execution and of intense feeling. Of various portraits, the following appeared to me particularly admirable : — Gevartius, in black chalk ; very delicate and animated. Orazio Gentileschi ; inscribed “ v. Dyck fecit,” drawn with the pen and Indian ink ; a first-rate drawing. The Earl of Arundel ; drawn in black chalk on green paper ; very light and spirited. First sketch for the portrait of Frances Bridges, Countess of Exeter, in a seated position ; very clever and animated, merely with a few lines in black chalk on green paper. Rembrandt. — Several studies 'from nature are remarkable for unflattering truth, which is very attractive in two old men, but equally repelling in an undraped female. Some of the landscapes exhibit the most extraordinary effect. Two of these are sketched ; with the brush alone upon the paper with marvellous freedom. Adrian yan Ostade. — Many of the best specimens of this i master’s coloured drawings are here ; namely, a party of peasants before a house, entertained with music. Inscribed with the name and 1673. Also another of similar subject, with the name and 1678. Paul Potter. — A set of small but admirable drawings of animals in black chalk. — -Payne Knight. Also, two pigs. — Mr. Sheepshanks. Wilhelm van de Welde. — A sea- view, with numerous vessels. 240 THE BRITISH MUSEUM. Letter VIII. Inscribed with the name ; and both in size and spirit of execu- tion a first-rate drawing.— Verstolk. Some other drawings showing the positions of the English and Dutch fleets in the time of Charles II. — Sloane. Backhuysen. — A sea-view, with several vessels in a fresh gale. Inscribed L. B. and 1687. Very clear in the chiaroscuro, and spiritedly treated. A view of Amsterdam; inscribed with the name and 1702. Of large size, and executed with extraordinary carefulness and great power. Swaneveldt. — A landscape of singular beauty ; inscribed with the name and 1649. Drawn with the pen and Indian ink with great delicacy of feeling. Adrian van de Welde. — Eleven excellent drawings by this master show his powers in various respects. A calf chewing the cud, in black chalk, is highly animated. — Sloane. A landscape ; sunny and bright, in Indian ink ; No. 305.— Cracherode. Cattle and water ; broadly and cleverly treated with pen and sepia, obviously a study for a picture. A cow most carefully finished, No. 530. Cattle watering ; broad and sunny, in Indian ink and bistre, No. 254. His masterly handling of red chalk is exhibited in a cow, No. 531. As specimens of his horses may be mentioned two huntsmen, one on horseback with dogs, with his name and 1653 ; admirable in composition, warmth of evening light, and carefulness of execution ; No. 533. Also, a lady on horseback ; next her a restive horse ; in his later time, sunny and broad, and very charac- teristic of the master. Carel Dujardin. — Excellent drawings by this pleasing master are preserved here. A landscape, with a distant view ; finely toned with Indian ink and of sunny effect ; No. 108. A mountainous landscape, with decided masses of light and shadow ; also, in Indian ink ; No. 110. A wooded landscape, with sunset, in sepia ; charming ; No. 119. A landscape in the taste of van Goyen ; of the purest feeling for nature, softly and grandly treated ; No. 126. Landscape, with a fortress in the background ; in front, a flock of sheep ; No. 34. A flat country ; slight and broad, and of masterly execution ; inscribed with the name ; No. 241. A soldier putting something to rights on his boot ; of similar beauty and style ; No. 205. And finally, the painter’s own portrait, with his name and 1650. In red chalk and highly animated. Letter IX. COLLECTION OF ENGRAVINGS. 241 LETTER IX. Niello Plates — Pax of Maso Finiguerra — Pax of Peregrino da Cesena — Impressions on sulphur — Impressions from niellos — Engravings in the British Museum — Original designs by great masters — Anonymous engravers — Raphael’s Last Supper — Leonardo da Vinci — Life of the Virgin — Last Judgment — Sienese devotional print — Baldini’s Prophets — Engravings from the Otto collection — The Twelve Sibyls — The Seven Planets — Engravings from Dante — Gioco di Mantegna — Robetta — Engraver known as P. P. — Mantegrla’s engravings — Girolamo Mozzeto — Marcello Fogolino - Benedetto Montagna— Nicoleto da Modena — Zoan Andrea — Giovanni Maria da Brescia — Giovanni Ant. da Brescia — Giulio Campagnola — Domenico Campagnola — The Master with the Rat-trap — Giacomo Francia — Marc Antonio Raimondi — Italian woodcuts — Other Italian engravers — Netherlandish and German engravers on metal on the same principle as on wood — Anonymous engravers — The Master of 1466 — Martin Schongauer — Israel van Mecken — Albert. Durer : his contemporaries and scholars — Lucas van Leyden — Later Netherlandish engravers — Rembrandt’s etchings — Late German, French, and English engravers — Brasses — Block-books and single woodcuts — Roman Breviary with woodcuts. I commence my notice of this department with the niello plates, and with the impressions on sulphur. The number of the former is so considerable that I must confine myself to the most important. A Pax, with the Virgin and Child enthroned, and worshipped by seven female saints ; from the church of S. Maria Novella at Florence, with the rich framework still around it, executed in copper-gilt, representing in miniature the facade of that church. In Duchesne’s Essay on Nielli, p. 154, there is an engraving of this plate, which, however, gives no just idea of the delicacy of the work, particularly of the heads. Judging from these, and from the elevated feeling of composition and drapery, the conjecture that it is by Maso Finiguerra seems to me well founded. The lines in the ground filled with the black niello are rather broad, but those in the figures very delicate. The glories, the hems of the gar- ments, the capitals and cornices of the architecture, and the wings of the angels are richly gilt. For this little silver plate, only 3^ in. high, and 2^ in. wide, the Messrs. Woodburn paid 315 guineas. VOL. i. R 242 THE BRITISH MUSEUM. Letter IX. Another Pax, 2 T \ in. high, and 1 in. wide (Duchesne Cata- logue, No. 179), represents St. Jerome scourging himself. This is the workmanship of Peregrino da Cesena, whose monogram is be- low. It is of great delicacy ; many portions, such as the lion, the cardinal’s hat, and the trees, are gilt. Besides these there are many smaller niello plates, in many of which the ground is covered with coloured enamel — blue, green, and red. There are also a number of buttons decorated with niello. Of impressions on sulphur, which are so rare, I here saw no fewer than eighteen. The finest and one of the greatest curiosities of the collection is the celebrated impression on sulphur of the famous Pax of Maso Finiguerra, executed in the year 1452 for the church of S. Giovanni, with the Coronation of the Virgin, in niello. This Pax, which I have seen in the gallery at Florence, is equally distinguished for beauty and richness of composition, and for its ' admirable execution in the minutest details. But it is chiefly , indebted for its celebrity to the circumstance that the Ahbate Zani, the finest judge of Italian engraving, discovered, in 1797, an impression of it on paper in the Boyal Cabinet of Engravings , at Paris, which he conceived to be the same which, according to Vasari’s account, led to the invention of engraving. Since then this impression has been considered by many judges to be the first and oldest of all engravings. Besides the one before us, two other impressions in sulphur from this plate are known. One of them, a proof, which shows the plate in an unfinished state, is I in the fine collection of niellos in the possession of Count Durazzo, at Florence ; the other, not struck off till the plate was quite finished, was formerly in the possession of the Senator Seratti, at Leghorn, and after his death passed into the collection of the Duke of Buckingham, who paid 25(V. for it. When the Duke’s collec- tion was sold in 1834, it was purchased for the British Museum. It is in perfect preservation, and shows most accurately all the delicate minutiae of the original. Five of the other sulphurs belong to a series of fourteen of the His- tory of the Passion, which Lanzi saw as portions of a small portable altar at the Camaldolensi, at Florence. They are now let into small tablets of wood. Though each piece of sulphur is only 2 in. high, and 1 T 6 ¥ in. wide, yet the fine compositions are carried out with admirable delicacy and spirit. In some portions, for instance in Letter IX. NIELLOS. 243 the rich cast of the drapery, they recall the above-mentioned Pax of Finiguerra in the Gallery at Florence. The Last Supper, in particular, is excellent. In Duchesne’s Catalogue they are numbered 81, 83, 84, 89, 90. The seven others form a series from the Creation of Adam to the Death of Abel (Duchesne, Nos. 1 to 7). They were let into two small tablets of wood, apparently at a remote period. There also the largest impression is only 2 Af in. wide, and 1 in. high. The design and execution are admirable, though the heads are less individual and spirited. However trifling these little objects may appear to many, they are of the utmost importance to cultivated eyes as a proof that, in that vital period of art, the pulse of genuine and naive enthusiasm impelled the life-blood of art, in all its purity, even into the minutest veins of the system. On examining the impressions of niello plates on paper, one is at a loss whether most to admire their number and artistic value, or the beauty of some of the impressions. This valuable collection of the incunabula , or germs of the art of engraving, is suitably preserved in six portfolios, every impression being enframed deep in a sheet of thick cardboard, so as to risk no danger of rubbing against its neighbour. My limits only allow me to particularise the following impressions which struck me as most interesting. The Adoration of the Three Kings, from Maso Finiguerra’s niello, surpasses all others in point of size, beauty, invention, and execution. In the richness of the composition the artist has evi- dently taken for his model the exquisite picture by Gentile da Fabriano, now in the Academy af Florence (See Duchesne, No. 32, illustrated by a careful copy). John the Baptist pointing to the scroll “ Ecce Agnus Dei,” very beautiful, and, in my opinion, rightly pronounced by Mr. Carpenter to be the work of Francesco Francia. Minerva, with short spear and shield, and the Medusa head, according to Duchesne (No. 215), the work of Peregrino da Cesena, by whom a number of niellos exist. I am, however, in- clined to think that he executed this from a design by Francia. The tutelary goddess of Rome, enthroned with spear and globe (Duchesne, No. 216), appears to me by the same hand ; also, the beautiful composition of Mercury bringing the young Bacchus to Ino, who is nursing her two children (Duchesne, No. 218). r 2 244 THE BRITISH MUSEUM. Letter IX. The Triumph of Mars, with the monogram of Peregrino da Cesena, of singular beauty of design and execution. (Duchesne, No. 220.) Here are two impressions of this plate, one very supe- rior to the other. Two Genii leaning on a funeral urn ; rather broader in execution than usual. (Duchesne, No: 227.) A Nymph bound to a tree by a satyr and by attendants of Pah. The monogram on this fine impression is pronounced by Duchesne (No. 237) to be that of Peregrino da Cesena. Hercules combating the Hydra, which is twined round one of his legs, of spirited and original design ; an excellent impression (Duchesne, No. 248). Hercules and Dejanira, by Peregrino da Cesena (Duchesne, No. 253). Orpheus playing the lyre, surrounded by animals (Duchesne, No. 256). A Sacrifice to the manes of a Roman Em- peror, engraved, I fully believe, by Peregrino da Cesena, from a drawing by Francesco Francia ; very beautiful. An antique sacrifice ; thirteen figures of great beauty. Two stags on the brink of a fountain : on a scroll round a tree the verse from the Psalms — “ As pants the hart, 5 ’ &c. ; of the greatest delicacy of execution (Duchesne, No. 307). A youth with a cornucopia in the left hand, doubtless from a drawing by Andrea Mantegna ; of fine feeling for lines (Duchesne, No. 323). The Goddess of Abundance, with ears of wheat and a cornucopia ; invention and workmanship indicate Francia (Duchesne, No. 237). The head of a warrior in helmet and armour. Whoever has seen the pen-drawings by Mantegna in the possession of Mr. Woodburn, or the engravings by Novello from them, will recog- nise him in the invention of this niello. The treatment, also, with the ground of parallel strokes, so entirely corresponds with those drawings, that I am strongly disposed to attribute the execution to Mantegna as well. Nor do I know any reason why so ad- mirable a painter and so celebrated an engraver should not for once have executed a niello (Duchesne, No. 335). Bust length of a man and his wife opposite each other. This has an attractive naivete and truth which breathes the spirit of Giovanni Bellini ; workmanship and impression equally excellent (Duchesne, No. 337). Letter IX. COLLECTION OF ENGRAVINGS. 245 Bust length of a man ; very animated (Duchesne, No. 344). Bust length of a warrior, in helmet and armour, apparently from a design by Mantegna (Duchesne, No. 345). Bust length of a young man with long flowing hair. This charming head is so imbued with the feeling of Francia, that I venture to assign it to him. The impression is of great power and freshness (Duchesne, No. 350). Arabesques of acanthus-leaves and grapes. This impression is remarkable for the prominence of the black markings so charac- teristic of the niello plates (Duchesne, No. 354). In nine other arabesques (Duchesne, Nos. 356 to 364) the de- sign of Mantegna is plainly recognisable. This extraordinary collection of niello impressions is in every way worthily succeeded by the collections of engravings of the old Italian, German, and Netherlandish schools, which are equally distinguished by number of specimens, rarity of proofs, and beauty of impressions. A complete description and critical investigation of all these treasures of art would alone fill a volume, and would he also quite incompatible with the design of this work. I shall, therefore, limit myself to the notice of such rare and hitherto scarcely mentioned plates as are either remarkable for their artistic importance or singularity of subject ; adding, however, in many cases my own suppositions regarding the original author of the drawings whence these and various other engravings already described by Bartsch and Ottley have been taken. In the com- pletion of his well-known 4 Peintre-Graveur ’ Bartsch has occa- sionally, in the instance of those engravers who lived before Marc Antonio, added his own opinion, and that generally a correct one, on this point. But it must be remembered that this great con- noisseur had no opportunity of judging with any completeness of the pictures and drawings of the masters contemporary with the engravers. The closer investigation of such belongs only to a later period. One of the first individuals who devoted himself to this study with ardour was William Young Ottley. He, in many cases, has with great felicity determined the master from whom the engraving had been executed. Much, however, in this re- spect still remains to be done. The ascertaining of the master is of the utmost importance in the history of art, inasmuch as it affords a wider view of the great masters of the 15th and the be- 246 THE BRITISH MUSEUM. Letter IX. ginning of the 16th century : of Andrea Mantegna, Francesco Francia, Sandro Botticelli, Filippino Lippi, Luca Signorelli, Giorgione, &c., many of whose compositions have only been pre- served to us in this form. At the same time this portion of my task is by no means a light one, as all will admit who, like myself, haye devoted their lives to the investigation of the history of art. It becomes, however, the duty of each in turn to submit the results of his experience to the judgment of those interested in the inquiry, since the common consent of connoisseurs on certain points can hardly fail to extend and establish the facts connected with the history of art.* Very rare, or hitherto unknown, plates, especially when of subordinate value, I shall only slightly mention. The numbers in brackets refer to the description of the engraving in the 4 Peintre-Graveur.’ Although a more interesting survey might have been effected by taking the plates as well chronologically as according to the conjectured schools and masters, yet I have preferred to consider them in the order which they occupy in the folios of the British Museum, so that my observations may be thus more serviceable to those going through the collection ; while such as are more espe- cially interested in the subject will not shrink from the trouble of themselves comparing schools, masters, and periods together. Highly remarkable is the fragment of a very hard engraving in the early style of the art, of the fresco painting of the Last Supper, only recently discovered at Florence, and which is looked upon as the work of Raphael. Not having seen this fresco, I am unable to give any opinion as to its origin. This fragment of the en- graving contains the figures of half the Apostles, including Judas, but not the figures of the Saviour and St. John. The background consists of rich architecture in the taste of Pinturicchio. At all events, the fact of this engraving proves how highly the fresco must have been esteemed shortly after the time of its execution. Passa- vant believes it to have been executed from a design by Perugino. A very old and careful copy of Martin Schongauer’s St. Barbara. (Bartsch, vol. vi. p. 148, No. 63.) * In order to form my opinions impartially I purposely refrained from reading the essays on old engravers published in the Kunst-Blatt of 1850 by my friend M. Passavant, till I had completed my own observations on this department of the British Museum. I have now the satisfaction of finding that my decisions agree mainly with his. I have, therefore, subsequently added a note showing wdien he agrees or differs with me. Letter IX, COLLECTION OF ENGRAVINGS. 247 A St. George and the Dragon ; quite in accordance with the German treatment of this subject. A careful work ; probably by some engraver from the north of Italy. Cupid and Psyche bound ; treated in the manner of a niello. This shows strongly the influence of Francesco Francia, though the forms are too prominent for him. A sleeping female, with a wreath of flowers, very similar to Francesco Francia. A w arrior with a club, with the inscription “ Guerino dit Meschi,” which means “ Guerino detto il Meschino.” This is the hero of a favourite romance of the time of Charlemagne,' the first edition of which, followed by many others, was printed at Bo- logna, 1473. In action and character of head this composition may be attributed to Francesco Francia, and, to judge from the niello-like treatment, with fine narrow strokes in which the hand of a goldsmith is apparent, I am inclined to think it his execution as well. This piece is of great beauty. A female portrait to the bust, as large as life, and very indivi- dual ; well drawn and of careful, but still niello-like handling. Pas- savant attributes both design and engraving to Andrea Verocchio. A female portrait to the bust, the size of life. (Bartsch, vol. xiii. p. 103, No. 3.) The peculiar and very charming feeling indicate a drawing by Francesco Francia. Broader and freer in treatment than the preceding. Passavant attributes both design and execution to Giacomo Francia. Three horses’ heads, one of which has squares drawn upon it. Ottley attributes both the invention and execution of this design to Leonardo da Vinci. There is 'no doubt that the character of this plate agrees entirely with the drawings of horses by this master, and is even very similar to a drawing which Vasari mentions as in his possession. As regards the execution, also, the sloping parallel lines bear a decided likeness to his mode of drawing. Passavant attributes both design and execution to Andrea Verocchio. Far more decidedly by Leonardo da Vinci is the engraving of the bust-portrait of a young woman, purchased by the British Museum in 1850. She is taken in profile looking towards the right, a wreath of ivy on her head, the hair hanging loosely down ; the drapery, which leaves one breast uncovered, is fastened on a knot on the left shoulder ; the whole is encircled by a slight line. The 248 THE BRITISH MUSEUM. Letter IX. noble and serious character of the features breathes the true spirit of Leonardo da Vinci. Also, the manner of the modelling, with very deep shadows, and the handling partly in lozenge-shaped lines in the style of a niello, partly in what Ottley calls “ diagonal hatchings,” showing small practice in this art, are evidences of the master. As respects the inscription on the edge acha. le. vi., the two last words would seem to indicate Leonardo and Vinci, but the whole refers more probably to the contraction of a motto generally accompanying the portraits of Italian women. A female head of very similar character, also in profile, looking towards the left, and executed in the above-described style of Leonardo da Vinci’s pen-drawings, is also attributed by Ottley to that master, and, though inferior to the preceding drawing, I am inclined to concur with him. It belongs probably to his early time. The Deluge. (Bartsch, vol. xiii. p. 71, No. 3.) A rich com- position with fine and pleasing motives. Above, in the air, are two heads of winds, thickly covered with hair ; the forms are meagre, but well understood, the sky in the style of a niello ; the rest consisting of a series of hatchings. The composition, as Mr. Carpenter justly observes, greatly resembles the Deluge by Paolo Uccello at S. Maria Novella at Florence. (Rosini, Storia della Pittura Italiana, pi. xxx.) The Queen of Sheba visiting Solomon. (Zani, part 2, vol. iii. p. 347.) A rich and somewhat scattered composition of a land- scape character, with the rich architecture of the temple. From the slender, well-drawn, and graceful character, and the true and excellent action of the figures, I am inclined to attribute this to a drawing by Pinturicchio. Oblong folio. A good impression. The Adoration of the Kings (Zani, part 2, vol. iii. p. 111). A rich composition in oblong folio, arranged with great discrimination and full of fine motives in the slender, agile, and excellently drawn figures. In treatment very like the preceding print. I do not, however, concur in the opinion of Zani that the composition be- longs to Sandro Botticelli, but am much more disposed to attribute it to his master, Fra Filippo Lippi. At all events, this is one of the most remarkable of the Italian prints. Seven plates out of a set of fifteen, representing the Life of the Virgin, which Bartsch (vol. xiii. p. 257 6-20) imputes to Nicoleto da Modena, but which, as Mr. Carpenter justly remarks, differ Letter IX. COLLECTION OF ENGRAVING S. 249 much from the acknowledged drawings by that master. No. 7. The Visitation. No. 8. The Nativity ; the action of the Virgin very fine. No. 9. The Presentation in the Temple. No. 10. Christ among the doctors ; a rich and original composition. No. 15. The Crucifixion ; a fine composition, full of touching motives. The fainting Virgin surrounded by six other figures forms one of the most remarkable groups illustrative of this subject that I know. The proportions are slender, the drawing, especially of the Saviour and the two thieves, excellent. No. 19. The Coronation of the Virgin ; originally and dramatically conceived. No. 20. The Virgin in the almond-shaped glory, surrounded by cherubim and six angels, is extending her /girdle to St. Thomas the Apostle ; the motives very animated, and the carefully modelled drapery in excellent style. The execution of the engraving with a groundwork of diagonal and somewhat close strokes is very skilful and full of feeling. Even Ottley (p. 449) considered this set to be the work of an old Florentine master. The original drawings, in my opinion, were by the hand of Fra Filippo Lippi.* In lines, character, and drapery these engravings agree strikingly with the pictures by this master ; and in that of the Coronation of the Virgin, there are in some respects exactly the same motives that occur in the picture of that subject by Fra Filippo Lippi, in the Museum at Berlin (No. 727). Taken altogether this set forms one of the most important specimens of old Italian engravings extant. The Last Judgment ; a large print, oblong folio ; a rich compo- sition full of spirit and life. According to Ottley (p. 428) con- ceived and engraved by Sandro Botticelli ; but, in my opinion, taken from an early drawing by Fiesole, and engraved by an unknown hand. The gesture of Christ, as he welcomes the blessed with one hand, and banishes the condemned with the other, is highly impressive. The slender, noble forms of the angels bearing the instruments of the Passion, and the angel with the trumpet, beneath the two rows of Apostles and saints, with their fine heads, on each side of Christ, are of wonderful beauty. Among the blessed, especially, many of those touching motives occur which are found in Fiesole’ s pictures of the Last Judgment.! The motives, also, of the nearer portion of the representation of * I have since discovered that Brulliot, the well-known connoisseur, had come to the same conclusion. Passavant is also of the same opinion. t See my description of the finest of these pictures in Lord Ward’s collection. 250 THE BRITISH MUSEUM. Letter IX. Hell are very dramatic. Those parts, as with Orcagna, are the weakest where the Bolgie of Dante are depicted with the punish- ments of the seven deadly sins. Pilate washing his hands ; a tall composition, with rich archi- tecture. The figure of Christ quite on one side. Composition, character, and cast of drapery, indicate the style of Filippino Lippi. Engraved in the same man'ner as Baldini’s Prophets, and, I am inclined to think, by him. Christ bearing his cross, with Mount Calvary treated like a landscape, so that the figures, though very spirited, are quite sub- ordinate. The thief on the left hand is standing on a ladder ; the other is standing bound in the centre. The treatment is very simple, not going beyond a slightly shaded outline. Judging from the whole conception, from the manner in which the procession is moving through a hollow way, from the fantastic style of the costumes and helmets, and the character of the landscape, trees, and architecture, the original drawing may have been the work of the Venetian painter, Antonio Vivarini. The Resurrection, very stiff, with four soldiers in over-decorated armour. The composition corresponds with the hard, and, in some respects, niello-like treatment. In my opinion, from a drawing from Antonio Pollajuolo, with whose picture of the same subject in the church of S. Miniato in Monte at Florence, this engraving has some resemblance. A Pieta (Christ in the lap of the Virgin). The Magdalen and the three Marys behind ; feeble in drawing, and rude and niello-like in treatment. The draperies thickly painted over. Below, a prayer in four lines, in capitals. Decidedly from a drawing by Antonio Pollajuolo. St. Sebastian, bound high upon the stump of a tree in the centre, pierced with many arrows. Above, two angels holding a crown over the saint’s head. On the right, the angel with the youthful Tobit ; on the left, St. Rock. The similarity of treat- ment (though by a more skilful hand) with the preceding print, the inscription in the same characters, and the mode in which it is painted over, prove that both belonged to the same set of devo- tional engravings. The style of Pollajuolo is more decidedly apparent here than in the foregoing plate. The Virgin, on a costly throne, with the Child on her lap, who is pointing to a book ; a rich architecture, in the form of a pax, Letter IX. COLLECTION OF ENGRAVINGS. 251 around. Three angels on each side. In the style of a niello, i with very close hatchings. The hands betray an inferior artist, though, judging from forms, heads, and drapery, the original ; drawing is attributable to Andrea Mantegna. The Virgin with the Child at her breast. On one side St. i Catherine of Siena standing on a demon ; on the other, St. Mar- i' garet on a dragon. Doubtless sold at Siena as a devotional print. This is proved by the very simple and antiquated treatment, while the forms of the architecture point to a comparatively late period — that is, about 1480-90. The Death of the Virgin. Christ is bearing the soul on his arm in the form of a little child, whije he blesses the body, which is of very long proportions. The twelve Apostles around. This ! part of the plate is apparently by an engraver in the taste of Baldini, from a drawing by a master of the Van Eyck school ; and, judging from the picture of the Administration of the Sacrament at Urbino, by Justus van Ghent. The coronation of the Virgin, however, in the upper part of the same print, with six angels, two of whom are playing upon musical instruments, and the very con- ventional and antiquated representation of the clouds, is obviously an addition from the design of an Italian master. The whole piece is very remarkable. St. Jerome doing penance before a crucifix, while his lion is ! rending a tiger, which has approached too near. In the fore- ground is a lion reposing. Of simple and niello-like treatment, from a drawing by Andrea Mantegna. The wildness of the | conception, especially the savageness of the tiger, bespeaks this master ; also the character of the landscape, and the very con- ventional forms of the cypresses. Theseus and Ariadne on the isle of Naxos, with the labyrinth treated as a landscape. The feeling and the character of heads, and the bunchy forms of the drapery, indicate a late drawing by ! Filippino Lippi. St. Peter Martyr, mortally wounded, is writing the word “ credo” with his blood, on the ground, while the assassin is aiming a blow with a dagger at the monk, his companion. Above, on a small scale, the First Person of the Trinity in the act of benediction, with two angels with crowns. Although, as Bartsch remarks (vol. xiii. p. 88, No. 6). both the drawing and 25 2 THE BRITISH MUSEUM. Letter IX. execution of this print are bad, yet the large size of the figures claims attention. The energy of the conception is a striking proof of the enthusiastic religious feeling of the middle ages. The actions are very expressive, especially in the assassin. The trees have still the mushroom-like form as in the mediaeval miniatures up to the 14th century. The treatment is also very old-fashioned. The black draperies are only expressed, as in the ground of a niello, by a flat tint, in which the folds are merely indicated. From the thoroughly realistic conception of the piece, I should pronounce it to be North Italian in origin. Mr. Carpenter con- siders it to have been the work of a monk, in which I concur. A plate, with the inscription, “ Catharina da Siena,” represents this saint standing upon a demon in a dignified position, in front of a niche. In her left hand is the model of a church ; in her right a crucifix, lily, and palm. The mantle is here again treated niello-like, with a flat tint, in which the simple straight folds are only drawn in. Above are conventional trees. At the side four spiritedly composed legends from her life. An old Sienese devo- tional print. The same saint in a similar position, with a book in her right hand, and a lily in her left ; trees around her, and two angels with, a crown above. (Bartsch, vol. xiii. p. 87, No. 5.) Ruder and more niello-like than the preceding. Also doubtless the work of the convent, and sold as a devotional print to those visiting the church of this saint at Siena. Above is the Saviour showing his wounds, and represented as bearded and unusually old. Two ladders lead up to him. From that on the right a king is falling, an inscription on a scroll above him announcing that pride is the cause of his fall. A lion is advancing towards him as a symbol of pride. On the ladder to the left a beautiful youth is mounting ; an inscription also tells that humility and patience have raised him, and a sheep is the symbol. Below, a simple and beautiful composition, is the Nativity. This plate corresponds throughout, as Mr. Carpenter observes, with the engravings in the Monte di Dio, and is decidedly from a drawing by Sandro Botticelli, engraved by Baldini. Of the original set of the well-known Twenty-four Prophets, engraved by Baldini from drawings by Sandro Botticelli (Bartsch, vol. xiii. p. 164), excellent impressions of the first three, Baruch, Letter IX. COLLECTION OF ENGRAVINGS. 253 Joel, and Haggai are here. There is, however, a perfect set of the copies. On the other hand, there are two plates here, the Virgin and Child, and Joseph (inscribed Juseppo), which in size and workmanship, and form of letters used in the eight-lined inscription, evidently belong to the same set, and, as Mr. Car- penter remarks, probably formed its conclusion. The character of the heads is excellent ; the folds of the drapery heavy ; the impressions forcible. According to all appearance these are unique plates. The representation of Hell (Bartsch, vol. xiii. p. 90, No. 8) ; the composition essentially taken from Orcagna’s picture at Pisa, and only remarkable as a specimen of the conception of that period ; but otherwise unpleasing in motives, ugly in heads, and hard in the niello-like treatment of the engraving. The same subject, and like the foregoing, also copied from Orcagna’s picture, which is further proved by the inscription, “ Questo elinferno del chapo santo di Pisa.” Ottley (p. 373) justly attributes this engraving to Baldini. In 1852 the British Museum purchased the six following engravings from the Otto collection in Leipsic, which are decidedly from designs of Sandro Botticelli, and, according to the opinion of M. Rudolph Weigel, in part engraved by his own hand. A circle, with six amorini playing on different musical instru- ments ; below, a recumbent figure ; in the centre, in a small circle, a dancing pair. On the left sleeve of the dancing man is amedroxt ; 7 j 2 2- in. in diameter, including the frame with leaf-work. A circle, with Chastity and her symbol, the unicorn, in her lap ; with one hand she is holding by a hedge. On her robe is a band with the inscription “ Marietta.” Two empty coats of arms are also an allusion to her purity, as appears from the same subject in pictures where she is represented holding an unspotted shield of polished steel ; 5 r \in. in diameter, including the simple border. A circle, with Judith holding the head of Holofernes in her left hand, and a large sword in her right hand ; behind her the body of Holofernes ; orange-trees at her side ; 4i 3 ¥ in. in diameter. A circle, with Jason and Medea holding a vase over a circle in which is represented a cross in fruits. On scrolls are the words “ Medea” and “ Gianson.” Diameter, 5 rV in. 254 THE BRITISH MUSEUM. Letter IX. A richly decorated carriage with quiver-shaped vessels, and amorini, drawn and accompanied by the same. A little amorino in front, with a flag with the word pvrita ; on another flag, alfvoi and fede. I imagine this to indicate the triumph of pure and chaste love ; two empty shields partly cut away may also refer to this ; 3 r 7 ¥ in. high, 8 tv in. wide. Two soldiers kneeling, holding an octagon shield, on which is a female figure stretching out her arms ; 2/v in. high, 6 r 2 a in. wide. These engravings, which were purchased with eighteen others from Winckelman’s friend, Baron Storch, at Florence, are pro- bably unique, and also interesting for their subjects. Of the set of the Twelve Sibyls (Bartsch, vol. xiii. p. 92, &c.) by the engraver of the copies of Baldini’ s prophets, only the Delphic and the Cumsean Sibyls and the Sibyl of the Hellespont are here. The collection purchased from the Messrs. Smith has enriched the Museum with the most perfect and rare set of the Seven Planets, engraved by Baldini from drawings by Sandro Botticelli. These plates, which are fully described by Bartsch (vol. xiii. p. 190, &c.), take the lead in richness and originality of invention among all the works of Baldini. The comparison also of these with the set of old copies contained in the Monro collection, and considered by Strutt to he originals, proves how far these we are describing are superior in spirit and intelligent execution. The copies however include the plate containing the calendar, with the occupations of each month, which is unfortunately missing in the original set. To the purchase of the Smith collection also the Museum is indebted for the whole set of the nineteen plates described by Bartsch (vol. xiii. p. 175, &c.), engraved by Baldini from drawings by Sandro Botticelli, for the edition of Dante, 1471, which, with the exception of Nos. 1, 18, and 19, are good impressions. The dramatic and fantastic tendencies of Sandro Botticelli peculiarly fitted him to illustrate Dante. Most of these compositions are full of meaning ; nevertheless, independent of the inferiority of the engraving, as respects artistic completeness, they are far below the poet in poetic completeness. St. George, a figure of excellent action, is piercing with his spear the jaws of the spiritedly conceived dragon. On the left is the Princess in the act of escaping ; in the background, the tri- Letter IX. COLLECTION OF ENG LAYINGS. 255 umphal arch of Constantine. In invention, forms, and drapery, this print, which is of unusual size, decidedly exhibits the feeling of Andrea Mantegna ; it also corresponds in treatment with his later copper-plate engravings, only that the lines are freer and broader. It may be confidently attributed to some contemporary engraver from a drawing by that great master ; a very powerful impression. The interior of a church, with a priest kneeling, soldiers, and other figures ; a very large engraving in two plates. Numerous figures adorn the friezes and cupolas, which are otherwise richly decorated. Upon a candelabrum is the inscription, braman- tus fecite in meo (viz., in Mediolano). The same words are repeated upon an impression in a collection belonging to the family Perego at Milan, but refer decidedly only to the architec- tural portion ; for in every other respect the engraving hears witness to the style of Mantegna. Moreover, the execution cor- responds so closely with his later engravings, that I do not hesitate to ascribe both composition and execution to him.* An excellent but unfortunately damaged impression. A furious combat between common centaurs and other figures, half human, half lion. Three men also present. Ottley (p. 147) is inclined to attribute this clever composition to Antonio Polla- juolo. The whole conception, however, as Mr. Carpenter justly observes, points to the school of Squarcione, and may even be the composition of that master himself. Of the three engravings by Antonio Pollajuolo, described by Bartsch (vol. xiii. p. 202, &c.), excellent impressions of the two principal — the Gladiator, No. 2, and the combat of Hercules and * I regret to differ not only from Ottbsy (p. 532) and Eosini (vol. iii. p. 240), but also from Passavant (Kunst-Blatt, 1850, p. 364), who ascribe the design of the whole to Bramante, and also the execution of the engraving to him. But if one so celebrated in his own time as Bramante had been so able an engraver (considering the state of the art at that time in Italy) as this plate, which evidently belongs to a series of works of the kind, demonstrates, I cannot conceive that such a circumstance would have been totally overlooked by Yasari and every other contemporary. On the other hand, considering the pleasure which Andrea Mantegna was known to take in antique architecture and perspective designs, it appears quite intelligible that he should have enriched his friend’s beautiful drawing with figures of his own, and engraved the plate on copper. The inscription also, whence the idea of Bramante’s having executed the engraving is solely taken, is in itself no evidence at all, as a reference to another plate quoted by Passavant with the inscription “ Bramanti architecti opus,” which this able connoisseur admits to be engraved not by Bramante, but in the style of the 16th century. 256 THE BRITISH MUSEUM. Letter IX. the Giants, No. 3 — are here. There is also an old woodcut copy of the former. The Annunciation, and the Assumption of the Virgin ; on one very large plate by some unknown hand. According to Bartsch it recalls in treatment the Passion, and the Triumphs of David, by Nicoletto da Modena ; but in general composition, as well as in separate motives and heads, it is obviously from a drawing by Sandro Botticelli. An interesting opportunity is here offered of comparing two copies of the so-called Gioco di Mantegna ; that which Bartsch pronounces to be the original being deficient in some plates — that which he calls the copy A being perfect in all fifty. On comparison, how- ever, the copy A, both in more accurate understanding and better execution, proves to be the original ; while the so-called original, which is rude in execution, and with many essential differences, must be pronounced a free copy. In one instance, however, the copyist has improved upon the original, namely, in the drapery of Temperantia, in which he has shown more intelligence. The greater part of the copied impressions are reversed. Mantegna had decidedly no hand in this work, unless he furnished the drawings for a few of the subjects, viz. for the “ Octava spera,” and for the “ Primo mobile.” According to the opinion of the eminent connoisseur, Herr Sotzmann, of Berlin, it would appear that this series referred to a game of cards, but was a combination of five allegorical cycles, well known in early times in Italy, to which the letters A, B, C, D, E, supposed to denote the terms of the different kinds of Tarocchi cards, were only affixed by way of distinction ; viz. A the seven planets, the eighth sphere, the “ Primo mobile,” and the Prima causa ; B, astronomy, chronology, cosmology, the four cardinal virtues, and the Christian virtues, faith, hope, and charity ; C, the seven liberal arts, theology, philosophy, and poetry ; D, Apollo and the nine muses ; E, the ranks of society, the beggar, the servant, the mechanic, the merchant, the gentleman, the knight, the duke, the king, the emperor, and the pope. Although the impressions of those which Mr. Carpenter, as well as myself, considers to be the originals, are incomparably better than those of the copies, yet even these, in the opinion of that connoisseur, when compared with other impressions that he has seen, can only he regarded as retouched plates. Letter IX. COLLECTION OF ENGRAVINGS. 257 The Florentine Goldsmith, known by the name of Robetta, may be assumed to have flourished from 1470 to 1520 (Bartsch, vol. xiii., p. 392, &c.). His works are very unequal in merit, but are valuable to the lovers of art as preserving to them a number of clever compositions of the Florentine masters of the 15th century. Although adhering to an opinion already expressed* that this engraver chiefly worked from the drawings of Filippino Lippi, yet later observation has convinced me that he also engraved from the drawings of Sandro Botticelli, Filippino’s master, and in a few instances from other masters of the time. Although the British Museum does not contain so many of the plates mentioned by Bartsch as in the collection of engravings at Paris (Nos. 1, 2, 3, 7, 8, 10, 11, 14, 17, 19, 20 are missing), yet it possesses others which are failing both in his catalogue and in Paris. Adam and Eve, with Cain and Abel (No. 4), of the latest and best period of the engraver, and, judging from general character and sentiment, from a drawing of Sandro Botticelli’s later time. In the landscape, and especially in the small house, there are traces of Albert Durer’s influence : a feeble impression. The same subject (No. 5) : both in the mode of composition and in the general character I recognise the earlier time of Filippino Lippi. The sacrifice of Cain and Abel (Ottley, p. 461), with beautiful landscape. From a drawing by Filippino Lippi, with whose head of St. Francis, in a picture at the Berlin Museum, No. 96 (men- tioned by Vasari), the delicate profile of Abel decidedly agrees : an excellent impression. The Nativity, from motives by Martin Schongauer. With the exception of the Virgin’s head, of inferior merit, and very black in the shadows. I should question its being by Robetta. The Adoration of the Kings (No. 6) : a fine composition, exhi- biting in every part the style of Filippino Lippi ; a good impression. The same subject; of which Bartsch says (vol. xiii., p. 73) that in the touch of the graver it approaches the manner of Robetta. To my view, however, it decidedly belongs to the North Italian school, which is proved by the somewhat Byzantine cha- racter of the Virgin (whose drapery is finely cast), so long retained * Kunstwerke und Kiinstler in Paris, p. 691. Ottley had already suggested the same. VOL. I. S 258 THE BRITISH MUSEUM. Letter IX. in Bologna and V eniee ; also by the thoroughly rendered land- scape, with numerous buildings, which recalls Vittore Carpaccio. The whole composition, with the Child standing in the act of benediction, is very remarkable. The shadows in the engraving, executed in thin lines, are very black. Christ taking leave of his Mother before his Crucifixion (No. 9), executed with singular delicacy. The fine composition and noble character of heads decidedly indicate the style of Filippino Lippi ; also the broad drapery of the Apostle on the right, which, though more regular than the others, is more broken in form, corresponds entirely with the drapery in his frescoes in the church del Carmine. The drawing from which this engraving was taken was probably somewhat later in period. A good impression. The Virgin giving a bird to the Child (No. 12) : one of the most finished plates by this engraver. The grandeur and fullness of the forms, the excellence of the drawing, the modelling of the drapery, and the character of the hands, bear witness to an original drawing by Luca Signorelli. An excellent impression. The Virgin with the Child, who is about to embrace the little St. John (No. 13) : in every respect indicating an original drawing by Sandro Botticelli. The angels agree strikingly with a picture by this master in the Berlin Museum, No. 102, mentioned by Vasari. The Virgin with the Child on her arm ; St. Sebastian and the Magdalen at her side. The motive of the Virgin corresponds entirely with an inscribed picture by Lorenzo Costa in the Museum at Berlin, No. 112 ; also the character of the heads, and the pecu- liar style of the draperies. The powerful and careful treatment also coincides with an engraving from this very picture, of which I know two impressions — one in the collection of Dr. Wellesley at Oxford, the other in that of M. Sotzmann at Berlin, and which is decidedly by the hand of Lorenzo Costa himself. I am therefore disposed to consider this as another engraving by this master from a drawing of his own. St. Jerome in ecstasy before a crucifix, striking himself with a stone. According to the character and style of landscape, I should pronounce this engraving to be of North Italian origin. Tin treatment and the deep shadows correspond with the Adoratioi of the Kings, above described, which is, in my opinion, of tht same school. Letter IX. COLLECTION OF ENGRAVINGS. 259 Faith and Charity (No. 15). This plate coincides in conception and forms so entirely with Sandro Botticelli’s well-known Venus and other figures, that it may be safely supposed to have been taken from a drawing by that master. The same may be said of the Ceres, No. 16, and of the Venus with the four amorini, No. 18, in which latter plate, belonging to Robetta’s earlier time, the some- what monotonous style of Sandro Botticelli’s children is apparent. Hercules combating the Hydra (No. 21) ; one of Robetta’s later and more finished engravings, indicating in the character of the heads, and in the slenderer and more graceful style of the forms, a drawing by Filippino Lippi. In the work called “ La real Galleria di Firenze,” the original drawing for this engraving is in my opinion erroneously ascribed to Pollajuolo. Hercules and Antaeus (No. 22) ; of Robetta’s earlier time, and much feebler in drawing. This, judging from the energy of the action and the heavier forms, may be attributed to an original drawing by Sandro Botticelli. Leda and the Swan. The head of Leda of a noble character and well drawn. In character of composition, in richness of land- scape, and in the blackly treated shadows, this plate, both in in- vention and execution, indicates a North Italian origin. Two female figures, one playing the lyre (No. 23). This plate is equally as fine in composition as clever in execution. I was formerly disposed to attribute it to the invention of Luca Sig- norelli ; but I am now convinced that Ottley (p. 472) is correct in asserting that it was engraved from a drawing by Filippino Lippi for a fresco by him in chiaroscuro in the Capella Strozzi in S. Maria Novella at Florence. I must also retract a similar mis- nomer with regard to an engraving — The pangs of Love and Jealousy (No. 25), of which here is an excellent impression ; and the original drawing of which also belongs to Filippino Lippi, though of his earlier time, when the influence of his master, Sandro Botticelli, was still apparent. A print of an old woman, with two loving couples (No. 24), for the same reasons that I have expressed in No. 15, may be attri- buted to a drawing by Sandro Botticelli. In the background the influence of Albert Durer’s style of engraving is apparent. Mutius Scsevola (No. 26), engraved in Robetta’s early and hard manner, is also from a drawing by Sandro Botticelli. s 2 260 THE BRITISH MUSEUM. Letter IX. The death of Virginia (Bartsch, vol. xiii., p. 108, No. 5), par- taking also of Robetta’s early manner, indicates an original design of very inferior merit. Of the admirable but rare engraver whose works are inscribed P. P., only four plates (described by Bartsch, vol. xiii., p. 356, &c.) are here. He belongs, in my opinion, decidedly to the school of Northern Italy. Since writing, the above this opinion has been confirmed by the researches of my friend Herr Harzen, the well- known connoisseur, who has ascertained* that this engraver is no other than the painter Martino of Udine, scholar of Giovanni Bellini, who is known in the history of art by the name of Pelle- grino da S. Daniello. The Lion Hunt (No. 1). The conception of this spirited and delicately treated plate is throughout of a landscape character, and indicates in every respect the school of Romagna. In many points it recalls Lorenzo Costa. The artist probably executed the drawing for this engraving during his residence in Ferrara. Here is also a reversed copy of the size of the original. A rich allegorical composition (No. 3). Bartsch has closely described this plate, though without attempting any explanation of the various puzzling allusions. In the beauty of the figures, the grace of the motives, the fine drawing of difficult positions and foreshortenings, no less than in the intelligent and masterly execu- tion, this engraving is of the highest class of merit ; while the treatment of the shadows with the dry point gives it, as Bartsch remarks, the look of the most highly finished modern pen-drawing. The composition corresponds in spirit, proportions, feeling for beauty of form, as in all other respects, with the latest works of Andrea Mantegna — for instance, with the two allegorical pictures painted for the Marchesa di Mantua, now in the Louvre. Nor is the decided influence of this master to be wondered at, when we remember that he was the brother-in-law of Giovanni Bellini. It is also very interesting to compare with it the plate described by Bartsch as engraved in the dotted manner, and which in some part, owing to the worn state of the plate and to the badness of the work, gives the idea of a woolly uncertain lithograph. I cannot, however, persuade myself that this retouching is the work of Pellegrino da S. Daniello himself, as Herr Harzen believes. * Deutsches Kanst-Blatt, 1853, Nos. 23, 24, and 28. i f I t t I Letter IX. COLLECTION OF ENGRAVINGS. 261 Of a Pieta mentioned by Bartscli in his Appendix, the only im- pression here is one which has been retouched by the same inferior hand as that above described. As these retouches extend pretty equally over every portion, both the woolliness, which is still more obvious, and also the square awkward forms, and the rude ex- pression of grief in the female head, may be ascribed to the same irreverent retoucher. Although it is impossible to form any de- cided opinion of the original designer, except from an impression in the original form, yet there is something in the conception of the landscape, with the fantastic overhanging rocks with trees upon them, which so far corresponds with the Lion Hunt above men- tioned as to indicate Lorenzo Costa, or more probably Amico Aspertini. With the exception of seven (Nos. 7, 9, 10, 15, 17, 21, 22), all the engravings of that grand and fertile inventor Andrea Mantegna, described by Bartsch (vol. xiii., p. 227, &c.), are here. Almost all are good impressions, and of some there are duplicates. There are also several impressions of the copies, as well as of some plates inscribed to him by Ottley. Besides these there are two examples not elsewhere mentioned. As, with these exceptions, these plates are well known to all connoisseurs by means of Bartsch, and as I have already enlarged upon their artistic significance in another place, I shall confine myself only to a few remarks. A proof impression of the Descent from the Cross (No. 4) ; the upper part of a tree on the right only given in outline. In point of velvety depth, clearness of every part, tenderness and intensity of expression in the heads, this engraving is almost unique. Raphael evidently studied many a motive from it for his well-known com- position preserved in Marc Antonio’s engraving (Bartsch, vol. xiv., p. 37, No, 32). A comparison with a good impression from the finished plate, also here, is highly interesting. Equally excellent is an impression of the Hercules and Antseas (No. 16), which belongs to the maturest period of the master, both as designer and engraver : also that of the Combat of the Sea Gods (No. 18) ; and one of the Bacchanals with the vat is scarcely inferior to the foregoing. Of the Bacchante with the Silenus here is a good, though injured, impression of the first plate, and a first-rate one of the second plate, which latter, erroneously, as it appears to me, Bartsch 262 THE BRITISH MUSEUM. Letter IX. has pronounced to be a copy, though in many parts the design is even better understood than in the first plate. The old man with the cap (No. 23), which I here saw for the first time, belongs to the earlier period of the master. The four dancing females. Bartsch (vol. xiii., p. 30, No. 18) attributes this plate to Zoan Andrea, but Ottley, and in my opinion more correctly, to Andrea Mantegna, to whose maturest period it evidently belongs both in design and execution. Two impressions, in red and in black colour, are here. The latter is first-rate, but unfortunately injured. Among the freshest and most vigorous impressions may be here mentioned the two mysterious allegories, “Virtus combusta,” and “ Virtus deserta.” As regards the first, I believe it to be from a drawing by Andrea Mantegna, also in the British Museum ; the second forms, properly speaking, only the lower half of the com- position, so that there can be no doubt as to the same original designer. The two great print connoisseurs, Bartsch and Ottley, are, however, at variance regarding the engraver — the first (vol. xiii., p. 303, 16, 17) ascribing them to Zoan Andrea, the last (p. 510) to Andrea Mantegna. I must, however, give my opinion in favour of Bartsch’s verdict, as the sharper crossed lines and the broader artistic effect appear to me to coincide with the ascer- tained engravings by Zoan Andrea, those by Andrea Mantegna being of a less elegant hut more intelligent character. An old copy by an inferior engraver on a smaller scale, com- bining both plates in one, is so far interesting as showing their original relation. A corpulent Silenus, seated on a tub and surrounded by seven amorini, one of whom is pouring out wine from a skin ; two are crowning him with wreaths, two are holding grapes, and one is asking him for wine. This hitherto undescribed plate belongs, judging from the treatment, and the somewhat heavy forms, to the middle period of the master. An excellent impression. An old plate, treated in the manner of Mantegna, but evidently the work of an inferior engraver, of the often engraved chalice, the design of which is attributed to Mantegna. But here I am inclined to differ from Ottley, for the Gothic style, to which Mantegna never did homage, prevails here. Two Beggars ; one standing with crossed legs, the other Letter IX. COLLECTION OF ENGRAVINGS. 263 begging : these are very animated and clever, and, judging from the full strokes, belong to Mantegna’s later time. Girolamo Mozzeto, or Mocetto (Bartsch, vol. xiii. p. 116), who flourished from about 1470 to 1500. Three engravings. He was a pupil of Giovanni Bellini, and his plates show the tendency of the Venetian school. According to Bartsch he executed only eight engravings altogether, so that the three preserved here are sufficient specimens of his style. Judith (No. 1). From a spirited composition by Mantegna; admirably engraved. A proof impression of incomparable vigour and freshness, and of a warm tint. Also an excellent impression of the finished plate. And thirdly, a good impression of a copy. The Baptism of Christ (No. 2). A beautiful and peculiar composition, of careful execution and w r ell understood drawing. Judging from the fine feeling, the character of the heads, the rendering of the forms, and the cast of the draperies, decidedly from a design by Francesco Zaganelli da Cotignola, a Lombard, who flourished chiefly in Ravenna and Faenza. As this master is but little known to the connoisseur, it is as well to add that I formed this opinion from a picture attested by Lanzi, in the Museum at Berlin (No. 1164), and also from a small and very beautiful picture in the collection of M. de Reiset at Paris. An excellent impression, but retouched and repaired. The Virgin and Child (No. 4). Both the quiet and elevated feeling, as well as the character of the composition, indicate an original drawing by Giovanni Bellini. Passavant is also of this opinion.* A good impression. The Sacrifice of a Pig. A rich composition, in which the influence of Mantegna is apparent. Executed by an inferior engraver. The engraving which Bartsch (vol. xiii. p. 113, No. 10) has denominated “la Sottise sur le trone,” and described as an anonymous plate, is considered by Ottley, and rightly as it appears to me, to be the work of Girolamo Mozzeto. The subject w r as interpreted by Ottley to represent Calumny, from the picture by Apelles. The design for this exceedingly clever and animated composition, with the church of S. Giovanni e Paolo in Venice in the background, is undoubtedly attributable to the later period of * Deutsches Kunst-Blatt, 1850, p. 301. 264 THE BRITISH MUSEUM. Letter IX. Mantegna, and evidently exercised in many respects an influence upon Raphael’s well known drawing in the Louvre. A good impression of the second proof from the plate is here, and an inferior impression of the first and third. The Sleeping Nymph, mentioned by Bartsch (vol. xiii. p. 114, No. 11) as an anonymous print, is also, and in my opinion correctly, attributed by Ottley to Mozzeto. It is, however, one of his coarser works, and perhaps from a composition of his own. Marcello Fogolino, a painter from Vicenza, who obviously belonged to the end of the 15th and beginning of the 16th century, and followed the realistic tendency of the Venetian school. Of the three engravings by him described by Bartsch (vol. xiii. p. 212), only one is here, though the collection possesses two others of far greater value. The Nativity (Ottley, p. 519). A landscape composition, conceived under the influence of Albert Durer’s engraving of the same subject (Bartsch, vol. vii. p. 31, No. 2). In the background a free representation of a portion of the amphitheatre at Verona. Treated with a delicacy and softness which approaches to woolli- ness. Inscribed marcellvs fogolinvs. The Presentation of the Virgin, composed in a genre style, approaching the manner of Rembrandt. In front a bagpipe- player. The forms very full ; the drapery simple and broad, as in a picture by this master in the Museum at Berlin, No. 47. The treatment the same as in the foregoing print. A Woman seated, kissing a child ; one of the plates mentioned by Bartsch. Both figures undraped, and full in the forms. In the background, architecture in the taste of Paul Veronese. The dotted style is apparent in the soft treatment. Benedetto Montagna. — This painter, who also belonged to Vi- cenza, flourished from the end of the 15th to the first decennium of the 16th century, and followed more than any other Italian engraver the realistic tendency of the Venetians. He combines a pure feel- ing for nature, with much poetry of sentiment, and exhibits also the decided influence of Albert Durer. Of the plates by him, described by Bartsch (vol. xiii. p. 333, &c.), twenty-three are here (Nos. 2, 5, 6, 7, 15, 16, 24, 27, and 32, being absent) ; and besides these there are eight more engravings not mentioned by Letter IX. COLLECTION OF ENGRAVINGS. 265 Bartsch. This engraver has two different modes of execution ; the one, with its long, full, diagonal hatchings, has the effect of a lithograph pen drawing ; the other, with its finer, closer, and shorter lines, shows the influence of Albert Durer. When, as in this case, I offer no suggestion of the master to whom the original design may be attributed, it is because I conclude the engraver to have worked from a composition of his own. The Sacrifice of Abraham (No. 1). The landscape composition, the character of the heads, and the elevated feeling in the figure of Isaac, show the influence of Giovanni Bellini ; the drapery, with hard, arbitrary, and sharp breaks, that of Albert Durer. The Nativity (No. 3), with very circular heads. This also, in architecture and drapery, shows the influence of Albert Durer. An excellent impression. Another inscribed and hitherto unmentioned plate is a careful copy of the above-mentioned Nativity by Albert Durer. (Bartsch, No. 1.) Christ on the Mount of Olives (No. 4) is also another specimen of the decided influence of Albert Durer. In the admirable proof impression from the plate in the first state, the effect is most powerful. Here is also a good impression from the plate in its second state. Christ after his Resurrection. A scroll in the raised left hand ; in the right the banner of victory. This plate, which is inscribed B M, is decidedly from a drawing by Giovanni Bellini. The excellence of the impression shows the beauty of the engraving in all its minutiae. The Virgin and Child, with St. John and St. Joseph in a landscape (No. 8) ; affectionate in the motives, and most carefully executed in the landscape, which is richly adorned with buildings. St. Benedict, surrounded with four other saints (No. 10). Judging from the style of the composition, and the elevated character of the heads, executed from a drawing' by his brother, Bartolommeo Montagna. The figure of St. Placidius corresponds strikingly with that of S. Huomobono in a picture inscribed with the name of that painter in the Berlin Museum (No. 44). A feeble impression. St. George and the Dragon (No. 12). The hardness of the realistically treated head indicates an early period of this engraver. A good impression, but soiled. 266 THE BRITISH MUSEUM. Letter IX. The same, as regards period, may be said of St. Jerome (No. 13) , taken, perhaps, from a design by Bartolommeo Montagna. A good impression. The fine and, delicate execution, however, of a landscape (No. 14) , in which St. Jerome is introduced, shows the engraver in his happiest period. An excellent impression. In such plates as the Satyr (No. 17), Mercury and Aglaura (No. 18), the Centaur in combat with the Dragon (No. 19), the Birth of Adonis (No. 20), the Woman and the Satyr (No. 21), — in which the landscape partakes greatly of the style of Albert Durer, — the realistic maimer of Benedetto Montagna does not appear to advantage. All these are good impressions except No. 19. The same may be said of a sleeping Nymph, with two children, surprised by two fauns, and of a plate inscribed “Venus,” in which the Goddess, a figure of ungraceful form, is represented standing. Both these hitherto unmentioned plates are rightly attributed by Mr. Carpenter to Bartolommeo Montagna. The delicate lines and high finish of the Venus plate, of which the impression is excellent, correspond in execution with the No. 33 described by Bartsch. On the other hand, Apollo and Midas (No. 22), of which here is an excellent impression, in spite of the realistic tendency in the conception, has something poetic in feeling. The same applies to the Rape of Europa (No. 23), which has also a better style of composition. Orpheus charming the wild beasts, a good, though injured impres- sion, is so like Giorgione in composition and feeling, that I consider this rare engraving to have been taken from a drawing by that master. A Warrior (No. 26), conceived in the style of a portrait ; an excellent impression. A youth with a palm-tree (No. 28), only a later impression. A woman with two children, one of whom a man is seizing by the foot, is well conceived, but hard in execution. Two young men with a dead stag are very animatedly conceived. Both of these hitherto unmentioned plates are inscribed with the name of Benedetto Montagna. Excellent impressions. The same may be said of a Turk, seated in a landscape, in the style of Albert Durer — hitherto unmentioned. Of similar character is a landscape (No. 31) with two figures Letter IX. COLLECTION OF ENGRAVINGS. 267 playing the violin and the bagpipe, in the manner of a genre picture. An excellent impression. Finally, the engraving No. 33, described by Bartsch as “Fhomme a la fleche,” might in my opinion be better entitled an Apollo ; the figure being solely clad with the chlamys. Carefully executed in delicate lines ; the impression being first-rate. Nicoleto da Modena. — Bartsch (vol. xiii. p. 252) remarks of this engraver, who flourished from 1490 to 1520, that he probably first formed his style from Mantegna’s engraving ; to which I may add, that he also evidently engraved various plates from drawings by that master. He further states, that at a later period Nicoleto da Modena studied from the works ' of Albert Durer and other German engravers, so much so, that with the technicalities of that School he also acquired their mode of conception, and in some instances copied directly from them. The engravings by this master, which are variously inscribed, treat also of the most various subjects, and are very unequal in merit. Of the sixty-five which Bartsch attributes to him— many assuredly on insufficient grounds — twenty-three are here, including the seven of the Life of the Virgin before-mentioned, with nine more besides, which in my opinion Mr. Carpenter is right in ascribing to this master. In those instances where I suggest no original designer, I assume that he engraved from compositions of his own. The Nativity (No. 3). All the figures in this piece, with the exception of the shepherd on the right, are, as Bartsch has already remarked, copied from a plate by Martin Schongauer. (Bartsch', No. 4.) A good impression. The same subject (No. 4), but treated more in the style of a landscape, so that the figures are small in proportion to the building. This engraving has much which recalls Amico Asper- tini, though in some respects it shows a German influence. The same subject with similar architecture, but the figures treated on a smaller scale. If by Nicoleto da Modena at all, it is one of his harder and more mechanical works. An excellent impression. Christ in the act of benediction ; the globe in his left hand ; very noble in feature ; inscribed with the monogram M which Ottley (p. 536) has added to the many inscriptions belonging to this engraver mentioned by Bartsch. St. Anthony the Hermit (No. 24), St. John the Baptist (No. 31), 268 THE BRITISH MUSEUM. Letter IX. and St. George, a knightly figure (Ottley, p. 541). In these plates Nicoleto da Modena’s predilection for architectural back- grounds is visible. St. Agnes ; a palm-branch in her right hand, the sword in her breast. The admirable character of the head, the form, drapery, and treatment, indicate a fine original design by Mantegna. In the hands only the original is not done justice to. A good im- pression. An architectural piece, with the pelican above, and the Crowning with thorns below. On the right hand, quite below, a bishop with two monks ; on the left a prince with two laymen. The merits of this plate lie more in the composition than in the execution, which is hard and mechanical. Children hammering the wicked tongue on an anvil (No. 37). Of very animated motives. The forms of the children and the sumptuous character of the architecture in the background, incline me to suppose that an inscription upon a small tower, C C F Z, which Bartsch rightly assumes to be the name of the original designer, represents the words Cima da Conegliano fecit. I pass over the following plates for the reasons annexed. Leda (No. 46), and Europa (No. 51), as copies from another Italian engraver (Bartsch, vol. vii. p. 245, &c.) ; a hitherto unmentioned plate of Hercules taming the bull of Marathon, as somewhat coarse ; Vulcan (No. 52), as ill-drawn and hard ; Orpheus charming the wild animals (No. 53), conceived as a landscape, as of inferior merit ; and a hitherto unmentioned Roman knight beside his horse, as offering but little attraction. Four ornamented bands (Nos. 54, 56, 57 and 58) are so entirely in the feeling and taste of Mantegna, that they were doubtless executed from designs by him. The Judgment of Paris (No. 62), chiefly copied, as Bartsch remarks, from Albert Durer’s four women (Bartsch, No. 75) ; and finally a copy of the equestrian statue of Marcus Aurelius, which is of very inferior merit. The following hitherto unmentioned engravings deserve a closer investigation. Pan, with a child on his arm, playing the flute, with the inscrip- tion “Pan Deus Arcadise.” The groundwork is here treated quite in the style of a niello. Letter IX. COLLECTION OF ENGRAVINGS. 269 A female of noble form and feature is kindling a tire on the altar of Mars, holding at the same time a staff in a chafing-dish. The inscription, “ Spes puhlica, pax seterna, victoria Augusti,” shows the intention of the subject. The shadows are treated in the style of a niello. Doubtless engraved from a design by Man- tegna in his later time. An excellent impression. Apelles, a kind of companion to this, is feebler in composition, though well worthy of notice. A noble female figure leaning against a tree ; a trophy beside her. From a pen-drawing by Mantegna. Three out of the five engravings mentioned by Bartsch (vol. xiii. p. 245, &c.), by that engraver, decidedly of the North Italian school, whose works are inscribed with I. B., and a bird ; and whom Zani supposes to have been the Giovanni Battista mentioned by Vedriani. St. Sebastian (No. 1), carefully executed with delicate strokes. This recalls the forms and expression of Francesco Zaganelli da Cotignola, and was probably engraved from a design by him. The Bape of Europa (No. 4) is less worthy of notice. On the other hand, the wild man with the woman and child (No. 7) is very spirited. Two of the three woodcuts are also here, which Bartsch (p. 249) attributes to designs by this master. The exaggeratedly tall and meagre figure of St. Jerome, No. 1, extracting the thorn from the lion’s foot, is only interesting for its rich and poetic landscape. Diana and Actseon is spiritless in invention, and executed by a feebler hand. The figure of a child, very roundly treated in the forms, with the monogram of the well-known niello engraver, Peregrine da Cesena, and the date, 1511, is very remarkable. In the delicacy and closeness of the lines, may be seen indications of his former occupation. Zoan Andrea. — This skilful engraver, who flourished in Northern Italy, from the end of the 15th to the first decennium of the 16th century, appears to have chiefly worked from designs or engravings by Mantegna, and afterwards from engravings by Albert Durer ; never from any composition of his own. Of his many plates enumerated by Bartsch (vol. xiii. p. 295, &c.), twenty- one are here ; the missing numbers being 1, 4, 5, 6, 7, 8, 9, 11, 270 THE BRITISH MUSEUM. Letter IX. 12, 15, 19. Three numbers, according to Ottley, Nos. 16, 17, and 18, are the work of Mantegna. One, No. 14, according to Mr. Carpenter, is that of Giovanni Antonio da Brescia. Two more, on the other hand, are here, which Bartsch has not men- tioned. The Judith, No. 1, of which only Bartsch’ s copy is here, I mention merely because the original drawing by Mantegna is now in the collection of drawings at Chatsworth. Christ before Pilate, No. 2. This, judging from the inferiority of the engraving, and the niello -like treatment of the ground, belongs to Zoan Andrea’s earlier period. The original design was obviously by Mantegna. In the figure of Christ the expression of patience, as the Lamb of God, is peculiarly well felt. The Entombment, No. 3, a good copy from the well-known plate by Mantegna. Bartsch, No. 3. To Zoan Andrews acknowledged copies from Albert Durer, two more are here added : a very good one of the Madonna with the Monkey, inscribed Z. A. (Ottley, p. 583, Bartsch, No. 42), and one of the Dream (Bartsch, No. 76.) Llercules and Dejanira, No. 9 : another original design by Mantegna. The Rape of Amymone, No. 10, is a faithful copy, only reversed, from an engraving by Albert Durer. (Bartsch, No. 72). Three Amorini. These correspond with the pen-drawings by Mantegna, in the possession of Mr. Samuel Woodbum, and leave no doubt as to the original designer. A magnificent impression. The Dragon attacking the Lion, No. 20 : from a drawing by Leonardo da Vinci. Judging from the niello-like ground and treatment, this belongs also to the engraver’s earlier time. A set of spirited arabesques, from No. 21 to 32, decidedly in great measure from designs by Mantegna. Next in order is a capital impression of the fine engraving, Her- cules fighting the Lernsean Hydra. Bartsch (vol. xiii. p. 324) attri- butes this to the hand of Giovanni Antonio da Brescia, from a drawing by Mantegna, in which latter opinion I am inclined to agree. The engraver has subscribed himself with the initials I. F. T. Also a priestess of Bacchus, worthy the invention of Scopas (Bartsch, vol. xiii. p. 351), by an unknown and very inferior engraver is here. A good impression. Letter IX. COLLECTION OF ENGRAVINGS. 271 A woman seated (Bartsch, vol. xiii. p. 390, No. 2) is, on the other hand, not only rude in execution, but feeble in invention. An excellent impression. Giovanni Maria da Brescia, a Carmelite monk (Bartsch, vol. xiii. p. 313) who flourished in the beginning of the 16th century. This engraver, according to Orlando, was also both painter and goldsmith. The latter fact is corroborated by the niello-like treatment of his few and rare engravings, which are of the high- est artistic value. Both the engravings described by Bartsch are here. Trajan’s justice towards the widow, No. 1. St. Gregory above, interceding with the First Person of the Trinity to deliver this emperor from condemnation. Judging from the masterly style of the composition, the character of the figures, and the forms of the architecture, decidedly from a drawing by Mantegna. The same may be said of the very remarkable plate, the Virgin and Child, who appear above in a circle, and closely correspond in motive with No. 8 of Mantegna’s works. At the sides are the translation of Enoch and Elijah. St. John the Baptist, St. Peter Martyr, St. Geminiano, St. Anthony of Padua, and St. Jerome, exhibit excellent motives and spirited heads. The style of Man- tegna is most distinctly seen in the St. Jerome. The niello-like treatment is very apparent in the drapery. This excellent im- pression is somewhat mutilated and much soiled. Three small portions of it are also missing. Giovanni Antonio da Brescia, the brother of the foregoing. (Bartsch, vol. xiii. p. 315.) — This engraver, who is so excellent in some of his best pieces, also worked partly from drawings by Mantegna, and partly from engravings by him. This was a natural course for both brothers to adopt, their native town being only a few miles from Mantua, where this greatest Lombard master of the period resided. In some instances also Gio. An- tonio appears to have worked from designs by Giovanni Bellini, Francesco Francia, and Amico Aspertini. From the circumstance of his having engraved many of Raphael’s compositions of his maturest time, and even Giulio Romano’s frescoes at Mantua, it is evident that he flourished as late as 1530. Many of his plates, which, with the exception of the short and heavy proportions, display a spirited imitation of Mantegna, and also, in some 272 THE BRITISH MUSEUM. Letter IX. instances, a style of invention more fantastic than beautiful, were probably engraved from compositions of his own. While some of bis earlier pieces exhibit a niello-like treatment, his later ones show a great freedom of hand in the style of Marc Antonio. A greater number of his works are gathered together here than probably anywhere else ; out of the twenty-four described by Bartsch, seventeen being here. Nos. 1, 4, 16, 19, 21, 22, 24, missing. Besides these there are twenty-three others, some of which are mentioned by Bartsch as anonymous plates, some only mentioned by Ottley, and the rest nowhere. Joseph’s cup found in Benjamin’s sack; a fine, original and animated composition, in my opinion rightly ascribed to Raphael. Bartsch (vol. xv. p. 11, No. 7) attributes the execution of this plate to an anonymous engraver of the school of Marc Antonio ; Ottley, and I think correctly, to Gio. Antonio da Brescia. The ground is treated in the style of a niello. Samson overpowered by the Philistines ; a very spirited compo- sition, in some respects worthy of Raphael, executed with close lines, here and there partaking of the niello style. Ottley again attributes this to Gio. Antonio da Brescia. Bartsch (vol. xiii. p. 70, No. 2) leaves the question of the engraver uncertain. The Maccabees bringing treasures to Solomon ; from Raphael’s composition of Abraham giving tithes to Melchizedek, in Raphael’s Bible. The close-lined niello-like treatment corresponds with that of both the foregoing plates. Besides which the initials of this engraver on the plate justify Ottley in ascribing it to him. The scourging of Christ ; engraved as well as composed quite in the style of Mantegna, though the figures are too short and thick for him. Inscribed, io anton brixian, 1509. (Ottley, p. 561.) The engraver’s own invention. The Entombment ; a masterly copy from Mantegna’s plate. (Bartsch, No. 6.) The Presentation of the Virgin ; an original, but strange com- position, probably by the engraver himself. A Holy Family, No. 5. This excellent engraving, which Bartsch pronounces to be from a drawing by Mantegna, is one of the most spirited compositions preserved to us of the middle time of the master. In the treatment of the engraving also his style is successfully imitated. An excellent impression, of a warm tint. Letter IX. COLLECTION OF ENGRAVINGS. 273 The Virgin and Child, inscribed ioan brix. Judging from the composition and the beautiful style of feeling, from a drawing by Giovanni Bellini. The Virgin and Child between two angels ; a plate which Bartsch (vol. xiii. p. 85, 3) treats as anonymous, but which, in my opinion, is the work of Gio. Antonio da Brescia. The spirited i figures, and the peculiar style of landscape, with the fantastic ( woolly rocks, indicate an original drawing by Lorenzo Costa, who, it is well known, resided in Mantua in his later time. The Virgin with the Child on her lap, pointing to the Mag- dalen, who is kissing her feet. On the other side, a kneeling saint with a cross, representing, according to Ottley, p. 562, St. Francis ; though, from the more advanced age of this saint, and the absence of the stigmata, I am inclined to doubt this opinion. Over the Magdalen is St. Catharine, and above, two angels and the Holy Ghost. I entirely concur with Ottley in attributing this very beautiful composition to a drawing by Raphael, and the engraving of it to Gio. Antonio da Brescia. It is one of his most finished plates. An admirable impression. St. Sebastian by a tree, holding arrows. This hitherto unmen- tioned plate is, in my opinion, justly ascribed by Mr. Carpenter to Gio. Antonio da Brescia, with whose niello-like mode of treatment it corresponds. The fine heads, lofty action, and well-understood slender forms, indicate a drawing by Mantegna. A good im- pression. The Apostle Peter, No. 6 ; grandly conceived, but short and ; confined in proportions. Treated in the style of Mantegna’s engraving, and apparently from a design by the engraver himself. St. Jerome writing; a dignified conception. Composition by the engraver himself. Of Gio. Antonio da Brescia’s masterly copies (Nos. 7, 8, 9) from Mantegna’s engravings of the Triumph of Caesar (Nos. 11, 12, 13), I need only remark that they are all, and especially No. 9, excellent impressions. The fine though mutilated antique statue of a Hercules, men- tioned by Bartsch (vol. xiii. p. 100, 5) as an anonymous en- graving, I concur with Mr. Carpenter in ascribing to Gio. Antonio da Brescia. An admirable impression. Hercules carrying the bull of Marathon, No. 10 ; very spirited. VOL. I. T I 274 THE BRITISH MUSEUM. Letter IX. Hercules strangling the Nemsean Lion, No. 11. Judging from the excellence of the composition, the making out of the form, the masterly execution of the foreshortenings, and the style of drapery, this engraving is from a drawing by Mantegna in his best period. Treated also in Mantegna’s style of engraving. An admirable impression. Hercules and Antseus, No. 13, also, as Bartsch believes, from a drawing by Mantegna, but belonging to his middle period. The same subject (Bartsch, No. 14), is a copy from Mantegna’s engraving (Bartsch, No. 16). A good copy of the centre part of Marc Antonio’s fine plate, “ Quos ego” (Bartsch, No. 35) is ascribed by Ottley, p. 564, to Gio. Antonio da Brescia. The Laocoon, No. 15, is especially interesting as exhibiting the original state of the group ; the left arm of the father, as well as the left arm and foot of the younger son, are wanting. The figure of the latter is rendered on too large a scale. Silenus surrounded by Amorini, No. 17 ; according to Bartsch from a drawing by Mantegna at about his middle period : a spirited composition, with a. decided affinity to the same subject engraved by Mantegna himself above mentioned. Cupid and Psyche, from Giulio Romano’s fresco in the Palazzo del T. at Mantua ; justly ascribed by Mr. Carpenter to Gio. Antonio da Brescia. I also agree with him in attributing to the same the seven amorini and the two rams, though Bartsch (vol. xiii. p. 302, 14) ascribes them to Zoan Andrea. The com- position is of a landscape character, the drawing feeble. Justice, No. 18, with sword and circle. Both the noble cha- racter of the figure and the slight pathos of the expression indi- cate an original drawing by Francesco Francia. An excellent impression, and of a warm tint, but somewhat spotted. A male figure seated, with a harpoon in his hand : animatedly composed. Also, an old man standing in deep contemplation ; behind him on a rock a monk sleeping ; with a strange poetic landscape. Both these hitherto unmentioned plates may possibly have been en- graved from designs by Gio. Antonio da Brescia himself. Two female figures, included by Bartsch (vol. xv. p. 48, 5) among the anonymous engravers under the titles of Logic and Letter IX. COLLECTION OF ENGRAVINGS. 275 Dialectic, from a design by Raphael; but rightly attributed by Mr. Carpenter, both in execution and invention, to Gio. Antonio da Brescia. I am inclined to think them two Sibyls. This plate is one of the inferior works of the engraver. Three male figures in violent action ; the engraving of a peculiar form. Also a lion-hunt, of inferior composition. These two plates, : hitherto unknown, are by Gio. Antonio da Brescia. Four female figures dancing (Bartsch, No. 20) ; a reversed copy from the above-mentioned plate, ascribed by Bartsch to Zoan Andrea, and by Ottley to Mantegna. A peasant with two buckets, in whom weariness and slothfulness ! are well expressed, with the inscription “ Late done, late frescha.” Probably from a drawing by the engraver. A tasteless fantastic subject. A frieze with trophies, No. 23, and another of partly elegant, partly fantastic figures, inscribed ioan. bx. Both these are pro- bably the composition of the engraver. Finally, two plates similarly inscribed, each representing an antique capital and base of very singular form. Gxulio Campagnola, born at Padua about 1481, was at the court of Ferrara, 1498. According to Zani only an amateur ; nevertheless he is, as Bartsch remarks, to be regarded as the in- j ventor of the dotted method, his John the Baptist, No. 3, being the : earliest known plate in that style.* His refined taste is shown by I the masters from whom he principally selected designs — Mantegna and Giorgione. Some of his pieces, however, are not so well ! chosen. All his engravings mentioned by Bartsch (vol. xiii. p. 370, &c.) are, with the exception of No. 4, complete here, with two more beside. The Adoration of the Shepherds, No. 1. This very beautiful plate has an inscription on it, which Bartsch read as f.x.c.a., and interpreted as “ Fecit Julius Campagnola.” Ottley, however j (p. 767, note), judging from the admirable impression here pre- served, in which the letters ipcam may be clearly deciphered, and from the different style of the graver, rightly attributes it to * This only applies to Italy ; for a plate by a German engraver in the collection of M. Sotzmann at Berlin, which represents the letters I. H. S.* in the form of the Crucifixion, with the Virgin and St. John on each side, is executed in the dotted manner, and, as a work of art, is decidedly not later than 1490. T 2 276 THE BRITISH MUSEUM. Letter IX. another engraver of the name of Campagnola with a different Christian name ; and, as Vasari mentions a Campagnola as scholar of Squarcione, and the design corresponds with the taste of that school, I think Ottley perfectly justified in his supposition. Christ at the Well with the Woman of Samaria, No. 2. Pur- suing my usual plan of forming my own opinion before consulting existing authorities, I came to the conclusion that this curious composition was derived from a design by Giorgione, and was therefore the more pleased to find my judgment confirmed by so excellent a connoisseur as Ottley (p. 767). Excellent impression. John the Baptist, No. 3. This plate, which is carefully exe- cuted in the dotted manner, is decidedly from a drawing of Man- tegna’s latest and most finished time. Ganymede carried off by the Eagle, No. 5. The landscape strongly partakes of Albert Durer’s influence. This composition, which is childish and even burlesque in effect, was probably de- signed by the engraver himself. The impression — an early one — is excellent. The Young Shepherd, No. 6, in the dotted manner. This poetic composition proceeded decidedly, as Ottley also surmises (p. 768), from the hand of Giorgione. Besides the two copies mentioned by Bartsch, here is a third. The Old Shepherd, No. 7. A landscape composition, and of very delicate execution. Both the copies by Agostino Veneziano, mentioned by Bartsch, are here. Also of the Astrologer, all the three copies mentioned — one by Agostino Veneziano, the other two anonymous — are here. A female figure reposing in a landscape (Ottley, p. 769) ; very tenderly' executed in the dotted manner : in my opinion from a drawing by Giorgione. A stag by a tree, is not of any particular value, though in- scribed with the full name of the engraver. Domenico Campagnola, a scholar of the foregoing, and the well-known painter who, in conjunction with Titian, executed the series of frescoes in the hall of the brotherhood of St. Anthony of Padua, and flourished chiefly from 1500 to 1520. His en- gravings, of which all mentioned by Bartsch (vol. xiii. p. 379), excepting Nos. 2 and 7, are here, with one beside not hitherto described, show an artist of the same tendency as Titian, though Letter IX. COLLECTION OF ENGRAVINGS. 277 one of a low order in point of invention and drawing. Some of his plates are obviously from designs by Giorgione. The Assump- tion of the Virgin, No. 4 ; the Virgin and Child surrounded by Saints, No. 5 ; a Shepherd and an old Warrior, No. 8 ; and the Shepherds playing on musical instruments, No. 9, are all remark- ably fine impressions. The last two plates are incomparably more elevated, poetic, and true in design than the others, and in my opinion from designs by Giorgione. Ottley is of the same opinion as regards No. 9. On the other hand, St. Peter healing the lame man at the Beautiful Gate of the Temple bespeaks, by the feeble- ness of the composition, an original design by the engraver himself. Of the only known engraving, /the Nativity, inscribed F. N., 1515 (Bartsch, vol. xiii., p. 367), here is also an excellent im- pression. The beautiful composition of the figures belongs evi- dently to Giorgione, though the buildings in the background betray the wide-spread influence of Albert Durer. The Master with the Bat-trap (Bartsch, xiii., p. 362), an indubitable adherent of the Venetian school. A landscape compo- sition of the Holy Family (No. 1) bespeaks, in the character of the delicately executed background, a design by Vittore Carpaccio, or by some Venetian master nearly allied to him. An excellent impression. The Two Armies, No. 2, probably in allusion to the battle of Ravenna in the year 1512, in which Gaston de Foix lost his life. Only the second impression of this plate is here ; also the copy by Agostino Veneziano. A human monster, not hitherto described, with this engraver’s usual inscription. An excellent impression. Giacomo Francia. — Judging from the two plates rightly attri- buted to this engraver, the son of Francesco Francia, by Ottley, p. 773, there is no doubt that he engraved from his own designs. A Holy Family displays, in the closeness of the lines, the treatment of a pupil of a niello engraver. A female Saint surrounded with four male Saints. The heads and motives fine, showing a greater freedom of treatment. A third plate, representing the Infant Saviour being washed, a composition of four figures, is rightly attributed by Mr. Carpenter to Giacomo Francia. The motives are unusually spirited for him, and with round forms. Here is also an old copy of this plate. 278 THE BRITISH MUSEUM. Letter IX. Marc Antonio Raimondi, probably born in 1480. Although this master, who engrosses Bartsch’s 14th volume, is neither so well nor so numerously represented here as the above-mentioned en- gravers, yet his chief pieces are here, and also excellent impressions of some of his rarest. My remarks on this greatest of Italian en- gravers will be restricted to notices of the finest and rarest 'im- pressions here collected, and to the deciding of those masters from whose designs he worked, especially in the cases of such engravings as have remained either doubtful or altogether unknown. I have been glad to find many of my surmises anticipated by Bartsch, especially in those instances where I have attributed the original composition to Francesco Francia, the master of Marc Antonio ; while the number of plates which have come under my observation exceed those mentioned by Bartsch. The greats freedom and mastery of the technical parts of his art to which Marc Antonio attained was owing in the first instance to his close study of the engravings and woodcuts of Albert Durer, of which he is known to have copied a considerable number. Thus worthily prepared, he subsequently engraved in Rome from the drawings, and under the direction of Raphael, so that a set of beautiful compositions by that great master have been preserved to us by means of Marc Anto- nio’s engravings. In a few instances he also engraved from Michael Angelo, Mantegna, Baccio Bandinelli, and also from Razzi ; also from compositions of his own. As Bartsch has mixed up the works of his two chief scholars, Agostino Veneziano and Marco di Ravenna, with his, I shall consider these, whenever they fall under my notice, in the same order in which Bartsch has placed them. The First Person of the Trinity commanding Noah to build the ark, No. 3. This fine composition belongs to Raphael’s ma- turest period. An excellent impression, though unfortunately damaged. David, No. 11 : a splendid composition by Raphael ; excellent impression. David, No. 12. It is difficult to pronounce with certainty who was the designer of this earlier plate ; even Bartsch only doubtfully suggests Francesco Francia. A splendid impression. The Queen of Sheba, No. 13. It is unfortunate that this rich and magnificent impression, which belongs to Raphael’s earliest time, should be among the earliest engravings by Marc Antonio. Letter IX. COLLECTION OF ENGRAVINGS. 279 The drawing is in some parts feeble, and the plate unfinished and somewhat empty. . The Nativity, No. 16. This very rare plate bespeaks, in the beautiful character of the heads and motives, a design by Francia. Bartsch thinks the same. The Murder of the Innocents, from Raphael, with the small fir- tree ( chicot ), No. 18 : an excellent impression. Also the same design without the tree, No. 20 : a good impression. In closely comparing these two plates I have been strengthened in my former conviction that the one with the tree (No. 18), which Bartsch pro- nounces to be the original plate by Marc Antonio, is less refined in feeling, not so well understood iti forms, and harder in execu- tion, than No. 20, which Bartsch considers to be a copy by Marco di Ravenna. I therefore in this respect coincide with Zani, who first expressed the opinion I entertain. At the same time the beautiful engraving, No. 20, falls short in many respects of Ra- phael’s drawing in the possession of the King of Saxony, with which I have compared it. The three Marys going to the Sepulchre, No. 33 ; engraved by Agostino Yeneziano from a design by Michael Angelo, and be- longing to the later period of each. The heavy and short pro- portions observable here were only adopted by Michael Angelo after a long residence in Rome, and occur first in his Last J udg- ment. In his earlier time he would scarcely have ventured to conceive the three Marys as venerable matrons. This admirable engraving is a specimen of Agostino Yeneziano’ s fullest maturity. An excellent impression. Two Pietas, after Raphael, Nos. 34 and 35 : excellent im- pressions. It is very interesting to compare these. In the first the influence of Michael Angelo is seen in the grand simplicity of the conception ; while Raphael’s own deep and milder feeling pre- dominates in the expression of the head. The alterations in the second show the success with which Raphael attained, even in the head, the sterner and more lofty character of his great rival. I give the preference, however, to the first, as the truer expression of his own mind. The Delivery of the Patriarchs from Limbus, No. 41. Even as early as Bartsch no doubt was entertained that the design of this rare plate was attributable to Francia. In the rarity of his i 280 THE BRITISH MUSEUM. Letter IX. dramatic conceptions, this engraving is doubly valuable, as proving his great ability in this line. An excellent impression, but unfor- tunately somewhat damaged. The Preaching of St. Paul at Athens, No. 44. Although this composition is the same as that of the cartoon at Hampton Court, yet I do not agree with Bartsch that the drawing was taken from the cartoon, but rather from a drawing by Raphael. An excellent impression. The Virgin a la longue Cuisse , No. 57 : one of the finest specimens of the engraver. Admirable impression. St. George and the Dragon, No. 98 : decidedly after a design by Francia, and, as such, very interesting. A fine impression. St. Jerome, No. 101 : unquestionably from a beautiful design by Raphael, and a masterly production. The fresh and lively im- pression sets it off to advantage. The Martyrdom of St. Lawrence, No. 104 : from a design from Baccio Bandinelli. This very scarce proof-impression, with the two forks in the hand of the executioner, displays all the skill of the en- graver at his best time. The so-called five saints, No. 113 : a composition belonging to Raphael’s best time, and peculiar for the combination of lively action and quiet treatment. A first-rate impression. St. Catherine, No. 115 ; from a design by Francia, as Bartsch has already said. Admirable impression. The Martyrdom of St. Felicitas, No. 117 : remarkable for the elevated manner in which Raphael has treated so terrible a subject. Excellent impression. St. Lucy, St. Catherine, and St. Barbara, No. 120 : in the earlier manner of the engraver, and obviously from a design by Francia. St. Catherine and St. Lucy, No. 121 : the supposition of Bartsch that this plate, which is engraved in the same manner as the two foregoing, is also from a design by Francia, is fully confirmed by the fact that these two figures exist in a large picture by Francia, inscribed 1502, and mentioned by Vasari, in the Museum at Berlin, No. 122, only that the figure of St. Lucy is represented as St. Dorothy. The so-called “ Quatre Cavaliers Romains,” Nos. 188-191 : all admirable impressions. Good impressions are also here of the combat between Dares Letter IX. COLLECTION OF ENGRAVINGS. 281 and Entellas, No. 195, from a design by Raphael, and one of the finest engravings by Marco di Ravenna ; of Marc Antonio’s mas- terly engraving of Alexander the Great depositing the works of Homer in the coffer of Darius, No. 207 ; of his Rape of Helen, No. 209 ; and of Marco di Ravenna’s copy of the last-mentioned, No. 210. Here is also an excellent impression of the rare and fine plate of the Triumph, No. 213. Though commonly thought to be the composition of Mantegna, I agree with Passavant in believing it to be from a design by Razzi. Excellent impressions are also here of the following plates : — Venus appearing to JEneas, No. 288 : belonging to the en- graver’s earlier time. The Rising of Aurora, No. 293 : a most attractive composition by Raphael. A satyr with the drunken Silenus, No. 294 : more like a design by Raphael than one by Giulio Romano. The young Olympus, No. 309 : the same in form and action as the well-known antique group of Pan teaching Olympus to play the Pan’s-pipe. Cupid and three children, No. 320 : in the earlier manner of the engraver, decidedly from a design by Mantegna, with a landscape in the style of Albert Durer. The plate completed, according to an inscription upon it, on the 18th of Sept. 1506. Pyramus and Thisbe, No. 322 : inscribed 1505 ; decidedly from a design by Francia. Vulcan, Venus, and Cupid, No. 326 : also in Marc Antonio’s earlier manner. The Judgment of Paris, No. 339 : in his earliest manner, and, in my opinion, from a design by Francia. Passavant also attributes the engraving to Francia. Cupid and the three Graces, No. 344 : from the composition in the Farnesina. Apollo and Hyacinth : very dry and uncertain in treatment, as Bartsch has already remarked : from a design by Francia. Amadeus, No. 355 ; also from a design by Francia. Raphael’s Dream, No. 359 : this appellation is not tenable, Bartsch having already doubted, and correctly so, whether the design can be attributed to Raphael at all. The mode of treat- 282 THE BRITISH MUSEUM. Lettek IX. ment, also, which belongs to the later time of Marc Antonio’s first manner, throws further doubt on the subject. Feeling and form point rather to Francia, though the composition is unusually fan- tastic for him.* The Youth and Torch, No. 360 : one of the latest and most perfect specimens of Marc Antonio’s first manner. The style of allegory and the beauty of the forms point to a design by Mantegna, and that in his latest and best time. The triumphal entry of the Emperor Trajan, from the antique relief now upon the Arch of Constantine, No. 361 : in such an impression the whole beauty of the engraving can be appreciated. The man and the woman with the veil, No. 364 : in this small chef-d’oeuvre the engraver has wonderfully preserved the feeling and intelligence of his great original. The Bent Staff, No. 369 : Bartsch is decidedly right in attri- buting this to a design by Francia. The same may he said of the man and woman with the globes, No. 377. Philosophy, No. 381 : another design for the circular compart- ment of the Camera della Segnatura, and one not less beautiful than that which is carried out there. This rare plate may be classed as one of the chefs-d’oeuvre of the engraver. By way of exception, the impression is somewhat inferior. A girl watering a plant, No. 383 : from Marc Antonio’s earlier period, and quite in the feeling of Francia. The same may be said of the two following plates. Two undraped male figures, No. 385 ; a serpent speaking to a youth, No. 396 : unusually fantastic for Francia, but with a peculiar charm : an excellent impression, but injured. The Yiolin-player, with three undraped female figures, No. 398. The female between two male figures, evidently the companion to the foregoing, and very finely conceived. The impressions of both these plates are somewhat feeble. According to an inscription 1506, upon plate 320, it may be supposed that all these last- named engravings were executed about that period. Lo Stregozzo (No. 426), the Weather-witch : I entirely concur with Bartsch in attributing this fearfully fantastic invention to Raphael, and the engraving of it to Agostino Veneziano. * See Passavant, as above; he attributes the design to a Venetian master— most probably to Giorgione. Letter IX. COLLECTION OF ENGRAVINGS. 283 The companion engravings — the woman carrying a child, No. 450, and the scarce plate, the peasant and the woman with the eggs, No. 453 — are unquestionably by Agostino Yeneziano. I am inclined to doubt whether these genre-like compositions may be classed as one of those inventions of Raphael, in which the influence of Albert Durer is visible, which Bartsch conjectures to be the case. The Singers, No. 468 : Bartsch supposes this plate to be en- graved by Marc Antonio from a design of his own, but the very realistic tendency seen in every detail reminds us too much of the Venetian painters of this time not to lead to the conclusion that one of them supplied the design. The engraving may con- sequently be ascribed to the first period of Marc Antonio’s residence in Venice. The Guitar-player, No. 469 : one of Marc Antonio’s most at- tractive engravings, as Bartsch remarks, and unquestionably from a design by Francia. The Skiff, No. 473 : a graceful composition by Raphael of so simple a subject, and well engraved by Agostino Veneziano. The male figure with the base of a column, No. 476 : en- graved by Marc Antonio from an admirable study by Raphael. The female figure with the vase, No. 478 : engraved by Agostino Veneziano from Raphael’s design, and showing what a charm this great genius could impart even to the simplest action. The well-known group of the climbers, from Michael Angelo’s cartoon of the bathers, inscribed 1510, No. 487 : an impression of singular clearness and refinement. This plate is of value not only as a proof how highly this group was esteemed as early as four years after the completion of the cartoon, but also of the great per- fection in engraving which Marc Antonio had at that time already attained. The portrait of Aretino, from Titian, No. 513 : a rare plate, and Marc Antonio’s most perfect work. A good impression, but spotted. Of Marc Antonio’s copies from Albert Durer, of which there are many specimens here, the following most claimed my at- tention. St. John the Evangelist and St. Jerome, No. 643 : interesting as bearing the inscription 1506, A. I., which decides the time 284 THE BRITISH MUSEUM. Letter IX. when Marc Antonio executed this and doubtless other copies from Albert Durer. The A. I. may refer either to the month of April or August. The Crucifixion, No. 675, decidedly from a design by Albert Durer, makes us acquainted with a hitherto unknown composition by this master. Of both these last plates, and also of Albert Durer’s fine composition, the Mass of St. Gregory, No. 644, here are most excellent impressions. Of the Italian woodcuts, both of those printed by the common process, and of those in chiaroscuro taken from terra-cotta plates, here are numerous impressions. I shall only notice the eleven by Francesco di Nanto, of Savoy, more especially because these well-drawn plates have every appearance of being a set of compositions from the hand of Girolamo da Treviso, 1508-1544, whose pictures are so rare that, besides the one at Lord North- wick’s,* mentioned by Vasari, I know no other ; and also, because this painter is the more interesting to English readers as being one of those Italian painters summoned to the court of Henry VIII. ; and thirdly, because these woodcuts are in themselves so very scarce. In those instances, where I do not give the inscrip- tion the reader may conclude that it is “ Franciscus de Nanto.” A set of five plates of considerable size, and treated with a simple ground of lines. 1. The Virgin seated with the youthful Saviour before her ; on each side St. Sebastian and St. Rock : behind, St. Joseph. 2. Christ washing the feet of the disciples : nobly conceived. 3. The Crucifixion : a rich and beautiful composition, inscribed “ F. de Nanto.” 4. The Entombment ; the body of Christ deposited in the tomb by Joseph of Arimathea and Nicodemus : the expression of sym- pathy in those around animated and dignified. 5. This composition might be taken at the first glance for the Ascension, but the circumstance of the Apostles being assembled in animated action round a table render it probable that the painter wished to represent the moment of the disappearance of the Saviour after showing himself to his disciples after his resurrection, St. John, c. xx. v. 19. Upon a small tablet is the inscription “ Hieronymus Tervisius pinxit.” * More of this picture in the description of Lord Northwick’s collection. Letter IX. COLLECTION OF ENGRAVINGS. 285 The other series, consisting of six plates of a smaller size, is very skilfully executed with much finer lines frequently crossed, and belongs evidently to a later period of the engraver. 1. The Annunciation, very nobly conceived : the action of the angel new and pleasing. 2. The Adoration of the Kings. 3. The Resurrection of Lazarus : a rich and very dramatic composition, with an excellent style of drapery. 4. Christ’s entry into Jerusalem : a very pleasing composition. 5. The Ascension : the motive of the Saviour very noble. 6. Christ appearing to the Magdalen : beautifully conceived, with the inscription “ Franciscus deftto de Nanto de Sabaudia d? e Minciasci me inseidit.” These compositions, as well as Lord North wick’s picture, show the decided influence of the Roman school upon Girolamo da Treviso, which Lanzi also mentions. The engravings of Caraglio, Bonasoni, of the Master with the die, of Beatrizet, of Enea Vico, of the Family of Ghisi, as well as of the anonymous engravers of the school of Marc An- tonio, are neither of the value nor of the rarity of those already described. The masters, also, from whose designs they engraved, are either generally known, or, if unknown, not of great import- ance. I will therefore only mention that both in number and in the quality of impressions, the works of these engravers are well represented here. Still less is it my intention to expatiate upon those engravings with which Bartsch has rendered the lover of art familiar, such as those by Parmigianino and Meldotta, Schiavone, Battista Franco, II Torbido, Martin Rota, and the Fontainebleau engravers, of which there are abundant specimens here. Those of the two first-mentioned and of the last are especially numerously represented. The examination, on the other hand, of such man- nered and inferior engravers as Tempesta, Schiaminossi, &c. was, in my circumstances, impossible. The engravings of the Caracci, especially of Agostino Caracci, who in this line is entitled to great admiration — of their school — of the school of Guido, &c., are all so well known that it would be difficult to supply any further facts of importance. Of these schools there are numerous speci- mens here, and those generally good impressions. The same may be said of the spirited etchings by Ribera, by Pietro Testa, and by 286 THE BRITISH MUSEUM. Letter IX. Salvator Rosa, and many other of the late and generally mannered and inferior masters. I now proceed to consider the woodcuts and engravings of the old Nether land and German schools, of which the British Museum also contains a rich collection. Of those which are anonymous I shall only notice such as are remarkable for great antiquity, mode of representation, and, above all, for artistic value. And foremost may be observed some specimens of en- graving upon metal, on the same principle as on wood ; that is, with the lines raised instead of being indented. A learned connoisseur of the different of modes of engraving, M. Sotzmann, of Berlin, calls this mode of treatment, which was almost ex- clusively confined to Germany, “ abraded work,” — in this fol- lowing the precedent of Paul Beham, a collector of engravings at Nuremberg, at the close of the 16th and beginning of the 17th century. A folio print ; in the centre the full length figure of Christ before Pilate : with a powerful head and very rude features. Around him the instruments of the Passion, and a head spitting at him. Above, the INRI, with the sun and moon in the later form as heads ; below, in Gothic capitals, the inscription “ Ecce homo.” Around, white upon a black ground, in beautiful minuscule letters in high German are the fifteen Stations of the Passion. With the excep- tion of the feet, the drawing is tolerably good, though, to judge from the snapped folds in the drapery of Christ, which, in some parts, owing to carelessness, is scarcely printed at all, the date must be about 1470. A folio print : the lower part represents the Ascension, and Christ appearing to his mother. In the centre he is appearing to Mary Magdalen in the garden, and also to the three Marys at the sepulchre. Above, he is appearing to Peter, with the Jour- ney to Emmaus, and the Supper there. With the exception of a few Gothic characteristics, the architecture is Romanesque. The character of the heads corresponds with those in the oldest German woodcuts ; the motives in parts are good, and even bold, as, for instance, the foreshortening of a soldier ; the execution is careful. From the purity of style in the partially painted drapery, which, also in this instance, has been carelessly printed, this plate can scarcely be later than 1450. Letter IX. COLLECTION OF ENGRAVINGS. 287 A folio print : formerly pasted upon parchment in the inner side of the cover of a Bible, and sold in 1837 in the Ottley collection as No. 1895. The Crucifixion : a rich composition ; the Christ with sunken head is of what may he called modified Byzantine character. The fainting Virgin is supported by St. John ; on the other side is the centurion, and five other figures on horseback. An angel and a demon are receiving the souls of the thieves in the form of children out of their mouths. On the black border is a long Latin inscription in large Gothic white minuscule letters, which, however, is much injured on three sides. The propor- tions are slender, the forms very meagre but well drawn ; the horses, however, wretched. The treatment of the flesh parts, the drapery, and the six horses in white dots is very remarkable. From the Netherlandish character of this print, I am inclined to consider it of Lower Rhenish origin, and, from the whole style, and especially from the tolerable purity of the drapery, of about the date 1450. Some portions are painted. St. Jerome, represented as very young, is drawing the splinter out of the lion’s foot ; in the background he appears again striking himself before the Cross : the architecture is Romanesque ; drawing and action are good. The dots and lozenge-shaped interstices between the lines are larger here than in most plates of this kind. Judging from the sharp folds in the drapery the date can hardly be later than 1470. St. Rock, a small octavo print : a slender figure, as usual point- ing to his plague-spot. The angel at his feet doing the same is, however, new to me. The heads * are very simple, and treated in a woodcut style. Above are indications of late antique architec- ture, as in the miniatures of the Carlovingian manuscripts. The ground consists of a pattern : the folds in the robe of St. Rock are still simple and pure ; those of the angel already sharp. I should attribute this print to about 1460. Of the old woodcuts the following are remarkable : — The Mass of St. Gregory : this representation of a subject so well known to all lovers of art is distinguished by the circum- stance that, beside the priest who is holding the Pope’s tiara, the figures of two popes standing are also introduced. The expression of St. Gregory is very dignified. Judging from the pure style of the draperies this print is certainly not later than from 1430 to 1440. 288 THE BRITISH MUSEUM. Letter IX. The lower and larger half of the folio sheet is filled with a prayer in high German, in Gothic minuscule letters, which ends by de- claring that whoever says this prayer and five paternosters devoutly shall have “xiii. jor ablas.” A large folio print, St. Anna with the Virgin on her lap, who is holding the infant Saviour on hers, and giving him a fruit : the penthouse-roof is of late Gothic form. This plate is remarkable for the grandeur of the conception, for the excellent proportions (the hands are feebly drawn, however), for the rich and flowing drapery, and for the treatment which consists only in a powerful outline. Judging from the pale colour of the ink it belongs to the early part of the 15th century : it is illuminated. I should be inclined to concur with Mr. Carpenter that this print, which shows some affinity with English miniatures, was executed in England, were it not for the technical merit which renders such a supposition doubtful. For though there are reasons enough for the decline of painting in England from 1460 to 1500, still it is hardly possible that the mere technical execution of woodcutting should have become so uncertain and rude as it appears in so many dated English specimens of that period, had it ever attained such a development as this print exhibits. I am of opinion, therefore, that this plate is German, and, perhaps, belonging to the very end of the 14th century. An old man pointing out something to a young man ; another figure is looking into an abyss : an oblong print ; the motives, which are expressed in simple outlines in pale ink, are excellent, well drawn, and the hands speaking in action. From the pure style of the folds and the pointed shoes of the costume this woodcut may be assigned to a period little later than 1450. A superscription in Gothic minuscule letters shows that this print was executed in Upper Germany, and formed one of a series. Of the old Netherlandish and old German engravings by anony- mous masters, the following appeared to me most worthy of notice : — Christ’s entry into Jerusalem, and Christ bearing his Cross : both careful prints by some skilful German engraver, showing the influence of Martin Schongauer. A Pieta, with St. John and the two Marys: stiff and meagre Letter JX. COLLECTION OF ENGRAVINGS. 289 in forms, though noble and intense in feeling. In my opinion by an engraver of the Dutch school of about 1460, and showing some affinity with a picture in the gallery of the Belvedere at Vienna, which Passavant surmised to be by Albrecht von Ouwater. The Virgin and Child : of considerable size, treated with a certain freedom and breadth ; decidedly the work of an old Flemish engraver of the school of Van Eyck. The Virgin holding the Child, and a globe, beneath a pent- house-roof of late Gothic character : the feeling noble, the action excellent, the treatment here and there niello-like. Judging from the style, of Netherlandish origin : a very powerful im- pression. The Virgin enthroned, giving the Child an apple : tender in feeling ; the flesh parts consist of little more than an outline. The treatment otherwise fine and niello-like. Probably old Netherlandish. The Virgin with the Child on her lap, who is holding a flower : a small semicircular plate, of noble feeling and good action. The drawing of the tolerably full forms is correct, and executed with close lines. Decidedly old Netherlandish of about 1460 to 1480. The inscription 1492 upon it must have been added later. St. Helena, with a crown on her head, is holding the cross : a noble figure of dignified expression and excellent free treatment. In my opinion German, about the year 1500. St. Christopher : a careful and skilful work. The style of this engraving, no less than its resemblance in composition to a pic- ture of St. Christopher by Memling in the gallery of the Duke d’Aremberg, at Brussels, show it to have been executed in the Netherlands. The martyrdom of St. Catherine : an excellent composition, dis- playing the influence of Martin Schongauer, and approaching him also in beauty and artistic treatment. Dalilah cutting off Samson’s hair ; in the background Samson is seen killing a lion, and overthrowing the pillars of the temple of Dagon : although the figures are attired in the costume of the time and the whole conception decidedly realistic, yet I am inclined to assign an Italian origin to this plate, which is also indicated by the elevated taste and character of treatment. It has three lonff scrolls with mottoes. O VOL. i. u 290 THE BRITISH MUSEUM. Letter IX. The Wheel of Fortune, and the Tree of Life: a plate which M. Sotzmann of Berlin has most successfully interpreted.* Ac- cording to him the dead body in the foreground represents the death of Mary of Burgundy, which took place in 1482, while the young monarch seated above upon the wheel of Fortune is her husband, afterwards Maximilian I. The figure in the clouds, holding 1 in his right hand a cord tied to the handle of the wheel which Fortune is turning, is Christ. The figures upon the Tree of Life, at which Death is aiming, are thus interpreted : the Emperor Frederick III., died 1493, father of Maximilian ; the king on the left next him, Louis XI. of France, died 1483 ; the figure on the right, in the old Burgundian costume, Philip the Good, died 1467 ; the crowned figure further on the right, Charles the Bold, son of the foregoing, and father of Mary of Burgundy ; and finally, the female figure with the unicorn in her lap, Mary of Burgundy herself. This interpretation is confirmed by the Latin inscription and other sources of evidence. The monk holding the long inscription is supposed to represent a member of the spiritual brotherhood, founded in the 14th century by Gerhard Groote, in Holland, which was widely extended and did the greatest services to the Netherlands in the work of education. M. Sotzmann con- jectures that this engraving may have proceeded from this society : though the figures are animated and speaking, yet the drawing is stiff, and shows confusion of lines, indicating a very inferior artistic development. This, however, was natural, even at a com- paratively advanced period, in a brotherhood whose chief aim was to teach by means of pictures, hut not to teach what apper- tained to art itself. Passavant mentions another impression of this remarkable plate in the collection of engravings at Vienna. The three Strong Heroes, in sets of three in each plate, according to the following arrangement : Joshua, King David, and Judas Maccabseus ; Hector, Alexander, and Julius Caesar ; King Ar- thur, Charlemagne, and Godfrey de Bouillon. Under each figure six Latin verses : the action stiff and formal, the limbs long and meagre, and drawing and treatment somewhat rude ; the armour is perfectly represented, the shoes are pointed. According to Mr. Carpenter, this engraving may he probably assigned to “ le Maitre * See Kunst-Blatt, 1850, No. 10, 13. Letter IX. COLLECTION OF ENGRAVINGS. 291 aux banderolles,” to which master Duchesne has attributed rather a medley of works. Solomon worshipping an idol (Bartsch, vol. x. p. 2, 1.), oppo- site to him an ugly woman urging him : of masterly execution and extraordinary vigour of impression ; the forms of the hands have an affinity with Martin Schongauer. In my opinion, of Ne- therlandish origin, and about the year 1470. A Turk on horseback (Bartsch, vol. x. p. 52, 28) : very ani- mated ; in my opinion German. From the delicate touch of the graver, Bartsch suggests that the plate was of tin. A few most highly finished engravings of coats of arms ; espe- cially one with a female figure, which, judging from costume, from the pointed shoes, and the whole style of execution, may be considered as Netherlandish, about the year 1480 : an excellent impression. A fragment of a kind of landscape, portions of which are in the collection of engravings bequeathed by Douce to the Bodleian Library ; in the foreground are the figures of horsemen and lans- quenets : very cleverly composed, and of masterly execution. I concur with Mr. Carpenter in attributing this fine plate to a Swiss artist of the time of Holbein. The unknown monogram consists apparently of p. p. w. The Mass of St. Gregory, in a church of late Gothic form : the influence of Roger van der Weyden the elder is seen in the heads ; the folds of the drapery are, however, sharper than in his school. The treatment is niello-like ; probably by an engraver from the Lower Rhine country, about 1460. The Master of 1466. This anonymous engraver, who has been thus named from the date upon some of his plates, is rightly considered by Bartsch to have been a German. From the nature of his works it is evident that he was an artist of great distinction. No other engraver of those times has rendered the religious modes of thought and the mystic and symbolical tendency of the middle ages, especially of the Germans, with so much delicacy and depth of feeling. Nor is he less successful in characterising another element of the middle ages, viz. the love of the fantastic and the monstrous. A close study of his works, both here and in other collections, has convinced me that he belonged to the Lower Rhenish school. His engravings exhibit in character of figures, u 2 292 THE BRITISH MUSEUM. Letter IX. drawing, and style of drapery, a very close correspondence with that school, as known to us in the church at Calcar, in the works of the painter of “ the Passion,” at Cologne, belonging to M. Liversberg, and elsewhere, only that the best of them are characterised by a still deeper and more religious feeling. Fur- ther evidence of his Lower Rhenish origin is supplied by the small picture of the Virgin and Child, obviously by the same hand, which was found at Bonn, and is now in the Berlin Museum, No. 547a ; and, finally, we have the fact that the well-known Westphalian goldsmith, Israel van Mecken, not only copied frequently from the engravings by this master, but avow- edly formed himself as an engraver from a study of his works.* I am inclined to believe that this anonymous master, like Martin Schongauer, Frederick Herlin, and so many other painters of the last half of the 15th century, must have had access for a time to the atelier of Roger van der W eyden the elder ; lastly, it is evident from the engravings that this anonymous master must have undertaken a pilgrimage to the church of the Virgin degli Eremiti, in Switzerland. The British Museum is richly endowed with specimens of his works, and contains, besides the greater portion of those described by Bartsch and later by Ottley, many which Bartsch (vol. x.) mentions as unknown, but which Mr. Car- penter attributes, and, as it appears to me correctly, to the Master of 1466. Also several others which have been hitherto undescribed. The greater portion of these are vigorous and well- preserved impressions. I confine my remarks to the most in- teresting. The First Person of the Trinity forbidding Adam and Eve to taste of the tree, No. 1 : this is worthy of note from the represen- tation of the Almighty being strictly in the Mosaic type of Christ. The heads, also, from their likeness to those by Martin Schon- gauer show how strong was the influence which this master exer- cised over the Master of 1466, not only in the technical, but in the moral part of the art. The Annunciation : a plate of much detail and of peculiar deli- cacy of execution. The Child on the Cross is seen floating in the ray of light which falls on the Virgin ; not elsewhere described. * Passavant considers this master to have sprung from Upper Germany. Our space does not allow of our giving his reasons or such as could be urged against them. Letter IX. COLLECTION OF ENGRAVINGS. 293 The same subject, of very peculiar composition : a feeble im- pression ; not elsewhere described. The Nativity : delicately felt in the motives and heads ; not elsewhere described. The Baptism of Christ : of inferior merit, a feeble impression ; not elsewhere described. The same subject (Ottley, p. 599, 14) : far inferior to the fore- going. The appearance of the dove upon the left hand of the First Person in the Trinity is new to me. The usual type of the head of Christ is here, and in other engravings by this master, developed in the form in which it frequently appears in pictures from the school of the Lower Rhine. Christ appearing to the Magdalen : beautiful in every sense. A Pieta : of feeble composition, but of intense feeling ; neither of these last described elsewhere. A kind of sacred New Year’s conceit, such as often occurs in Germany at that period ; a tulip with a cross issuing from the calyx, on which stands the infant Christ in a wide dress, holding in his left hand a motto, inscribed in Gothic minuscule letters the words 44 Een goot selig jor,” also the date 1481. Bartsch (vol. x. p. 34, 66) quotes this among his anonymous engravers, but does not add the date. Passavant and Mr. Carpenter attribute it, and, as it appears to me, correctly, to the Master of 1466. In this case it assumes a double value, as proving that he carried on his art in a part of the country where low German was spoken, viz., in Northern Germany, and also as enabling us to form some idea as to the length' of time over which his labours extended. The Virgin enthroned with the Child, with angels, and a little girl (Bartsch, vol. vi. p. 48) : as remarkable for the beautiful and noble head of the Virgin as for the meagre and sharp folds in the drapery. The Virgin turning over a book ; above, two angels playing on musical instruments ; below St. Margaret and St. Catherine ; in the centre the infant Saviour standing, dressed in a robe at which a dog is biting, and holding a staff and a wand : the motive with the dog is a specimen of the realistic style of conception, which often appears in this master ; not described elsewhere. Of the large engraving of the Virgin degli Eremiti, No. 35, the 294 THE BRITISH MUSEUM. Letter IX. rare and perhaps finest work by this master, no impression is here ; in its place may he seen a very fine engraving by an Italian master of the figure of a warrior, probably after Giorgione, executed upon the worn-out plate of Maria degli Eremiti, some remains of which composition are apparent. The Virgin and Child, standing on a crescent : described by Bartsch (vol. x. p. 15, 12) among the anonymous engravers, hut correctly included by Mr. Carpenter among the works of the Master of 1466. Here is also the original of the standing Virgin with the Child, of which Strutt has given a copy. Passavant is decidedly right (vol. vi. p. 52) in adopting Strutt’s reading of the date, 1461, instead of Zani’s and Bartsch’s, 1467. The Virgin in prayer, standing : very elevated in feeling and of excellent execution ; inscribed E. and S., with the date 1467 ; a very good impression. Also, a half-length figure of the Virgin, inscribed with E. and 1467 (Bartsch, vol. vi. p. 48). The set of the four Evangelists, Nos. 63 to 66 : the impres- sions of St. J ohn and St. Matthew are excellent ; the latter is remarkable for the fine feeling of the head, and also for that of the accompanying angel. The Sudarium of St. Veronica, held by two saints, No. 86 : one of those plates by the master which evidently served as a model to Israel van Mecken ; a first-rate impression. Also, the First Person of the Trinity blessing the Virgin, No. 87 ; and St. John the Baptist, No. 74 : both good impres- sions. St. Quirinus : this plate, which has not been hitherto described, belongs in every respect to the most mannered compositions of the master. Four engravings exist by the Master of 1466 of St. Sebastian as patron saint against the plague, three of which are here, Nos. 75 and 76, with the one inscribed with the initials of his name, and 1467 (Bartsch, vol. vi. p. 49). The Decapitation of St. Barbara, No. 81 : a fine plate ; the head of the saint particularly elevated in character. The same may be said of the Magdalen borne by six angels to heaven ; a hitherto undescribed plate. Letter IX. COLLECTION OF ENGRAVINGS. 295 The Christian arms, No. 88 : this beautiful plate is one of the most complete existing of the subject, and highly characteristic of the master ; the impression excellent. The winged lion of the Apocalypse : a very rare plate (Bartsch, vol. vi. p. 46). The last engraving but one of the well known work, the “ Ars moriendi,” makes it highly probable that the whole set may have been engraved by the same master. A Patena, with St. John the Baptist surrounded by the four Evangelists, and the four fathers of the Church : a circular plate (Bartsch, vol. vi. p. 47), inscribed 1466. In the symbolical arrangement of this composition we recognise one of the most original works of this master ; an excellent impression. The Sibyl, with the Emperor Augustus kneeling, to whom she is showing the figure of the Virgin appearing in the air as the true object of worship, No. 8 : erroneously termed Solomon adoring idols. This beautiful plate is particularly important as showing more than any other the influence of Roger van der Weyden the elder, upon this engraver. Roger van der Weyden painted the same subject ; the picture is now in the Berlin Museum, No. 535. Another plate of the same subject but differently conceived, though placed by Bartsch (vol. x. p. 37, 71) among the anony- mous engravers, is, I feel, rightly attributed by Mr. Carpenter to the Master of 1466. Of the few secular subjects treated by this master, and described by Bartsch, all but one are also here, namely, the warrior and the female figure with a banner, No, 91 ; the female figure with the coat of arms, No. 92 ; the wild woman with the young unicorn, No. 93 : of the last an excellent impression. To these may be added, according to Mr. Carpenter’s opinion, an undraped female figure with a rose and a shield in her hands, Bartsch (vol. vi. p. 181, 69). A coat of arms with a ram, Bartsch (vol. x. p. 59, j 38). An arabesque, with a tourney between a man and a woman, Bartsch (vol. x. p. 64, 13). And lastly, three coats of arms with female figures not hitherto described, in one of which the loaves, a portion of the Bavarian arms, refer probably to a member of the Wittelsbach family. If Mr. Carpenter be correct in ascribing to this same master the arms of William, Bishop of Eichstadt, mentioned among the 296 THE BRITISH MUSEUM. Letter IX. anonymous engravers by Bartsch (vol. x. p. 58, No. 37), we may infer that he visited Bavaria in the course of his career, while the date 1480 gives additional proof of the length of his artistic labours. The somewhat different character of this engraving, however, leaves the surmise doubtful. Of the Gothic alphabet, in human and animal figures — a rare work — four out of the sixteen mentioned by Bartsch are here, viz., S, No. 94 ; Y, No. 95 ; M, No. 99 ; and G, No. 101. Also the letter D. described by Heineke (Bartsch, vol. vi. p. 51 g). In these all the fantastic character of the master’s mind is strongly shown. Finally, here are specimens of arabesques, chiefly composed of plants : mentioned by Bartsch, Nos. Ill and 113. Martin Schongauer. — This greatest German painter and en- graver of the 15th century unites, with a knowledge of the laws of composition, a beauty and purity of religious feeling in the heads of his saints, which places him in close affinity with his contempo- rary Pietro Perugino, with whom, according to Sandrart, he cor- responded. He was the head of the Rheno-Suabian school in the latter half of the 14th century, and the representative of the ideal tendency of his time in Germany. Instead of the mystical, sym- bolical, and stern feeling which characterises the religious subjects of the Master of 1466, we find in Martin Schongauer a simple 'treatment of biblical and legendary scenes, and a mode of thought at once refined and perspicuous. Almost the only instance in which he has indulged in the fantastic has been in his well known engraving of the temptation of St. Anthony, which, from the cir- cumstance of Michael Angelo having copied it in his youth with the pen, has acquired a particular celebrity. That he also exer- cised an influence over Raphael I shall hope to prove from various examples. On the other hand, some of his plates from common life prove that, though endued with the most elevated feeling for art, he also possessed a vein of thorough humour. More recent researches have proved that he was a scholar of Roger van der Weyden the elder, and that he died at Colmar early in the year 1488. The great influence of his art in Germany is especially proved by the number of contemporary masters who copied his works : among them, for instance, Israel van Mecken and Wenzel von Olmutz. The productions of Martin Schongauer are so richly rt Letter IX. COLLECTION OF ENGRAVINGS. 297 |l represented here, and that chiefly in excellent impressions, that, out of the 116 described by Bartsch (vol. vi. pp. 119, &c.), not more than seven are missing, viz., Nos. 22, 27, 58, 60, 62, 68, 99. I confine myself, therefore, to the notice of a few which principally , exemplify what I have advanced, or which are remarkable for | beauty of impression. The procession to Calvary, No. 21 : from this celebrated com- ; position, which brings before us every moment of this scene, 1 Raphael, I am convinced, borrowed the fine motive of the figure of Christ sinking beneath the weight of the Cross, and supporting ; himself with his right hand upon a stone, which occurs in the j Spasimo. As Raphael must very early have become acquainted with the engravings of Martin Schongauer in the atelier of his master, Perugino, Martin Schongauer’s friend, it is natural to suppose that this fine motive must early have attracted his youth- ful mind. Of the four Crucifixions by Martin Schongauer three are here. Of the more historical and striking version of the subject, No. 24, a magnificent impression ; of the more symbolical version, No. 25, a good one. Christ appearing to the Magdalen, No. 26 : a plate of the most • beautiful feeling. I here recognise in the fine action of the Christ in some measure the original idea of Raphael’s Christ, in the car- I toon of the giving the keys to Peter. The Virgin and Child laying his finger on his lip, No. 32 : of all the versions of this subject by Martin Schongauer, each differing i from the other in delicate gradations of artistic feeling, this one, in point of beauty of invention, execution, and excellence of im- pression, is the best. The Death of the Virgin, No. 33 : in every respect one of the chefs-d’oeuvre of the master ; a first-rate impression. The Temptation of St. Anthony, No. 47 : a splendid specimen of energy and fertility of imagination in the variety of fiendish forms and expressions. St. Stephen, No. 49 : one of the most remarkable of his single saints ; a magnificent impression. Also, the well-known plate of St. James of Compostella, No. 53, assisting the Spaniards against the Moors : a good im- pression. 298 THE BRITISH MUSEUM. Letter IX. St. Veronica with the sudarium, No. 66. The First Person in the Trinity, with the Virgin enthroned next him, No. 71. The coronation of the Virgin, No. 72 : all these last mentioned good impressions. Also, as characteristic of his fantastic tendency, the Dragon, No. 93, of which here is an admirable impression ; and as an example of his close observation of the commonest subject in animal life, the family of pigs, No. 95. Of the specimens of his coats of arms, the most remarkable for invention are the maiden, No. 97 ; the wild mother, No. 100 ; and the wild man, No. 103 : all excellent impressions. Israel van Mecken (Bartsch, vol. xiii. p. 184), a goldsmith who resided in Bocholt, in Westphalia, and died in 1503. He executed a vast number of engravings, but can neither he com- pared in originality nor yet in artistic development with either of the foregoing, but rather appears rude and mechanical when placed beside them. I will only remark, therefore, that a large number of his works, and chiefly good impressions of them, are here ; the most distinguished of which appears to me to be the daughter of Herodias, No. 9. Excellent specimens are also here of Franz von Bocholt — of the Master with the weaver’s shuttle — of Mair, and of other old Ger- man engravers. Finally, we find here a perfect copy of the German trapjpola cards : these cards are a proof how, at a time when the arts were felt to constitute a general moral element in common life, they were applied to every subject capable of receiving embellishment from them. The inventions are original, frequently very spirited and humorous, showing in some instances the influence of Martin Schongauer : the impressions are good. I proceed now to the German and Netherlandish engravers of the 16th century, the works of whom are so fully described in Bartsch’s Peintre-Graveur, and also so well known through other sources to connoisseurs, that I shall only state how far these masters are represented here. Albert Durer. — The head of the school of Franconia in the 16th century. His inexhaustible powers of invention, noble and deep feeling, and masterly execution, are fully developed in his COLLECTION OF ENGRAVINGS. 299 . : Letter IX. j numerous engravings and woodcuts, of which a large number are j preserved here, and chief of them good impressions. Here are also more or less numerous specimens of Albert Durer’s contemporaries, Hans Burgkmair of Augsburg, Hans I Baldung Grien of Freyburg in Brisgau ; of the woodcuts from the drawings by Holbein, and also of those of Lucas Cranach. The same may be said of the various and generally excellent engravers of the school of Albert Durer — of George Pentz, Bartel, and Hans Sebald Beham, all of Nuremberg, the two first of whom bear traces of Marc Antonio’s influence : of Hans von Culmbach of Franconia ; of Hans Schauffelein of Nordlingen in Suabia ; of Albert Altdorfer of Regensburg ; of Fleinrich Aldegrever of Zoust in Westphalia ; of Jacob Bruck of Cologne, and others. There are also many specimens of Swiss engravers here — of | Urs Graf, Emanuel Deutsch, Jost Amman, of Maurer, Tobias Stimmer, &c. Lucas van Leyden, a Netherlandish engraver, born 1491, died 1533, who, with great command of his art, treated sacred subjects in a fantastic but still realistic manner. His works are numerous here, and the impressions of unusual vigour. As this master en- graved with peculiar delicacy, the number of good impressions are few and rare. The British Museum is indebted for a very valuable and beautiful set of Lucas van Leyden to Mr. Brooke, who stripped his own collection in order to complete that of the Museum — a further proof of that patriotism and respect for public institutions which occur in no land so frequently as in Great Britain. The later Netherlandish engravers of the time of Rubens, Paulus Pontius, the Bolswaerts, Suyderhof, Cornelius and Johann Fischer, and others, who have rendered the works of Rubens and of his chief scholars with the utmost spirit and truth, are well represented here, especially the two Fischers. Rembrandt’s etchings also, which stand alone in charm of picturesque beauty, are in great number here, and generally in fine impressions. One of the most brilliant departments of the print-room, both as regards completeness and beauty of impressions, are the etchings of the Dutch masters of the 17th and 18th centuries, purchased, as already stated, from Mr. Sheepshanks. 300 THE BRITISH MUSEUM. Letter IX. Of the late German engravers the works of Schmidt are also numerous here. Of the French engravers of the time of Louis XIV. and XV., Jean Pesne, the Audrans, Drevet, Masson, &c., are well repre- sented ; Edelinck the same, in his engravings from historical pic- tures : of Nanteuil, however, very few are here. It is almost unnecessary to add that the works of the excellent English school of the 18th century — of Strange and of Ryland, the clever etchings by Hogarth and Woollett, the masterly mezzo- tints of MacArdell and Earlom, and others, are here seen in great perfection. Finally, the modern engravers : the works of Raphael Morghen, with the chief specimens of Desnoyers, Richomme, Longhi, Anderloni, Tosclii, Muller, Steinle, as well as of the English school, Doo and others, are here collected together, and in the finest impressions. The British Museum also contains a rich collection of impres- sions of brasses with engraved figures, which occur so numerously in England, and which were bequeathed to the British Museum by the well-known antiquary Mr. Douce. BLOCK-BOOKS AND SINGLE WOODCUTS IN THE BRITISH MUSEUM. X proceed now to describe those sets of old woodcuts which are comprehended under the name of Block-books. The invention of the art of woodcutting, which undoubtedly occurred about the first half of the 15th century, afforded a welcome means for multi- plying, in the widest extent, the art of the middle ages, for the purposes both of education and edification. The Church especially availed herself of this mode of propagation. Certain sets of pic- tures already existed representing either the chief incidents of the Bible in connexion with various emblematical devices, or setting forth the principal dogmas of the Catholic Church regarding sal- vation and condemnation, or portraying the life and glorification of the Blessed Virgin. These now became the subjects of works known under the following names : the 4 Biblia Pauperum,’ or 4 Bible for the Poor the 4 Ars Moriendi,’ or 4 Art of Dying ;• the 4 Speculum Humanse Salvationist or 4 The Mirror of Human Salvation the 4 Historia Virginis Marise ex Cantico Canticorum,’ BLOCK-BOOKS. 301 1 Letter IX. or 4 The History of the Virgin Mary from the Song of Solomon >. ; and the 4 Defensio Immaculatse Conceptionis,’ or 4 The Defence of ) | the Immaculate Conception.’ To these were added a number of ) | those legends connected with the Apocalypse and the appearance of Antichrist, which were so widely spread in the middle ages. [ j Also for secular purposes the new art supplied similar sets of ; I representations : of these I may mention the 4 Ars Chiromantise,’ | or 4 The Art of Soothsaying.’ Those series of woodcuts, however, ' which were devoted to the services of religion were furnished with short Latin explanations, and, in the opinion of M. Sotzmann, the well-known connoisseur of this line of art, afforded the means of instruction to the unlearned, and also to the poorer clergy, who ! used them in lieu of books, then too dear for their attainment, in ; | the purposes of teaching and preaching. Also when the accom- panying explanations are seen translated into the language of the country, such as Dutch or German, there is no doubt that these pictures were used as religious aids by the laity. The rough usage I which they received in the service of every-day life may account for the present rarity of these engravings, which must at one time j have existed in great numbers. These works are of importance in the history of art, for three reasons : first, as examples of the significance of the art of the middle ages as a means of instruction ; secondly, as best enabling us to view the most accessible religious representations of the middle ages — from which the greatest artists have only partially I borrowed — in their completeness ; and thirdly, as being in them- ! selves the incunabula , or germs of , the art of woodcutting. Though therefore the collection of block-books in the British Museum falls far short of that at Munich, yet the variety observ- able, even among the rarest editions, leads to comparisons of the most interesting nature, and fully confirmed me in the previously- formed opinion that the oldest specimens arose in the Netherlands, were thence introduced into Germany, and were there variously copied, with more or less success, and more or less fidelity. Those who are in any way acquainted with the relation between Nether- landish and German art in the 15th century will admit this con- clusion to be quite natural. The realistic tendency in art had, by means of the brothers Van Eyck, obtained such an ascendancy that many German painters repaired to the Netherlands to study, and 302 THE BRITISH MUSEUM. Letter IX. thence carried back the art thus acquired into Germany. Of these I will only instance Martin Schongauer, Frederick Herlin the elder, and that painter who is known by the name of Zwott or Zwoll inscribed on his engravings. As the Netherlands thus exercised so powerful an influence over the art of painting, it is natural that it should have been extended to all the branches of art dependent on painting. We trace the Netherlandish influence, therefore, on the art of miniature painting as early as from about the year 1420, on that of woodcutting from about 1440, and on engraving on copper from 1460. Nothing is also more natural than that all these forms of art should, when transplanted into Germany, retain their original tendency, which is at once obvious in the block-books, every edition of which exhibits those realistic forms which the Netherlands first developed — the best and most original of them bearing the strongest analogy with the pictures by the Van Eycks, though none whatever with those of the contemporary painters of Upper Germany. Granting therefore that many of the woodcutters borrowed their designs from miniatures belonging to MSS., as M. Sotzmann doubtless rightly maintains, it may further be observed that these designs bear that character of art which proves that the miniatures whence they were taken must have proceeded from the hands of scholars of Van Eyck. I now proceed to describe the different block-books and the copies of them preserved here. 4 Historia Veteris et Novi Testamenti,’ or ‘Biblia Pauperum.’ This consists of a series of leaves, each of which contains a repre- sentation from the New Testament in the centre, and two from the Old Testament, in some way emblematically referring to it, of the same size, at the sides ; while above and below, in four small spaces, are the four prophets who especially foretold these events, every page thus containing seven pictures. Only one edition of this work, only one copy of which is known, contains 50 leaves. It was formerly in the celebrated library at Wolfenbuttel, was taken thence by the French in 1806, and is now in the Bibliotheque Nationale at Paris. A careful examination of it convinced me that, of all the versions of this work, this one is the oldest, the best executed, and also the one most impressed with the stamp of the Van Eyck school — an earlier date than 1440 can hardly be Letter IX. BLOCK-BOOKS. 303 j assigned to it. Every other edition of this work contains but 40 leaves — the centre picture of the first page representing the An- j nunciation ; that of the last page Christ placing a crown on the head of an individual. Of these editions the library in the British Museum contains the following specimens : — a. A specimen of that edition which Heineken * mentions as the | first with Latin inscriptions, and which, like all the others, is a copy of the same Netherlandish original which Heineken ascribes 1 to his second edition. It is printed in very pale ink, and slightly illuminated with bright colours ; the costume and general cha- j racter are Netherlandish ; the figures chiefly slender, though some of them short ; the folds of the drapery with sharp and clumsy 1 breaks ; the execution is bold, and frequently rude ; the strokes i occasionally clumsy and thick, as in Adam and Eve, p. 10. Judg- ing from the form of art, this edition may date from 1450-60, and is possibly of German origin. The last three pages (38-40) belong to another edition of a rude character, and are partially illumi- | nated with very coarse colours. This example was purchased in 1848. b. A complete specimen of Heineken’s third edition (pp. 208 and 218), formerly in the Gaignat collection at Paris, was pur- chased at that sale for the library of George III., and transferred with that library to the British Museum. All the leaves are pasted on to paper, and have no border. This is a faithful German copy of the original edition, of inferior execution and much blacker in impression. c. The second of the two well-known editions of the Biblia Pauperum, with German inscriptions, which, as regards chief of the pictures, are rude and free copies of the Netherlandish version, though they differ in the architectural framework, and in the ar- rangement of the pictures and the text. This specimen, judging from the arms and date 1475 on the last page, belongs to the edition printed by Sporer of Erfurth. Many of the compositions, such as the Murder of the Innocents (G), differ entirely from the Netherlandish version, though not without merit. The proportions of the figures are short, the execution rude, the impression to- lerably black. The four first pages are missing. * Idee Generale d’une Collection d’Estampes, p. 307. This author is the first who has given a critical catalogue of these block-books. 304 THE BRITISH MUSEUM. Letter IX. d. A specimen of the totally differently-arranged octavo edition, with the same subjects quite differently composed, with the in- scription, both on the first and the last leaf, “ Opera di Giovanni Andrea Vavassore, ditto Yadaguino, stampati novamente nella inclita citta diVinegia. Laus Deo.” The explanatory inscriptions are also in Italian. Most of these woodcuts show in every respect the character of the Venetian school soon after the commencement of the 16th century. The artistic merit of these compositions is very various. The best are the Flight into Egypt and the Baptism of Christ. The others, though of little value, often display single good motives. Christ driving the money-changers out of the Temple is taken from Albert Durer’s Small Passion. Also in the representation of Christ in the “Noli me tangere ” the influence of Albert Durer is visible. The execution of the hard and ill-under- stood folds is very moderate. The leaves have only one picture on each, but are printed on both sides. The number of the wood- cuts belonging to the Biblia Pauperum amounts to 118. Besides these there is another leaf at the end representing the Virgin enthroned with the Child, of great beauty, standing, and three angels, one holding the crown above, and two at the sides playing the lute and the flute. This bears the character of the school of Giovanni Bellini, and is one of the best of the whole series. The execution of the whole indicates about 1515-1520. With the ex- ception of the somewhat injured Christ bearing his cross, the pre- servation is very good. This is the only known edition of an Italian Biblia Pauperum, and it is extremely scarce. Another copy was formerly in the collection of Mr. Douce, and was be- queathed by him to the Bodleian Library at Oxford. A third, formerly in the possession of the Senator Klugkist in Bremen, was left by will with his entire collection to the town of Bremen. 2. The Apocalypse, or 4 Historia Sancti Johannes Evangelists quique Visiones Apocalyptics.’ Six different editions are known of this work, evidently witnessing to four different families. Nos. 3, 4, and 5 belong obviously to one and the same ; the others each to a different family. Two editions of this are here. a. A specimen of the fifth edition, of which Heineken says (p. 367) that it was formerly in the Gaignat collection at Paris, and that, of the 50 leaves which it contained, Nos. 36 and 37 were missing, and that it had passed over into England in his time. Letter IX. BLOCK-BOOKS. 305 The leaves, which are only printed on one side, are pasted through- out two together ; the ink is very pale. In spite of the very homely and rude treatment, and the somewhat short proportions, the mo- tives are very dramatic, and the expression speaking. Some of the plates have even something grand in them ; for instance, No. 5, where St. John is lying at the feet of the Almighty. The inscrip- tions are in Latin. Judging from the style of art, and the still pure taste of the drapery and costume, the execution of this may be assigned to about 1440, and, as M. Sotzmann has already said, decidedly to a Netherlandish origin. b. A specimen of the second edition, with 48 plates, the last one missing. Heineken describes tl^is (p. 356) as having seen it in Gaignat’s collection at Paris before it passed into the library of George III., and with that library into the British Museum. The impressions are in pale ink, and illuminated with red. It has the usual descriptive text in Latin, with a written translation of the same in German inserted between each plate. This German MS. begins, “ Hie hebet sich an das Buch der hymlichen offen- baronge Sant Joannis,” &c. This is obviously a free and rude German copy from Lleineken’s first edition (p. 334), which in my opinion was executed in Germany, with the assistance of Heine- ken’s somewhat older Netherlandish third edition in many of the plates, and with new inventions for the others, showing much more skill. Even in this copy the dramatic and fantastic grandeur which pervades the original edition is retained. Although the figures are generally very short, yet here and there better and more slender proportions occur. Judging from the somewhat sharp folds in the terminations of the drapery, the edition was probably executed from 1450 to 1460. 3. The Song of Solomon, or 4 Historia seu Providentia Virginis Marise ex Cantico Canticorum.’ Both the editions mentioned by Heineken (p. 374, &c.), the one with the Dutch, the other with the Latin text, are here. a. The first has the inscription on the cover, “ Die Voersinicheit von Maria.” Above the first of the 16 leaves, with two sub- jects on each, of which this work consists, is written, “ Dit is die Voersinicheit von Marien, der Moder Godes : end is geheten in Latyn catic.” The leaves are only printed on one side, but not ! pasted one upon the other. The ink is pale throughout ; indeed it VOL. I. * X 306 THE BRITISH MUSEUM. Letter IX. is scarcely visible on pp. 15 and 16, so that the outlines are more given by the very sharp indentations than by the ink itself. This work, judging from the agricultural occupations of the monks in the first six pages, probably originated, as M. Sotzmann remarks, in a Minorite or Franciscan convent. It is favourably distin- guished from all those hitherto mentioned in point of artistic merit. The compositions are generally well invented, the motives speak- ing and even elevated, the expression often very refined, the pro- portions slender, the drawing good, although the limbs are meagre, the hands small and graceful, and the folds of the drapery conformable to style, and only rarely defaced by sharp breaks. In all these instances the influence of Roger van der Weyden the elder is recognisable. A delicate feeling is visible in the outlines ; the execution is generally rendered with very fine strokes. I select a few details for observation. The bridegroom, in the upper part of p. 2, is an especially noble figure ; also, p. 6 below, the angel at the gate, with a remarkably appropriate expression. I subscribe entirely to the opinion of MM. Ottley and Sotzmann, who main- tain this with the Dutch text to be the original, in opposition to Heineken, who considers it a copy of the one with the Latin text. This fine specimen was purchased in 1838 from Messrs. Payne and Foss for 40£. b. This copy of the Latin edition contains also 16 leaves, which are, however, pasted one on the other, and are tolerably dark in impression. Drapery, landscape, and glories are rudely painted. The blacker ink of the impression of itself points to a later period of execution than that of the foregoing, while the incomparably tamer treatment, which bears throughout the stamp of imitation, leaves no doubt as to which is a copy of the other. 4. ‘ Defensio Immacnlatse Conceptionis.’ This work, executed at Vienna by the Franciscan de Retza, consists of 14 leaves, each containing four subjects — with the exception of the 7th, which con- tains but three — the whole number of pictures thus amounting to 57. The 1st page represents the four Fathers of the Church, St. Ambrose and St. Augustin above, St. Jerome and St. Gregory below, from whose works and those of other fathers and scholars, the Defensio was framed. The first picture of the 2nd page shows the Annunciation as the theme of the whole work. All the others have reference to the quotations inscribed below in Latin, in form Letter IX. BLOCK-BOOKS. 307 of syllogisms, from those authors who have drawn arguments either from the Old Testament or from the Greek mythology, from the history of mankind or from natural history, for the truth of the Immaculate Conception. Thus, for instance, a passage from Albertus Magnus regarding minerals in the lower part of the third picture in the last page : “Si homo vi nature (sic) in saxum verti valet, cur vi divine cure (sic) virgo non generaret?” The picture corresponding to this inscription represents Albertus Magnus point- ing to a stone figure and propounding the question to another man. Thus not only is this work valuable in the history of art on ac- count of the great naivete of many of the representations, hut also from the fact of their being taken from subjects of natural history, then so very rarely treated. The work itself is very scarce ; three different editions, however, exist of it, the oldest and best of which I consider to be of Netherlandish origin. I have seen a specimen at the Ducal Library at Gotha. Of the third edition, Heineken (p. 383) reports to have seen the only specimen known to him in the possession of Girardot de Prefond at Paris ; it was formerly in the Gaignat collection : his work gives a copy of the last leaf. Of the 2nd, which in point of age and artistic merit may be placed be- tween the two just mentioned, a specimen is here. The 14 leaves of which it consists are printed only on one side in rather pale ink, coloured throughout, but not pasted together. On the first page is the following inscription: “ f. W. 1 G. A 0 .” The letters refer doubtless to the printer, and the date, 1470, to the year of its publication. The motives are animated, the proportions ! very short, the folds in the drapery very sharp in the breaks, the | treatment, with short thick strokes, very simple and somewhat : rude. I am inclined to consider this edition of German origin. I saw another specimen of the second edition, though with the | plates not coloured, at the Bibliotheque Nationale, at Pa^is, in 1835. I now proceed to notice those block-books which are accom- panied by a more copious text, though of the same immovable description. 1. Ars Memorandi, or the art of committing to memory the con- tents of the four Gospels (Heineken, p. 394). This also originally i German work consists of thirty pages, printed only on one side, fifteen of them containing the attributes of the Evangelists, and * x 2 308 THE BRITISH MUSEUM - . Letter IX. fifteen the explanatory text. St. John, as was frequently the case in the middle ages, has the precedence here. The first three pages contain the eagle ; the angel of St. Matthew occupies the next five ; the lion of St. Mark three ; and the bull of St. Luke the remaining four pages. Each of these attributes is in an upright position — the lion and the bull on their hind legs — and are surrounded by a number of emblematical objects referring to the contents of the Gospel, which the angel supports on its hands, the four-footed animals on their feet ; thus, for instance, the bull is holding in his left foot the banner of victory as the sign of the Resurrec- tion. The numbers accompanying these objects refer to the explanatory text opposite. Among all the block-books of religious purport, the Ars Memorandi is of the least value as a work of art. Independently of the fact that art here, as with the Indians and Egyptians, plays a mere symbolical part, the subjects are of too little interest, too monotonous and rude in execution, to merit fur- ther examination. Suffice it, therefore, to say, that one specimen of this work is to be seen here. 2. Ars Moriendi ; de tentationibus morientium, and Tenta- tiones dsemonis. This is the name of a work which, in its oldest editions, contains twenty-four plates, printed on one side only in pale ink. The two first pages are occupied by the Pre- face ; the other twenty-two, alternately, by a picture and its explanatory text : the text throughout is in Latin. On each of the eleven pictures the dying person is represented on a bed, while the demons who surround him endeavour to tempt him — for instance, in No. 1, to unbelief ; in No. 3, to despair ; in No. 5, to avarice ; in No. 7, to impatience ; in No. 9, to pride ; while his guardian angel, supported by the Holy Trinity, the Virgin, and his patron Saint, baffles these attempts. Finally, the last picture represents his death in a state of grace, an angel receiving his soul in form of a little child out of his mouth ; at the head of the bed is Christ on the cross ; at the foot and before the bed are demons in ges- tures of rage at the escape of the soul. Such is the series of the first and best edition, which was decidedly executed in Holland ; small folio, Heineken, p. 399, &c. In some of the other editions the series of pictures is different. No other of the block-books appear to have been so widely propagated as this. Heineken mentions seven Latin and two German editions. It was also Letter IX. BLOCK-BOOKS. 309 : arranged with movable letters for different languages, and Heineken | points out two Latin editions, one German, one Netherlandish, one English, and one French of that kind. Those in the British Museum are the following : — a. Second edition, Heineken, p. 406, &c., small quarto : the pages are printed on one side in a powerful brownish ink, with a broad border, and pasted one on the other ; the last page of text, | always to the right hand of the spectator, is wanting. The figures : are rather short ; the general character indicates Germany. The j execution may belong to about 1460. Purchased in 1823 at Rome from Tullio Monaldi. b. a specimen of another edition, small folio : the much larger pictures have the appearance of being free hut rude copies from I the second edition. The proportions of the figures are longer. The leaves are printed on both sides in rather dark ink ; the text, in a : small minuscule letter, is always to the left of the spectator. The : edition is, in my opinion, of German origin, and appears to have ! been executed about 1470. c. A specimen of another edition, rather larger folio : the leaves j printed on each side in very dark ink. The pictures coincide almost entirely with those in specimen b. ; the execution still ruder and apparently a copy of that ; the letters are much larger j and more powerful : the text is always, as in that edition, to the ■i right of the picture. There is every evidence of a German 1 origin, and also of a somewhat later date than the former one — ; perhaps 1480. d. A specimen of an edition of 'the Ars Moriendi, engraved on ; copper, probably a unique copy, and very remarkable : this con- ; tains twelve leaves, printed on one side, and not pasted one on the : other. The first represents the Child at the breast of the Virgin, s behind her two angels holding drapery ; the other leaves are j essentially free copies from the second edition, only reversed, i and far superior in artistic merit. The arrangement of the leaves is quite arbitrary ; and the temptations and corresponding consolations do not follow each other. Many alterations occur, and also, notwithstanding the small scale, the representations are much richer — for instance, in the first edition, 6th plate, Christ appears as the refuge from avarice, accompanied by three women ; in this edition, plate 8, with five women, doubtless in- 310 THE BRITISH MUSEUM. Letter IX. tended for the five wise virgins. The text of particular leaves and the inscriptions of the scrolls are wanting : the motives are in many instances more animated than in the woodcuts ; the pro- portions slender, the drawing incomparably better ; the drapery well understood, though with sharp folds ; the heads are little more than outlines in full strokes ; the other portions are exe- cuted in short strokes, which in some parts intersect each other, so as to form lozenge-shapes, like the strokes of a niello, and are executed with great skill ; the ink is very good and generally so well printed as to he visible through to the other side ; the patron saint, especially, is almost always a successful figure — for instance, in the 5th plate, where he appears as a noble and slender figure, as a support against unbelief. Judging from the degree of artistic development, and from the costume and cast of drapery, this edition probably dates from 1460-70, while its general cha- racter, when compared with other contemporary copper engravings, indicates a Lower Rhenish origin. In the paper-marks of the third leaf, containing the temptation to despair, are the so-called three hills. Some of the pictures are rudely coloured, otherwise they are in excellent preservation. Whether or not this be the same specimen which appeared in Haywood Bright’s catalogue of the year 1845 (p. 13, No. 193), I am not able to say. 3. Speculum Human® Salvationis : this is the name of an old arrangement, probably originating with the Benedictines, of the events of the Old and New Testaments, embodying the chief dogmas of the Roman Catholic Church, occasionally intermingled with references to the events of profane history. There are several editions of this work ; the oldest MS. (Heineken, p. 478) is in the Imperial Library at Vienna. He supposes it to date from the 12th century. It contains, like several other MS. copies, 192 plates. Another edition was executed about the year 1324 : this appears from a MS. containing 160 beautiful drawings in the taste of Giotto’s pupil, Taddeo Gaddi, in the Library of the Arsenal at Paris * From such earlier works the block-book in question arose, though limited to 116 representations, filling 58 pages, two on a page; to these are added four pages of preface : both these and the text are in one column ; below, the subjects are printed with moveable letters, and by the press ; while the blocks of wood, with the pic- * Ivunstwerke und Kunstler in Paris, p. 316, &c. Letter IX. BLOCK-BOOKS. 311 tures above in the first edition, are printed with the rubber. Of all the block-books, this is one that was most widely circu- lated, although comparatively a later work. Of the older editions, Heineken mentions two with Latin text, and two with Dutch. The printers very soon took possession of this work. In 1433 Joan Yeldener of Eulenburg, in Holland, prepared two editions with Dutch text, to one of which he added twelve subjects taken from pictures in the earlier Latin MSS. ; also another, with Latin text and German translation, was printed by Gunther Zeiner, in 1471, at Augsburg. It contains very rude representations, differing in many respects from those already described, and copied, to all appearance, from one of the oldel MSS. Lleineken mentions further the following editions with the German text only : — that printed at Basle, by Richel, in 1476 ; by Michael Grief, at Reut- lingen, in 1492 ; by Hans Schonsperger, at Augsburg, in 1500 ; and one with French text, printed also at Augsburg, by Nicolas Desprez, for Jean Patit. The British Museum contains also a copy of that edition which Heineken (p. 444) pronounces to be the first of the two with the Latin text, but which Ottley, and I agree with him, maintains to be the second. With the exception of the Nativity (p. 15), and the dream of Pharaoh’s chief butler, the work is perfect. I pass over the portrait of Laurent Coster, and the poem to him at the begin- ning, placed there in reference to the erroneous supposition of his being the printer ; the plates are all printed on one side only : the preface and the greater portion of the text below the subjects are very black, and obviously printed with moveable letters. Some part, however, is printed with paler ink. The pictures are through- out in paler ink of a brownish tone, only Nos. 35 and 36 are somewhat darker, though quite light as compared with the text. The pictures from Nos. 1 to 48 are admirable both in invention and conception, and recall in both respects the first editions of the Song of Solomon. The compositions are well understood, the motives, whether lively or quiet, are speaking, and often even graceful ; the proportions generally good, the drawing excellent ; the drapery with somewhat sharp folds, and well understood ; the execution generally with short strokes, simple but delicate. I par- ticularly call attention to the elevated expression of compassion in the representation of the Almighty, in the mosaic type of Christ, 312 THE BRITISH MUSEUM. Letter IX. at the fate of the fallen angels, in the first picture. Also the Eve in the pictures ©f the second page is most happily conceived. From pp. 49 to 57 a very inferior hand intrudes ; the direction of the strokes is here not understood. P. 58, the last, is again hy the first hand : the pictures have decidedly the impress of the Van Eyck school, but were doubtless executed in Holland. The paper of p. 41, the Crowning with Thorns, has a Y of rather large size as a water-mark, with a double cross above it, and a wheel beneath. This specimen was included in the Grenville legacy. Next to these, as worthy of note, are some single plates of woodcuts, which in subjects and execution closely assimilate to the block-books. A large woodcut printed on one entire sheet, inscribed 44 Tempta- tiones demonis,” corresponds closely in purport with the 4 Ars Moriendi,’ though of far simpler form : above, on the right, is a demon with a book and the inscription 44 Dyabolus temptans dicit,” beside him the monk he is tempting, whom an angel is supporting, with the inscription 44 Angelus defendens dicit.” A narrow co- lumn contains the seven deadly sins by w r ay of temptations. The defence of the angel consists in passages from the Bible, which are given at the end of each line. The figures, which are short, especially the monk, indicate the old Netherlandish school : the gesture of exculpation in the angel is very speaking. Judging from the whole character, especially from the very sharp folds in the drapery, the earliest date of this plate may be about 1450 ; it is printed with pale ink, and with the rubber. This specimen, which is probably a unique one, was formerly in the possession of M. Rendorp, a Dutchman, and passed later through the hands of Wilson and Ottley, being at length purchased for the British Museum in 1842. In Koninck’s work upon the origin of the art of printing the upper part of this plate is given. Another folio plate, attached to the inside of the cover of a book, represents the stages of human life. In the centre is a human figure, with long yellow-painted hair, and a wheel next him, doubtless Fortune ; below, in the centre, is a large angel, with two scrolls : on that in his right 44 Beverano,” on that in his left 44 Corrupcio next him a shield of arms, with three claws, and the word Clau, which refers to the designer Klaus, at Ulm ; below, at the side, to the left of the spectator, Letter IX, BLOCK-BOOKS. 313 is a child in a cradle, with another larger child at its feet, quite undraped, and of full forms, lively action, and sensible ( expression: close by, on a scroll “Infans ad xii. annos above, another naked child with a little dog and a windmill ; close by also a scroll, with “ Puericia ad xv. annos higher up, a # youth with a bird and cards in his hands, with “ Adolescentia ad xxv. annos.” Above, on the wheel, a man with a spear, running, with “ Juventus ad xxxv. annos on the side an older man at a table with flowers, and on them “ virilitas (ad) l. annos below, an old man on a crutch ; above “ Senectus ad lxx. annos finally, quite below, is a naked figure stretched out as if dead, with “Decrepitus usque ad indefe the treatment is very simple and rude, the ink black ; the whole rudely painted. Below, in two columns of four lines, is a Latin poem referring to the subject. This plate was purchased in 1845, from the bookseller Ascher, who discovered it in Vienna ; its date is probably between 1460 and 1470. Another woodcut upon the other cover of the same binding is unfortunately half torn away : in the centre of the upper part is the Virgin in glory, with a large crown ; to the right Joachim, leading the little Virgin crowned by the hand ; on the right St. Anna, with the infant Saviour on her right, the Virgin on her left, by another and ruder hand, though of good invention and style, and about contemporary with the plate above described ; the ink of unequal depth, rudely painted. A folio plate in pale ink, printed with the rubber, representing a tower, with the inscription “ Turris sapientise legatur ab inferiore accendendo per seriem literarum alphabeti.” This refers to the denominations which accompany every portion — door, window, battlements, &c.— for instance, the foundation has “Obedientia” upon it ; the door “ Patientia.” The writing is very thick and clumsy. Although the department of art is quite subordinate in this plate, yet it is very remarkable as an example of the religio- symbolical representations of the 15th century : purchased in 1849. Another copy is in the collection of M. Sotzmann, who, in the abundance of his own acquirements on these subjects, has most readily given me the information I desired ; a third in the collection of M. Oswald Weigel, the bookseller at Leipsic. Finally, I must call attention to a Roman Breviary, in quarto, 314 THE BRITISH MUSEUM. Letter IX. with numerous woodcuts and German text, which, according to the notice in the introduction, was printed at Venice in 1514, at the charge of “ Herrn Christoferen von Frangepan, Fiirst und Graf zu zengvogel und madrusch.” Above are the arms of himself and his wife, an Apopalia by birth. Some of the woodcuts, which are very well executed from excellent models of the Paduan and Venetian schools, bear the letters I. A. More especially remark- able are the Annunciation, p. 94 b ; the Nativity, which has much affinity with Bernardo Parentino, the scholar of Andrea Man- tegna ; the Adoration of the Kings, p. 145 b ; the Resurrection of Christ, p. 226 b ; the Ascension, p. 246 b ; the martyrdom of St. Saturninus, p. 301, of very Mantegnesque character; and Joachim and Anna at the golden gate, p. 452 b. This work is as remark- able as it is scarce. Letter X. NATIONAL GALLERY. 315 LETTER X. THE NATIONAL GALLERY. The National Gallery — Its origin — Acquisitions since 1835. — The Italian schools — Florentine school : Leonardo da Yinci represented by Bernar- dino Luini — Michael Angelo by Sebastian del Piombo — Andrea del Sarto. — Umbrian school : Perugino — Raphael. — Roman school : Giulio Romano — Baroccio — Carlo Maratti — Pannini. — Ferrarese school : Garofalo — Mazzolino da Ferrara. — Sienese school : Baldassare Peruzzi. — Lombard school: Correggio' — Parmigianino. — Venetian school: Titian — Sebastian del Piombo — Tintoretto — Paul Veronese. — Bolognese school : Annibale Carracci — Agostino Carracci — Domenicbino — Guido Reni — Guercino — Pietro Francesco Mola — Michael Angelo Caravaggio. — Three great landscape-painters : Claude Lorraine, Gaspar Poussin, and Salvator Rosa — Nicolas Poussin — Lancret — Joseph Vernet. — Spanish school r Velasquez — Murillo — Zurbaran. — Flemish and Dutch schools : Jan van Eyck — Rubens — Vandyck — Rembrandt — Gerard Dow — Maas — Teniers — Cuyp — Van der Neer — Van Huchtenburgh — Decker — Van Goyen — Jan Both — Breenberg — William Vande Velde — Backhuysen — Abraham Storck — Hondekoeter — Dietrich — Angelica Kauffmann. Though still limited in number, the National Gallery contains a series of pictures of the first class, fully worthy of an establishment of this kind formed by the richest nation in the world ; for the foundation of this Gallery is of very recent date. The late Lord Dover first brought the subject before Parliament in 1823, and in the following year the collection of the late Mr. Angerstein, consisting of thirty-eight pictures, was bought by the nation. The price given for it, according to the valuation of Messrs. Seguier and Woodburn, was 57,000?. sterling ; but, to defray some incidental expenses, the Parliament granted the sum of 60,000?. I must observe here, that in this collection was the capital picture of the whole National Gallery, the Raising of Lazarus, by Sebas- tian del Piombo, as well as several others of the finest pictures, but also some copies. As I state the origin of each picture, you will become thoroughly acquainted with the whole collection. Altogether this purchase, which is the foundation of the Gallery, may be considered to have been very judicious. In the year 1825 316 NATIONAL GALLERY. Letter X. some other pictures of the first class were added to it, purchased, at high prices, from Mr. Hamlet. The principal picture was Bac- chus and Ariadne, by Titian, for 5000/. In the same year the small Holy Family, by Correggio, called “ La Vierge au Panier,” was purchased of Mr. Nieuwenhuys, the picture-dealer, for 3800/. But the most important acquisition was made in 1834, by the purchase of the two celebrated works of Correggio, the Ecce Homo, and the Education of Cupid, from the collection of the Marquis of Londonderry, for 11,500/. These were the contents of the gallery at the time of my first visit to England. Subsequent acquisitions have worthily com- menced a Homan and Spanish school, and greatly enriched the Netherlandish. It is also a matter of great gratulation that by the purchase of a few single pictures from different schools of the 15th century, a step has been taken towards filling up the various earlier stages of art in the National Gallery, thus opening the way for arriving at an historical appreciation of those highest attainments of art which belong to the 16th and 17th centuries. I proceed to give a list of the purchases since my first visit accord- ing to their dates. 1837. Murillo. — The Lloly Family, painted for the family of the Marquis de Pedroso, in Cadiz. Rubens. — The Brazen Serpent, a well-known picture. 1839. Raphael. — St. Catherine. Garofalo. — 1. A Holy Family. 2. The infant Christ adored by St. Francis, from the Beckford collection. 1840. Francesco Francia — 1. The Virgin enthroned, sur- rounded by saints. 2. A Pieta. The chief work of the master, from the Lucca Gallery. Here the real greatness of the Bolognese school at the beginning of the 16th century is worthily seen. Murillo. — The youthful St. John. Guido Reni. — The Magdalen. 1842. Jan van Eyck. — The portraits of the painter and his wife. This picture shows how the great school of the Netherlands was founded. 1844. Giovanni Bellini. — The portrait of a Doge ; a remark- able specimen of the founder of the rich Venetian school. Pietro Perugino. — The Virgin and Child ; the only specimen Letter X. PURCHASES, BEQUESTS, AND DONATIONS. 317 of the Umbrian school, whence Raphael proceeded. Both these pictures from the Beckford collection. Rembrandt. — Portrait of a Rabbi. Rubens. — The Judgment of Paris; the chef-d’oeuvre of the Penrice collection. Guido Reni. — 1. Lot and his daughters. 2. Susanna and the Elders ; from the Penrice collection. Gerard Dow. — Portrait of the artist ; from the collection of Mr. Jeremiah Harman. 1845. A male portrait of the school of Holbein. 1846. Velasquez. — King Philip IV. of Spain hunting the wild boar ; purchased from Lord Cowlejr. Annibale Carracci. — The Temptation of St. Anthony. 1847. Raphael. — The Vision of a Knight ; purchased from the Rev. Thomas Egerton. 1850. Salvator Rosa. — A landscape; purchased from Mr. Byng. 1851. Jan van Eyck. — A male portrait. Rembrandt. — Portrait of himself ; purchased at the sale of the late Lord Midleton’s collection. 1853. Velasquez. — Adoration of the Shepherds ; from the collection of Spanish pictures, formerly in possession of Louis Philippe. i ZuRBARAN. — A kneeling Franciscan ; from the same collection. School of Bellini. — A warrior kneeling before the Madonna and Child ; from the collection of the late Mr. Samuel Woodburn. Here, too, as in the British Museum, the spirit, which is more diffused in England than, in any other country in the world, of enriching national institutions by presents and legacies, soon mani- fested itself. As early as 1826 Sir George Beaumont presented sixteen pictures, valued at 7 500 guineas. Among these pictures is one of the largest and finest landscapes of Rubens, and Wilkie’s admirable picture of the Blind Fiddler. A far more important addition was made by the legacy of the Rev. William Holwell Carr. Among the thirty-five pictures, which after his death were placed here in 1834, there is a series of admirable works of the school of the Carracci, and also some capital pictures by Titian, Luini, Garofalo, Claude Lorraine, Gaspar Poussin, and Rubens. Among the other donations, the most important is Rubens’s celebrated work, the Blessings of Peace, given by the late Marquis of Stafford ; also 318 NATIONAL GALLERY. Letter X. five pictures by the directors of the British Institution, including three esteemed works of Reynolds, Gainsborough, and West, and a capital picture by Parmigianino. Since the year 1835 also the Gallery has been further enriched by legacies and presents. The most worthy of note are six pictures presented by King William IV. in 1836 ; seventeen bequeathed by Lieut.-Col. Harvey Ollney, 1837 ; fifteen bequeathed by Lord Parnborough, 1838 ; and fourteen by Richard Simmons, Esq. By means of these three last legacies, containing a number of excel- lent genre pictures of the Netherlandish school, a worthy com- mencement has been made towards filling a manifest void in the National Gallery. Lord Farnborough’s pictures are particularly valuable in this respect. Of the 216 pictures now occupying the National Gallery, only 70 have been purchased, the remaining 146 are presents or legacies. Whilst also these latter more than doubly exceed the number of the purchases, it may be observed that they also include some of the best pictures in the Gallery. Although the building itself, which was erected at the public expense by W. Wilkins, Esq., R.A., for the express reception of a National Gallery, was not thrown open till April 9th, 1838, yet the space it affords is already so occupied that on this account alone the erection of a new and larger National Gallery appears indispensable. A still more urgent reason consists in the fact that several pictures, for instance, the Raising of Lazarus, by Sebastian del Piombo, are very insufficiently lighted, and also that owing to the smoky atmosphere of Charing Cross, the pictures incur such damage that their ultimate ruin in that locality is inevitable. In the following remarks I omit such pictures as appear to me of no great value. Two pictures (No. 215 and 216) are well calculated to give an idea of that form of art, introduced into Florence by Giotto in the 14th century. As specimens of Taddeo Gaddi, however, to whom they are attributed, they do not appear to me sufficiently able ; for instance, I have never seen such mechanically painted beards in any of the indubitable works by that master executed on wood. Each 5 ft. 10 in. high, 3 ft. 4 in. wide, presented by William Coningham, Esq. Of the great masters of the Florentine school, a school which above all others carried drawing to the highest perfection, there is, Letter X. FLORENTINE SCHG0L. 319 in my opinion, nothing here ; but a worthy idea may he formed of the ' two chief masters, Leonardo da Yinci and Michael Angelo Buona- rotti, from two pictures by other masters, over whom they had a decided influence. One of these is Christ surrounded by four |! Doctors (No. 18), half figures, 2ft. 4Jin. high, by 2ft. 10in. broad, r from the collection of Mr. Hoi well Carr. This picture certainly ii bore the name of Leonardo da Vinci in the Aldobrandini Gallery at Rome, where it was before the revolution ; but no reliance is to be tl placed on such designations of early times, unless they are founded o<: IffS M uBmm