From the Library of 
 
 Frank Simpson 
 
Digitized by the Internet Archive 
 in 2014 
 
 https://archive.org/details/historicalaccounOObrit 
 
CGJ&SHAM HOl T SE 9 
 
 LcndenHihKsheJ rortfte AuOu>rJu2yi:$8i>o. J.Jio/fi ,) 
 
AN 
 
 HISTORICAL ACCOUNT 
 
 OF 
 
 COESHAM HOUSE, 
 
 IN WILTSHIRE ; 
 
 THE SEAT OF PAUL COBB METIIUEN, ESQ. 
 WITH A CATALOGUE OF HIS 
 
 CELEBRATED COLLECTION OF PICTURES. 
 
 DEDICATED TO THE PATRONS OF 
 
 THE BRITISH INSTITUTION; 
 
 AND EMBRACING A CONCISE HISTORICAL 
 ESSAY ON 
 
 Cfje jFme arw. 
 
 WITH A BRIEF ACCOUNT OF THE DIFFERENT SCHOOLS ; AND 
 A REVIEW OF THE PROGRESSIVE STATE OF 
 THE ARTS IN ENGLAND. 
 
 ALSO 
 
 BIOGRAPHICAL SKETCHES OF THE ARTISTS, 
 
 . WHOSE WORKS CONSTITUTE THIS COLLECTION. 
 BY 
 
 JOHN BRITTON. 
 
 J-MBELLISHED WITH A VIEW AND FLAN OF THE HOUSE, 
 
 LONDON: 
 
 PRINTED FOR THE AUTHOR, AND JOSEPH BARRETT, BATH. 
 SOLD BY LONGMAN AND CO. PATERNOSTER-RO W J W. 
 MILLER, ALBEMARLE-STREET J. TAYLOR, HOL- 
 BORN j ALSO BY ALL THE BOOKSELLERS IN 
 BATH j BY COOMBS, CHIPPENHAM j 
 COLLINS, SALISBURY, &C. 
 
 1806, 
 
J, Wright, Printer, 
 St. John's Square, Clerkenwell 
 
ADVERTISEMENT. 
 
 THE regular days appropriated for shewing the pic- 
 tures, S(c. at Cor sham House, are Tuesdays and Fridays, 
 and the best time for seeing them is between the hours of 
 ten and four. Visitors may leave their horses or carriages 
 at an inn in the town, and, proceeding by the church, 
 enter the house at the south door. Cor sham is nine miles 
 east of Bath ; four west of Chippenham ; and ninety-seven^ 
 west from London. 
 
 By referring to the Engraved Plan, facing the title page 5 
 the reader may readily perceive the shape and disposition 
 of the house, with the comparative sizes and arrangement 
 of the different apartments. The numbered rooms are 
 such as are usually shewn to strangers, are figured in pro- 
 gressive order as visited, and contain the collection of 
 pictures. The cause for the different shades is explained : 
 the darkest marking the size and shape of the original 
 building, the next gradation of shade denotes the alterations 
 made by Mr. Brown, and the lightest is the addition that 
 has been lately made by Mr. Nash. 
 
 The apartments successively shewn are — 1. The Grand 
 Hall — 2. State Dressing Room — 3. State Bed Chamber— 
 4. Cabinet Boom — 5. Picture Gallery — 6. Music Boom — 
 1. Saloon, or Drawing Boom — 8. Dining Boom. 
 
 In affixing the painters' names to the pictures in 
 the following list, I have been regulated by the catalogue 
 made out by Sir Paul Methuen, the collector of them, who 
 #ppears to have been very scrupulous on this head* 
 
CONTENTS. 
 
 Dedication, to the British Institution, Sec: p. 1 to » 
 
 Introduction, Historical Essay on the Fine Arts, 
 
 &c. 9 to 2& 
 
 Catalogue of Pictures, &c 29 to 60 
 
 In State Dressing Room, . . . . . . 29 
 
 State Bed Chamber . 32 
 
 Cabinet Room, .......... 33 
 
 Gallery, 37 
 
 Saloon, 'l mm 53 
 
 Dining Room, . . ; . 58 
 
 Biographical Anecdotes of Artists, &c 61 to 100 
 
 History, &c. of Corsham House, ........ ......... 101 &c. 
 
 TO 
 
TO 
 
 THE EARL OF DARTMOUTH, 
 
 PRESIDENT, 
 
 THE VICE PRESIDENTS, AND OTHER PROPRIETORS 
 
 OF 
 
 " e&e ^titte!) institution 
 
 FOR PROMOTING THE FINE ARTS IN THE UNITED 
 KINGDOM," 
 
 Jn dedicating this humble production to such a National 
 Association , I am gratifying a feeling which I think it no 
 discredit to avow, and which I am solicitous to cherish. 
 Actuated by a sincere love for the Fine Arts in general, 
 and for the more eminent productions of British talents 
 in particular, I have always advocated their cause, and 
 endeavoured to stimulate the energies of genius to ad- 
 vance them, and rouse liberality in their behalf. To 
 you, gentlemen, the Artists of England look up with san- 
 guine hope, and solicitous expectation : for, impelled by 
 that laudable emulation, which ever associates with 
 talent, they expect from you, and through the medium 
 of your influence, that sort of patronage which shall dis- 
 criminate and encourage the truly meritorious produc- 
 tions of the British pencil. In the due fulfilment of the 
 voluntary charge you have imposed on yourselves, you 
 will not only effect this, but will also vindicate the na~ 
 
 B tionai 
 
HISTORY, &C. OF CORSIIAM HOUSE. 
 
 tional character, and advance and associate your own 
 honor with that of your country. 
 
 Among the numerous Institutions of this highly en- 
 lightened, and truly benevolent age, you have laid the 
 foundation of one which is calculated to prove eminently 
 important, and extensively beneficial to the kingdom. 
 To improve the taste, ameliorate the manners, and culti- 
 vate the refinements of polished life, is the express pro- 
 vince of the Fine Arts : and from your patronage and 
 example it is with confidence expected, that these im- 
 portant ends may be ultimately effected in Great Britain. 
 
 If we advert to the history of the arts, we shall readily 
 perceive the brilliant radiance that has encircled the name 
 of all illustrious patrons : and shall also find that the most 
 glorious fame has attended those monarchs and princes 
 who fostered and cherished active talents. Alexander 
 the Great, though notorious for the savage propensity 
 of warfare, was also conspicuous for encouraging genius 
 and abilities : and, like a modern emperor, considered 
 that, by concentrating splendour around him, he should 
 either receive or reflect some of its dazzling rays. — 
 Adrian deemed it a necessary branch of state policy to 
 give celebrity to the talents of his subjects, and thereby 
 exalt the character of his empire. Sforza anxiously en- 
 deavoured to leave the arts in prosperity at Milan, 
 although the country was lost to himself. The Gon- 
 zague family was almost equally zealous for the arts at 
 Mantua, as that of the Medici at Florence: and the 
 names of Frederic and Lorenzo will stand indelibly im- 
 pressed 
 
DEDICATION. 
 
 3 
 
 pressed on the scroll of fame as long as learning shall be 
 cherished, and talent respected. The growing honours 
 of the arts were next transplanted to Parma, and in the 
 house of the Farnese found a benignant soil : in the pa- 
 triot virtues of Doria of Genoa they were equally che- 
 rished, " May I not," says that excellent historical 
 painter, Mr. West, " speak of those arts as important 
 to society, and of the highest rank among human talents, 
 which were so ardently sustained, and cultivated in the 
 papal chcur, by those distinguished characters born for 
 the greatest enterprizes, Julius II. Leo X. and Cle- 
 ment XII ? —which the greatness of Charles V, was so 
 desirous to transplant into Germany, and Spain, and his 
 other extensive dominions?— which Rodolphus, after him, 
 took so much pains to strengthen in the former of those 
 countries? — on which the Dukes of Bavaria employed 
 so much munificence at Prague ? — and to which the ge- 
 nerous zeal of Francis I, opened a new door in France, 
 and that of Henry VIII, in England?— May not the 
 young artist consider that profession as worthy of all his 
 energy, which has seen a Leonardo da Vincy expire in 
 the arms of one sovereign, and the rivalship of another, 
 Charles V. drooping until he had brought a Titian into 
 Spain ?"* 
 
 From these great examples of patriotic patronage, 
 Mr, West appeals to those persons. who enjoy rank and 
 opulence in this country. " Were these," he observes, 
 
 M disposed 
 
 * Discourse delivered at the Royal Academy 1792. 
 B 2 
 
4 
 
 HISTORY, &C. OF CORSHAM HOrSL. 
 
 u disposed to patronize the arts to such an extent only 
 as would sit easy on their situations, what an emulation 
 of genius would they create, and an immortality to them- 
 selves ? — Who shall say that all the brilliancy of Greece, 
 which was certainly effected without a departure from 
 these principles, might not be realized in Great Britain ? 
 To suppose that the fine arts can have permanence in 
 any country without patronage, is to suppose that the 
 waters of mighty rivers can flow, when the parent ocean 
 withholds her abundance." 
 
 The love of the arts tends to render man, not only en- 
 gagingly social, but additionally enlightened and refined. 
 This must be often seen and felt by the observant travel- 
 er, in comparing the very material difference of man- 
 ners manifested in the friend of the Fine Arts, and in the 
 dissipated gamester, and sottish booby. The one 
 evinces all the urbanity, politeness, and engaging civili- 
 ty, which captivates the attention of the stranger, and 
 sacures the esteem of the acquaintance ; while the pro- 
 pensities of the other serve to degrade the character of 
 man, and rank him among the public nuisances of civi- 
 lized life. It must afford us much consolation to think 
 that the present manners of the great (emanating from 
 the throne) are calculated to discountenance such per- 
 sons, and will, it is hoped, ultimately drive them from 
 the public walks of refined society. To the former, 
 talents and honor are satisfactory passports, whilst the 
 same qualities instantly provoke the enmity and brutal 
 vengeance of the latter. The one cultivates and enjoys 
 
 the 
 
DEDICATION. 
 
 5 
 
 the " feast of reason and the flow of soul," but the others 
 know of no other feasl, but that which gratifies the cor- 
 poreal appetite ; and of no other flow but that of the 
 bottle. 
 
 The praise-worthy zeal manifested by the founders of 
 the British Institution in behalf of the Fine Arts, is highly 
 honorable to the country : but it is much more glorious 
 to themselves. For while the former may be essentially 
 benefited by such an establishment, the latter will ensure 
 the testimonials of esteem and applause from the painter, 
 the sculptor, the poet, and the historian. As the name 
 of Lorenzo de Medici will ever be associated with gene- 
 rous patronage, and referred to as the most eminent en- 
 courager of the fine arts, it is hoped that the promoters 
 of the British Institution will nobly emulate his example, 
 and thereby secure to themselves an equal, if not a 
 greater, share of public gratitude and general fame. The 
 peculiar customs of a beloved monarch are commonly 
 emulated by his surrounding friends, and as these gene- 
 rally dictate the fashions of a nation, we may fairly con- 
 clude that the English arts would have been more exten- 
 sively promoted and patronized, but for the influence of 
 some counteracting cause. This we must attribute to 
 the power and artifice of certain interested persons ; for 
 there is a class of men who have battened on the credulity, 
 or injudicious vanity of affected connoisseurs, and have 
 contrived to inundate the country with a vast collection 
 of pictures, all declared to be by Titian, Rubens, Cor- 
 
 B Z * e ggi Q * 
 
6 
 
 HISTORY. &C. OF CORSIIAM HOUSE. 
 
 reggio, Poussin, Claude, &c* It is high time this dis- 
 graceful business be checked, and it is hoped that the 
 British Institution will endeavour to perform this pub- 
 lic good, by exercising a judicious patronage to genuine 
 merit, by encouraging the truly worthy, and by reprov- 
 ing and discountenancing every species of imposition. 
 
 That you are decidedly favourable to this object, ap- 
 pears evident by the first clause in your published ac- 
 count, and as it may tend to give some degree of noto- 
 riety, and may awaken curiosity to the subject, I shall 
 conclude this address by transcribing the passage. 
 
 " The primary object of the British Institution, 
 under his majesty's patronage, is to encourage and re- 
 ward the talents of the artists of the United Kingdom ; so 
 as to improve and extend our manufactures, by that 
 degree of taste and elegance of design, which are to be 
 exclusively derived from the cultivation of the Fine Arts, 
 and thereby to increase the general prosperity and re- 
 sources of the empire. It is conceived that such an in- 
 stitution is of peculiar importance to the United King- 
 dom at the present moment ; when efforts are making in 
 different parts of Europe to promote the arts of painting, 
 sculpture, and design, by great national establishments; 
 
 and 
 
 * For some judicious and patriotic observations on this subject, see 
 Sbee's " Rbymes on Art;" the posthumous works of Edward Dayes ; 
 Ibbetson's "Accidence of Oil Painting f Hoare's " Inquiry into the 
 requisite Cultivation, and present State of the Arts of Design in 
 England," &c. 
 
DEDICATION. 
 
 7 
 
 and thereby to wrest from us those advantages, which 
 can only be retained by a pre-eminence in the Fine 
 Arts. 
 
 " With a view to this object, it is intended to open a 
 Public Exhibition, for the sale of the productions of 
 British Artists ; to excite the emulation and exertions of 
 the younger artists by premiums, and to endeavour to 
 form a public gallery of the works of British artists, with 
 a few select specimens of each of the great schools. — 
 The exhibition is to be exclusively confined to the pro- 
 ductions of artists of, or resident in, the United King- 
 dom ; and the higher branches of painting, sculpture, 
 and modelling are to be considered as the preferable sub- 
 jects of premiums, and of purchasers for the gallery."* 
 
 With such intentions, and such objects in view, to 
 whom could I appeal, with more propriety, than to the 
 Members of the British Institution : and as they have 
 nobly stepped forward in behalf of the arts, it is presumed 
 that they will not disregard the unprejudiced and disin- 
 terested remarks of one, who has more partiality for the 
 subject, than ability to render it service. To extend the 
 present address, would perhaps be trespassing too much 
 on that time, which may be better appropriated, and had 
 I said less I should not have fulfilled my duty as a writer, 
 nor my intention as an Englishman. Hoping to see the 
 arts of my country properly appreciated, its literature 
 
 justly 
 
 * Extract from the published " Account of the British Insti 
 tution." 
 
 B 4 
 
8 
 
 HISTORY, &C. OF CORSIIAM HOUSE. 
 
 justly patronized , and its public glories proclaimed, and 
 feelingly understood in every quarter of the civilized 
 globe, I beg leave to subscribe myself, 
 
 My Lords and Gentlemen, 
 
 Your obedient servant, 
 
 J. BRITTOK 
 
 June 4, 1806. 
 
INTRODUCTION. 
 
 A concise Historical Essay on the Progress of the Fine 
 Arts ; with a brief Account of the different Schools : 
 also a review of the progressive and present state of the 
 Arts in England, &c. 
 
 In every portion of the enlightened world, and in every 
 period of civilization, the Fine Arts have been compara- 
 tively countenanced and protected. From the earliest 
 accounts of Greece and Rome, we find that they were 
 deemed objects of the highest consideration ; and, from 
 those vestiges which have been transmitted to us, it ap- 
 pears that sculpture and architecture were at their acme 
 in the most flourishing periods of those renowned em- 
 pires. Of painting, being composed of more perishable 
 materials, we have not the same evidence ; but, from the 
 elevated state of the former two, we may reasonably 
 infer that she must have kept pace with, or have closely 
 followed her sister arts. The excellencies of Phidias and 
 Praxitiles have been frequently descanted on, and it can 
 hardly be considered as conjecture, in supposing that 
 Appelles and Zeuxis were their equals. The limits of the 
 present essay preclude me from entering into a minute 
 investigation to ascertain whether the love for the arts 
 was general among those celebrated nations, though we 
 may take it for granted, that where the love of poetry, 
 
 music. 
 
10 
 
 HISTORY, &C. OF CORSHAM HOUSE, 
 
 music, and the drama, was so universally prevalent, a 
 general feeling for painting and sculpture must have been 
 equally popular. That this was the case, many circum- 
 stances conspire to prove : their religion was favourable; 
 their most solemn festivals and processions, their chariot 
 races, their domestic habits and manners, and their most 
 frivolous amusements, all partake of the picturesque, and 
 seem tinctured with a love for the arts. 
 
 In an intelligent and enlightened age, like the present, 
 it will be unnecessary to enter into a minute detail of the 
 decline, fali, and subsequent revival of the Fine Arts; 
 ♦suffice it to say, that, from causes already known to the 
 scientific reader, about the year 580, they experienced 
 their dissolution, and revived again about the middle of 
 the thirteenth century. Happy period ! which dispelled 
 the Gothic gloom, and ushered in once more the Muses 
 and the Graces. 
 
 Cimabue and Giotto were the first to avail themselves 
 of this auspicious dawn ; and though they did not carry 
 the art far, yet they struck into the right road: they 
 scattered a few seeds in a favourable soil ; and, like the 
 down of the thistle, these seemed to have progressively 
 disseminated themselves over a large tract of country. — - 
 Previous to the establishment of what has been techni- 
 cally called the National Schools, the arts made but very 
 slow progress ; and it was not till after these schools were 
 founded and matured, that they assumed any decided 
 importance. 
 
 A school in the Fine Arts implies, that class of artists, 
 
 who 
 
INTRODUCTION. 
 
 i I 
 
 who derived their particular style of drawing, colour- 
 ing, &c. from one eminent master, or who pursued a simi- 
 lar system in one of these branches. The schools are 
 usually divided, and denominated the Roman, Venetian, 
 Bolognese, Milanese , Lombard, Spanish, French, German^ 
 Dutch, Flemish, and English. The three first have been 
 characterized, by Sir Joshua Reynolds, as practising the 
 epic style, in their performances. The Venetian, Flemish, 
 and Dutch aimed at applause, by inferior qualities : one 
 considering that all excellence consisted in colouring, 
 and the others in minute detail. " Some schools, such as 
 the Roman and Florentine, appear to have addressed 
 themselves principally to the mind ; others solely to the 
 eye, such as the Venetian, in the instances of Paul Vero- 
 nese, and Tintoretto ; others again have endeavoured to 
 unite both, by joining the elegance and grace of orna- 
 ment with the strength and vigour of design : such are 
 the schools of Bologna and Parma."* 
 
 Of these different academies, I shall detail a few dis- 
 criminating particulars, which I hope will afford some 
 insight into the characteristics of the present collection, 
 
 The first, and acknowledged principal school, was the 
 Roman: it was particularly distinguished for drawing, 
 taste, and great ideas, all flowing from those models of 
 excellence, which the students had before them in the 
 antique statues and bas-reliefs. At the head of tliis 
 school were Raphael, Michael Angelo Buonarotti, and 
 
 Julio 
 
 * Works of Sir Joshua Reynolds, Vol TIL p. 130, 
 
12 
 
 HISTORY. &C. OF CORSHAM HOUSE # 
 
 Julio Romano. The distinguishing characteristics of 
 Raphael were dignity, grace, beauty, and sweetness: 
 those of Michael Angelo, vigour, and grandeur of com- 
 position, with a correct knowledge of the human figure : 
 but Julio Romano, in the opinion both of Fresnoy and 
 Reynolds, possessed the most poetical genius for paint- 
 ing ; his " Hours giving provender to the horses of the 
 sun," is mentioned as an incontestable proof of this 
 opinion. This great school, after the death of the imme- 
 diate disciples of Raphael and Michael Angelo, languished 
 for several years, but revived in nearly all its original 
 glory under Annibal Caracci, and Dominicino, from the 
 Bolognese academy, who rose under the admirable tuition 
 of Ludovico Caracci. These were succeeded by Adrian 
 Saechi, who, on great ceilings, displayed a wildness of 
 composition, incompatible with dignity and grandeur. 
 Among the disciples of this master Carlo Maratti was the 
 most conspicuous, who neglected the scientific style, and 
 substituted a sort of meretricious Ornament, This artist 
 and his scholars formed what may be considered a third 
 Roman school, which certainly brought with it a rapid 
 decline in the arts. For here, as in all other human pur- 
 suits, if the fancy is allowed to sport, unrestrained by 
 judgment and taste, she will be more likely to carica- 
 ture, than faithfully imitate, nature. 
 
 -Venetian School. Contemporary with the early 
 Roman school was the Venetian, as renowned for its co- 
 louring as the former for its drawing and composition. At 
 the head of this school were Titian, Paul Veronese, and 
 
 Tintoretto : 
 
INTRODUCTION. 
 
 13 
 
 Tintoretto : but though they were the first, they were not 
 the only men of splendid talents who proved an honour 
 and ornament to their country. Pordenone, the Bassans, 
 Paris Bordone, Andrea Schiavone, and the Pahna's, were 
 all artists of this school, and of distinguished merit in their 
 several departments. Sir Joshua observes, that the Ve- 
 netian artists seem to have painted for no other purpose 
 than to be admired for their skill and expertness in the 
 mechanism of painting, and " to make a parade of that 
 art, which the higher style requires its followers to 
 conceal."" 
 
 The Milanese School was established by that univer- 
 sal genius Leonardo da Vinci,* whose knowledge of ana- 
 tomy was equal, and his application of it superior to that 
 of Michael Angelo, and whose colouring was scarcely sur- 
 passed even by Titian. He may with propriety be styled 
 the philosopher of the art, as he practised it upon more 
 scientific principles than any of his predecessors. The 
 Procaccini, who were natives of Bologna, retired to 
 Milan, and attached themselves to the school of this 
 city, 
 
 The Florentine Academy flourished under the au- 
 spices of Lorenzo de Medici the magnificent. f This 
 school produced Andrea del Sarto, and had occasionally 
 to boast the presence of Raphael and Michael Angelo. 
 
 * The life and works of this artist have been translated into English, 
 and given to the public, by Rigaud, 8vo. 1800. 
 
 f See Roscoe's Life, &c. of this distinguishe d Maecenas of the arts. 
 
 The 
 
14 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 The Lombard School is immortalized from having 
 produced those two great geniuses, Correggio and Par- 
 •niigiano. 
 
 The Neapolitan School produced Lanfranco, Luco 
 Giordano, and Salvator Rosa, though the latter resided 
 principally at Rome. Naples was the general residence 
 of Spagnoletto, 
 
 In Bologna was established the memorable School of 
 the Caracci, which in celebrity was little inferior to that 
 of Rome, and greatly superior to all the others. Here 
 was combined the dignity of the antique with the beauty 
 of living nature. The excellencies of all the other 
 schools were nearly united in this. 
 
 The French School, or schools, may be classed in 
 three different eras, and characterised by as many styles ; 
 two before, and the other since the revolution ; but 
 though they are very dissimilar, neither has much of that 
 sort of merit which belongs to the higher species of the 
 Fine Arts. Previous to that great national, and general 
 shock, the revolution, the best of the French artists were 
 too fond of prettyness to be fine, and glare to be beau-^ 
 tiful. In the time of Louis XIV. Le Brun and Le Sueur 
 certainly advanced the aits in France to considerable 
 dignity, but under Boucher and Vanloo they again sunk 
 to degraded imbecility. Affecting the reputation of co- 
 lourists, they aimed at excellence by raw tints, and osten- 
 tatious penciling. Vouet, Vernet, and most of the 
 artists of the late French school, have more or less of this 
 in their pictures ; but since David has mounted into cele- 
 brity , 
 
 f 
 
INTRODUCTION. 
 
 If 
 
 britv, a new era has commenced in the arts. He, and 
 his disciples, have adopted the antique for their model, 
 and by adhering solely to that, without sufficient refe- 
 rence to nature, have fallen into a dry, hard, unpleasant 
 manner. Nicolo, and Gasper Poussin, with Claude, 
 licH'e generally been placed at the head of the French 
 school, but as the former was avowedly a pupil of the 
 Romans, he properly belongs to that class ; and the two 
 latter certainly derived both their professional knowledge 
 and subjects from that fascinating and classic country in 
 which they flourished. With such invaluable advantages 
 as the French now possess (the most eminent examples 
 of the old masters, and the patronage of an ostentatious 
 monarch) they can have no excuse in stopping short of 
 excellence • and unless they shortly attain it, the critical 
 historian will justly accuse them of wanting taste, genius, 
 or science. 
 
 Of the Flemish and Dutch Schools so much is already 
 known in this country, that they stand in no need of 
 illustration here. The former produced Otho Venius, 
 Rubens, Vandyck, &c. and the latter Rembrandt, Ruys- 
 dael, and several other eminent artists, all of whose 
 works are as well known now in England as in the 
 countries where they first appeared. 
 
 England has long been renowned for eloquence and 
 the splendor of its arms, but till of late years the pro- 
 gress of the arts has been slow and circumscribed : it 
 was not, however, for want of encouragement, as som6 
 of the most eminent painters in Europe have occasionally 
 
 resided 
 
16 
 
 HISTORY, &C OF CORSIIAM HOUSE. 
 
 resided here, and have met with the most flattering suc- 
 cess. The cause of the apparent dearth of British artists 
 was wholly owing to the indifference with which their 
 efforts were received, and a prejudice which prevailed 
 in favour of foreigners. Happily this prejudice, or pre- 
 ference, seems rapidly declining ; and we shall, ere long, 
 hail the happy era when taste and patriotism will unite 
 in fostering the efforts of English talents. 
 
 If we take a concise chronological view of the pro- 
 gress of the arts in this country, we shall find that very 
 little has been done towards their promotion till the pre- 
 sent illustrious and prosperous reign ; and by closely 
 examining this view with its co-relative associations, we 
 shall perceive the great importance they reflect on a 
 state, and the numerous pleasures and domestic comforts 
 they disseminate around them. If we analyze the his- 
 tories of different nations, we shall invariably find those 
 to be the most prosperous and flourishing, which extend 
 the most ample protection and patronage to the Fine 
 Arts, and to Literature. The Catholic religion appears 
 to have been formerly the creator of painters, and the 
 only promoter of their works in this country. Saints, 
 legendary stories, crucifixions, holy families, &c. were 
 the principal subjects demanded, and thesfc were repeated 
 ad infinitum. The first examples that have descended, 
 or been described to us, were rudely drawn, and crudely 
 coloured; and it was not till the time of Edward the 
 Third that we hear of any considerable productions. 
 This monarch caused several chapels to be ornamented 
 
 with 
 
INTRODUCTION* 
 
 17 
 
 with painted glass, and enamelled monuments, as well as 
 with paintings on the walls, representing scriptural sub- 
 jects, and others from the church legends, together with 
 the portraits of prominent characters of both sexes then 
 living. The chapel of St. Stephen, Westminster (now 
 the House of Commons) was the most conspicuous object 
 of his zeal and liberality. The history of this building, 
 if properly investigated and judiciously developed, will 
 unfold much curious and interesting information con- 
 cerning the state of the arts at that period.* 
 
 The famous William of Wykeham is highly distin- 
 guished in the annals of the arts about this time. His 
 partiality to splendour and magnificence induced him to 
 sanction and protect them, and his elegant enamelled 
 crosier (now at Oxford) is certainly the finest specimen 
 of the kind at that early period. He also designed some- 
 parts of Windsor Castle. 
 
 Henry the Seventh afforded patronage to many inge- 
 nious men, in painting, sculpture, and architecture.— 
 The latter art indeed was carried, in his reign, to the ex- 
 treme pitch of ornament: till beauty and elegant sim- 
 plicity were destroyed by excess of decoration. As the 
 graceful female figure is rendered more engagingly 
 lovely by appropriate and tasteful dress ; so is the whole 
 
 contour 
 
 * An account of the architectural character of this chapel has been 
 published by the Antiquarian Society : and Mr. J. S. Hawkins has 
 announced a work for publication, with etchings, by J. T. Smith, 
 illustrative of the paintings, &c. 
 
 c 
 
18 
 
 HISTORY, &C. OF COKS1UM HOUSE. 
 
 contour or parts of a building made more interesting to 
 the eye and fancy by a judicious adaptation of decorative 
 ornaments. 
 
 But it was not till the reign of Henry the Eighth that 
 the Arts became objects of public attention in England. 
 They had recently revived in Italy; and found in France 
 a benignant soil. But in this country, the reformation, 
 by stripping the churches of paintings and images, con- 
 fined the collected gleanings of Grecian and Italian virtu 
 to private houses. This monarch endeavoured to entice 
 some great artists to his kingdom, and particularly in- 
 vited Raphael and Titian : but failing ih this laudable 
 intention, he resolved to procure some of their works. — 
 The celebrated picture of St. George (now in the pos- 
 session of the King of Spain) by the former, he procured ; 
 and also two eminent pictures by the latter (Diana and 
 Actoeon, and Diana and Calista) now in the collection of 
 the Marquis of Stafford.* These are among the first 
 celebrated pictures that were imported into this country : 
 and here perhaps we may be justified in fixing the origin 
 of that disposition in the English for collecting paintings, 
 which afterwards, in the time of Charles the First, was 
 
 geratly 
 
 * This munificent nobleman possesses a most splendid collection 
 pf pictures ; for the reception and display of which he has fitted up a 
 spaciously appropriate suite of rooms at Cleveland House, St. James's ; 
 and, with a liberality, which, it is hoped, will be imitated, he has ap- 
 propriated one day in the week for exhibiting them to all persons with 
 tickets, or properly recommended. 
 
INTRODUCTION, 
 
 19 
 
 greatly promoted by the monarch and some of his 
 nobles* 
 
 Francis the First of France, in every thing the rival of 
 Henry, instead of encouraging the mode of collecting 
 works of art, and brooding over them in privacy, which 
 is still a passion in England, countenanced and encou- 
 raged the decoration of churches, and scattered the seeds 
 of taste all over France, by a liberal patronage of Andrea 
 del Sarto,Rustici,Rasso, Primaticcio, Cellini, and Nicolo. 
 Henry, it is true, patronized Holbein,* and Torrigiano : 
 
 but 
 
 * This artist came to England, recommended by Erasmus, to Sir 
 Thomas More, with a portrait of the former in his hand;* and the 
 Knight, with many of his friends, soon had their faces recorded on 
 pannel. — (See Walpole's Anecdotes.) — To Holbein, and the taste then 
 excited, is to be ascribed the greatly encouraged fashion of Portrait 
 Painting, which has ever since been remarkably prevalent in this king- 
 dom. This laudable and endearing pursuit has been much decried by 
 common-place essayists : but after examining the Historical Portraits 
 (we will not call them merely heads) of Vandyck, Reynolds, West, 
 Lawrence, Hoppner, Opie, Beechey, Shee, Northcote, and several 
 others, by our modern artists, we cannot conceive any justifiable 
 reason for depreciating this branch of the profession. It is that 
 species of Historical Painting which records one great truth, embel- 
 lished by the charms of art. Whatever may be said to the contrary, 
 I cannot hesitate to assert that such portrait painting as distinguishes 
 the best productions of the modern English school, will ever be re- 
 garded by men of true taste, and by all discriminating connoisseurs, 
 as very high examples of art. Let it not be hastily inferred that I 
 would intentionally degrade or slight Historical Painting; so far 
 
 otherwise, 
 
 * This picture is in the possession of the Earl of Radnor, at Longford Castfe. 
 
 C 2 
 
20 HISTORY* &C. OF CORSHAM HOUSE. 
 
 but the religious subjects, congenial with the taste of 
 that period, were forbidden by law, and the people were 
 m general not sufficiently refined or cultivated, to relish 
 any other productions of the pencil. 
 
 The gloomy and sanguinary reign of the First Mary 
 was too inauspicious to foster the efforts of genius : yet 
 Sir Antonio More had considerable practice, and pro- 
 duced some tolerably good .portraits, and a few historical 
 pictures. 
 
 Elizabeth was not prodigal of her bounties, but to a 
 few painters she gave some encouragement ; and to Zuc- 
 euro, De Hum, Ketel, &c. she sat for her portrait. To 
 be painted with a profusion of lace and trinkets was her 
 darling vanity: and so disagreeably encumbered are the 
 generality of her pictures, that they strongly remind us 
 of the character of Mad-Bess. " A pale Roman nose, a 
 head of hair loaded with crowns and powdered with 
 
 diamonds, 
 
 otherwise, that, while I have faculties to recollect, and feelings to ap- 
 preciate such truly Historical Pictures as " The Death of Wolfe," 
 " The Battle of the Boyne," " La Hogue," &c. and those classically 
 poetical pictures of the immortal Sir Joshua Reynolds — " Count 
 XJgolino/' " The Death of Dido/' " Cymon and Iphigenia/' " Hercules 
 strangling the Serpents/' &c. &c. I shall ever revere, admire, and 
 praise this eminent branch of the profession. By an English Historian 
 the best pictures of the former will ever be contemplated with in- 
 creased pleasure; for they combine more truth of delineation, with 
 judgment of composition, than are to be found in those of any artist 
 before his time. See a list of Mr. West's historical pictures, in Mr, 
 lloare's Academic Annate, No. 3. 
 
INTRODUCTION. 
 
 2 i 
 
 diamonds, a vast ruff, and a vaster fardingale, and a 
 bushel of pearls, are the features by which every body 
 knows at once the pictures of Queen Elizabeth,"* Ni- 
 cholas Hilliard and Isaac Oliver were two English Artists 
 who obtained some celebrity during this and the subse- 
 quent reigns. It may be remarked as a peculiarity of this 
 period, that portraits w r ere generally painted without 
 shadows : for which Elizabeth gave this reason — " As 
 shadows are accidental effects, and not belonging to a 
 face, they ought not to be represented," 
 
 James the First was too much a pedant to possess 
 taste, but his son and successor, 
 
 Charles the First, invited and patronized Rubens ; 
 atad if he could have kept and maintained his authority 
 in his own kingdom, the Arts would then have flourished- 
 The civil war, and the pretended republic, created an 
 interregnum in the dominion of taste. This munificent 
 monarch formed a distinguished collection of pictures, 
 by the great Italian and Flemish masters. Among other 
 Artists of eminence, who then obtained royal patronage, 
 and were caressed by the nobles of the kingdom, were 
 Vandyck, Inigo Jones, and Dobson. The two latter 
 may be considered as the earliest English Artists who 
 enjoyed the favors of a monarch ; and of the former we may 
 justly apply the elegantly energetic lines which Shee with 
 so much justice bestows on Sir Joshua Reynolds. He 
 " Left his best image in his w orks enshrin'd, 
 And made a mausoleum of mankind." 
 
 Charles 
 
 Walpole's Anecdotes. Vol. L 
 C3 
 
to 
 
 HISTORY* &C OF CORSHAM HOb'SE. 
 
 Charles the Second was frivolous in every thing ; and 
 though he possessed the cartoons of Raphael ; though 
 Rubens had magnificently ornamented the Banquetting- 
 House, at Whitehall, Charles employed Verrio in the 
 silly decorations of ceilings and staircases; and confined 
 the talents of Sir Peter Lely to the representations of the 
 amorous beauties of his court. Though this was a sort of 
 depraved patronage, yet it was comparatively commend- 
 able ; for the artiste were employed, though not very 
 gloriously, or very greatly. In this reign, however, we 
 find that the royal favors were conferred principally on 
 foreign artists. 
 
 The disputed succession to the crown, occasioned by 
 the errors of James the Second, and the Revolution, 
 fixed the attention of government on war and politics. 
 King William's notions, says Johnson, were wholly 
 military. 
 
 Queen Anne was the first of our sovereigns who called 
 into action the British pencil, as the paintings in the dome 
 of St. Paul's and the Hospital at Greenwich sufficiently 
 evince. In Architecture, Sir Christopher Wren was 
 equally distinguished by her favour.* 
 
 During 
 
 * " On being informed that there was considerable competition be- 
 tween the English and Foreign Artists, for the decoration of St. Paul's, 
 the Queen asked if there were any great difference in the merits of 
 the candidates, and being answered in the negative, declared that in 
 that case she preferred employing her own subjects." 
 
 Mr. West's Letter in the Academic Annals, 1804-5. 
 As this circumstance particularly applies to the present case of the 
 Cambridge University, relating to Mr. Pitt's statue, it is hoped the 
 collegians will profit by the example. 
 
INTRODUCTION. 
 
 23 
 
 During the reigns of George the First, and George the 
 Second the Fine Arts were almost wholly neglected. It 
 is curious to compare their state at that and the present 
 period ; whence we shall perceive such an extraordinary 
 difference, as seems almost incredible. 
 
 •i u They who have examined with unprejudiced atten- 
 tion the progress of art in this country, from its first in- 
 troduction, cannot but acknowlegde the rapid strides of 
 improvement made within the last fifty years ; and parti- 
 cularly since the establishment of the Royal Academy. — 
 The influence of this institution, as a seminary of in- 
 struction, and the advantages its annual exhibitions 
 afford by promoting emulation, and furnishing the 
 student with an opportunity of seeing his faults, and 
 displaying his merits, are sufficiently exemplified in the 
 general ability apparent in every department of art.— 
 Though we cannot at present boast of a Raphael, a Rey- 
 nolds, or a Vandyck, yet we have many eminent artists, 
 whose names will be inserted with honour in the record* 
 of fame ; and there is a general diffusion of respectable 
 talents, which, if urged forward by the generous stimulus 
 of public favour, cannot fail to make this country as pre- 
 eminent in the pursuits of taste, as she is already distin- 
 guished in the paths of science and philosophy. Excel- 
 lence is always comparative, and to estimate justly what 
 we are, it is necessary to consider what we have been. 
 Under disadvantages of national neglect and public 
 apathy, which were never before surmounted in any 
 country, the English school has grown and ripened, 
 within the reign of his present majesty, to a degree of 
 
 strength 
 
24 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 strength and maturity, which may fairly challenge com- 
 parison with the past state of art in this country, and the 
 present state of art in every other country of Europe." 
 
 Shee's Rhymes on Art, note to line 8.5 
 
 But for George the Third was reserved the glory of 
 being the founder of an establishment, which must confer 
 immortality on his reign, and which, it is fairly presumed, 
 will at once dignify the country, improve its manufac- 
 tures, and ameliorate the morals of the people, 
 
 " In the year 1768 His Majesty gave his Royal Sanction 
 to a plan formed for the establishment of an Academy of 
 Painting, Sculpture, and Architecture, of which he was 
 graciously pleased to become the Protector and Patron^ 
 
 " In the three branches of Art which constitute that 
 Academy, he found many Artists already formed : among 
 others of considerable celebrity in Painting, Reynolds, 
 Wilson, Hayman, Gainsborough, Hoare, Dance, Morti- 
 mer, Barrett, Sandby, Wright, Cotes, and West; in 
 Sculpture, Bacon, Nollekens, and Wilton ; in Architect 
 ture, Chambers, G. Dance, Stuart, T, Sandby, Gwyn, 
 and the two Adams's. 
 
 "At the same time Strange, Woollett, Hall, Green, 
 and M'Ardell shone with marked eminence among the 
 engravers."* 
 
 The regret which must naturally be felt at the loss of 
 many of those veterans in the Art, is softened by the 
 cheering hope which we may with confidence entertain 
 
 of 
 
 * Mr. West's letter, in Hoare's Academic Annals for 1801-5, 
 
INTRODUCTION, 
 
 25 
 
 of their successors, many of whom have already so signa- 
 lized themselves, as to surpass the most sanguine expec- 
 tations of their countrymen, and others have put forth 
 equal promise to increase the renown of the National 
 character. 
 
 The recently established " British Institution/' for 
 the further promotion of the Arts, of which his Majesty has 
 also graciously condescended to become the Patron, and 
 the heir apparent the Vice-Patron, promises to carry on 
 and encourage that system of protection which the Royal 
 Academy began. This establishment, which affords to 
 contemporary Artists the opportunity of an annual exhi- 
 bition and sale for their works, must be productive of the 
 happiest effects : and it is sincerely hoped that its foun- 
 ders and patrons will laudably persevere in the avowed 
 object of their association. 
 
 On the day of committing these observations to 
 the press (July 10, 1806) this Institution closes its first 
 public exhibition, and it is with sincere pleasure I 
 am informed, by one of its members, that the pictures 
 sold from the gallery amount so the sum of <£. 5450. 
 Presuming that almost the whole of these have attracted 
 purchasers, in consequence of their publicity, under the 
 peculiar circumstances of this establishment, and that a 
 new era in the arts may very probably originate from it, 
 the connoisseur, patriot, and artist have cause to rejoice 
 at the event ; and whilst the latter may now employ his 
 time and talents with the cheerful hope of obtaining fame 
 and fortune commensurate with his abilities, the former 
 
 will 
 
History, &c. of coksiiam iiousili 
 
 will contemplate, with mingled emotions of pleasure and 
 admiration, the advancement of merit, and the conse- 
 quent dignified pre-eminence which Great Britain must 
 thereby acquire* 
 
 " Too long our Isle, though rich in stores of mind,. 
 Proud to be free, scarce deign'd to be refin'd ; 
 Still with a surly Spartan virtue frown'd, 
 Nor sought to rival states for arts renown'd : 
 But now no longer heedless we refuse 
 The proffer'd garland of the Graphic Muse ; 
 Britannia binds her laurell'd brows once more, 
 And adds the only wreath unwon before ; 
 While nations long supreme in taste retire, 
 Confess her claims, and in their turn admire." 
 
 Shee's Rhymes on Art. 
 In consequence of the convulsions on the continent, 
 and other circumstances, this country is become the great 
 receptacle of the most valuable works of art. Pictures 
 which once decorated the churches, convents, and palaces 
 of other nations, are now consigned to England, as a 
 place where they may be safely deposited, or advanta- 
 geously sold. From circumstances sufficiently notorious, 
 and from motives very apparent, France has lately pro- 
 claimed a rivalry, in the Fine Arts, with this country : 
 and it has been the judicious policy of her Governor to 
 concentrate a vast mass of excellent productions in his 
 capital. Still England has so much treasure in works of 
 ancient art, and in native talent, that she must not only 
 preserve her pre-eminence over her rival, but will, if 
 
 forwarded 
 
INTRODUCTION. 
 
 27 
 
 forwarded by a little patriotic zeal in the government and 
 the nobles, surpass all modern nations, and challenge 
 comparison with ancient Greece or Rome in their meri- 
 dian of splendour. The Arts in England, though they 
 have had to contend with various obstacles, have at length 
 obtained a dignified station, and are not only contem- 
 plated with admiration by the unprejudiced connoisseur, 
 but are viewed with envy and surprise by rival nations. 
 Whilst the energetic Genius of the Artists have princi- 
 pally produced this effect, we must attribute much to the 
 peculiar partiality and patronage of his present Ma- 
 jesty. Nobly emulating his great example, some noble- 
 men and gentlemen have lately dared to purchase and 
 display several pictures by British Artists. Among 
 whom I find that Sir John Leycester has decorated one 
 apartment wholly with English Paintings ; and the Mar- 
 quis of Stafford, the Earl of Grosvenor, and some other 
 noblemen, are laudably following his example. 
 
 To Thomas Bernard, Esq, of the Foundling Hospital, 
 the fine arts of our country are greatly indebted, for an 
 active and laudable zeal in their behalf. 
 
 " What though ! in Greece, when Amnion's glory sway'd. 
 
 When prostrate Rome Augustus* power obey'd, 
 
 In latter days, when Leo's lustre shone, 
 
 And gorgeous Louis grac'd the Gallic throne ; 
 
 What though ! like rockets from the hand of time, 
 
 Through life's long gloom shot sparkling and sublime, 
 
 These meteor ages of mankind were given, 
 
 To mark with clustered stars the mental heaven, 
 
 And 
 
28 HITSORY, &C. OF CORSHAM HOUSE. 
 
 And pour their blaze on earth's astonish'd view, 
 When Freedom's cloud-encompass' d orb withdrew ! 
 Britain, for thee ! a brighter age expands, 
 Bless' d rock on which the church of Freedom stands ! 
 From whose pure shrine expelPd with Idol power, 
 Anarch's grim gods a pagan world devour. 
 Britain for thee ! when calmer hours arrive, 
 And our cold year th' unsheltered Arts survive, 
 For thee remains to prove, what radiant fires 
 Gild the clear heaven where liberty inspires ; 
 To shew what springs of bounty from her hand, 
 As gush'd the rocks at Moses' high command, 
 O'er Art's impoverish'd plains refreshing flow, 
 And cheer the fainting tribes of Taste below." 
 
 Shee's " Rhymes on Art. 55 
 
 A 
 
CATALOGUE OF PICTURES, 
 
 tf WITH NOTES, &e. 
 
 ^ COMMENCING IN 
 
 THE STATE DRESSING ROOM. 
 
 Hail, Painting, hail ! whose imitative art 
 Transmits through speaking eyes, the glowing heart. 
 
 No. 1. A Boy blowing bubbles, (1) An. Caracci. 
 23 inches by 17 inches. 
 2. A Man and woman smoak- 
 
 ing, "D.TeniersFec."* 
 
 10 in. by 8 in. — pan.f 
 
 3- A Man and woman drinking, Teniers, 
 10 in. by 8 in. — pan. 
 
 4. A Battle piece, a sketch, ... Borgognone. 
 
 14 in. by 9 in. — pan. 
 
 5. Death of Procris, (2) A. Elsheimer. 
 
 8 in. by 7 in. — cop. 
 
 No. 6, 
 
 (1) A pleasing little picture, painted with great truth of colouring 
 and simplicity of design. 
 
 * The names between inverted commas are spelt, &c. the same as 
 on the picture. 
 
 f Pan. means painted on pannet ; can. for canvas; and cop. for 
 topper. 
 
 (2) Pilkington, speaking of this Artist, says that the Death of Pro- 
 cris ranks " among his capital performances." See Lempriere's Classi ■ 
 cal Dictionary ; and Ovid, who has versified the tale. 
 
 d 
 
30 
 
 HISTORY, &C. ® CORSHAM HOUSE* 
 
 No. 6. Cupid straining his bow, with 
 
 two other Cupids, Parmigiano. ■ 
 
 9 in. by 3 in.; — pan. 
 
 7. The Corinthian, Eudamie^s, 
 
 making his Will, afine sketch, (3) N. Poussm. 
 9 in. by 7 in. — pan. 
 
 8. Portrait of Tomaso Mas-Ani- 
 
 eixo, (4) S. Rosa, 
 
 22 in. by 18 in. 
 
 9&10. Two small pictures, .: D. Teniers. 
 
 9 in. by 6 in. 
 
 Teniers copied these from similar paintings in tha 
 gallery of the Arch-Duke Leopold, by Par. 
 Bourdon and young Palma. 
 
 No. IU 
 
 (3) This picture records a noble instance of disinterested friendship ; 
 Eudamidas dying in indigent circumstances, appointed his two friends, 
 Aretaeus and Charixenus, his executors ; bequeathing to the former 
 the care and provision of his aged mother ; to the latter the portioning 
 his marriageable daugher, and enjoining, in case either of these friends 
 should die, that the survivor should discharge the whole trust. This 
 will was much ridiculed, but the two executors nobly accepted the 
 charge : Charixenus dying soon afterwards, the whole trust devolved 
 on Aretaeus, who scrupulously discharged his duty. See Dialogues of 
 Lucian Toxeris. 
 
 (4) In the numerous revolutions of states, and among the notorious 
 characters of civilized life, there is scarcely an individual more emw 
 nent than the person here represented; and Salvator, of all other 
 Artists, was most peculiarly qualified to feel and delineate his subject 
 Mas-aniello was a common fisherman of the city of Naples ; and hav- 
 ing 
 
LIST OF PICTURES, &C. 31 
 
 No, 11. An emblematical Picture, repre- 
 senting a Guardian Angel con- 
 veying an infant female to Hea- 
 ven, s i C. Dolci. 
 
 17 in. by 13 in. — pan. 
 
 12. A Barber-surgeon's shop, D. Teniers. 
 
 14 in. by 10 in.— can. 
 
 A satyrical picture, wherein the doctor and his 
 patients are represented by a cat and monkeys. 
 
 13. An Ecce Homo; or the head of 
 
 ourSaviour crowned with thorns, L. Caracci. 
 20 in. by 16 in. 
 
 14. A Skirmish between Dutch Boors 
 
 and a party of Spaniards, P. Brueghel, 
 
 14 in. by 10 in. — pan. 
 15. A Satyr squeezing grapes, with a 
 
 Tyger and Leopard, (5) Rubens. 
 
 12 in. by 9 in. — pan. 
 
 STATE 
 
 ing long seen and felt the effects of a most tyrannical government, 
 determined to hazard his life in behalf of his country. The Neapo- 
 litans had submitted to many heavy imposts of Philip the Fourth of 
 Austria, when he laid an additional tax on fruit, the chief support of 
 the poor Italians. This highly exasperated the people, who, headed 
 by this fisherman, proceeded to commit every sort of outrage, and, by 
 great perseverance, effected a complete revolution. Mas-aniello. how- 
 ever, fell a victim to his zeal. See a very interesting account of this 
 extraordinary man in the u Lounger's Common Place Book," Vol. I. 
 p. 21, 3d Edition. 
 
 (5) A spirited sketch, coloured with almost magical warmth, and 
 luscious richness. 
 
 D 2 
 
32 
 
 HISTORY. &C. OF CORSHAM HOUSE. 
 
 STATE BED CHAMBER. 
 
 No. 16. A Large picture of a 
 curtain, with a car- 
 pet, fruit, &c. (6) .... Maltese & M. Angelo* 
 4 feet 4 in. by 5 feet 11 in. CAMPIDOGLIO. 
 17. William, Duke of 
 Guienne, and Count 
 of Poictieu, (7) 
 
 3 feet 6 in. by 2 feet 2 in. 
 3 8. Martyrdom of St. 
 
 Stephen, PomenichIn*). 
 
 20 in. by 27 in. — can. 
 
 This is a copy from an esteemed picture by An. 
 Caracci, which was formerly in the French 
 King's cabinet. 
 
 CABINET 
 
 (6) This picture is more curious than fine, and evinces more 
 patience than taste in the Artists. As a perfectly deceptive represen- 
 tation of its prototypes, it possesses merit ; but true genius could never 
 reconcile itself to this dull mechanical species of painting. 
 
 (7) This nobleman resigned his dukedom, and turned hermit. His 
 daughter, Eleanor, married, first Louis VII. King of France, and after-* 
 wards King Henry the Second, of England, (A. D. 1152) in conse- 
 quence of which the duchy was annexed to the English crown. See 
 Carte's History of England, Vol. t. A fine print has been engraved 
 from this picture by Connoii. 
 
LIST OF PICTURES, &C. 
 
 CABINET ROOM. 
 Side next to Bed Chamber. 
 No. 19. Battle piece, a sketch, .... Francesco Mola. 
 
 2 feet 5 in. by 3 feet 5 in. 
 
 20. A Head of Old Bassan. Himself. 
 See Biographical Sketches. 
 
 22 in. by 15 in. 
 
 21. The Holy Family, P. Veronese. 
 
 17 in. by 20 in. — can. 
 
 22. St. Sebastian and other 
 
 Saints, (8) Filippo Lauri. 
 
 24 in. by 19 in.— can. 
 
 23. Our Saviour, and the Wo- 
 
 man taken in adultery, (9) 
 
 John, Ch. viii. v. 2 Axaretto. 
 
 4 feet 4 in. by 5 feet 6 in.— can. 
 
 No. 24. 
 
 (8) The Saint represented in armour, is said to be a portrait of the 
 painter. This practice was formerly prevalent ; and we see repeated 
 instances of the artist pourtraying himself as an Angel, Saint, or other 
 fictitious character. Few of the British Artists have been guilty of 
 this species of anachronism and ostentation. It is rather singular that 
 the capriciously churlish Barry committed himself in this particular, 
 in his picture of the Elesium at the Adelphi. 
 
 (9) This is an extremely fine picture, and explains the subject with 
 much propriety and effect. The figure, countenance, and attitude oft 
 the woman are all excellent; and the expressions in the faces of her 
 accusers are marked with peculiar discrimination* 
 
 D 3 
 
34 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 No. 24. A Head, said to be by, .. Leo. da Vinci. 
 
 21 in. by 15 in. 
 
 25. The flight into Egypt (Mathew, 
 
 Ch. ii. v. 14) Filippo Lauri. 
 
 17 in. by 21 in. 
 
 26. Martyrdom of St. Laurence, Titian, 
 
 24 in. by 19 in. — can. 
 
 27. The Descent from theCross,(10) Rubens. 
 
 4 feet by 2 feet 5 in. 
 
 28. Virgin and Child, Raphael 
 
 1 foot 10 in. by 1 foot 4 in. — pan. 
 
 South Side. 
 
 29. ST.MARKandST. John in con- 
 
 sultation on their writings, B. Strozzi. 
 5 feet by 2 feet 6 in, 
 
 30. Lot and his Daughters (Ge- 
 
 nesis, Ch. xix. v. 30.) Lorenzo Lotto* 
 
 3 feet 9 in. by 5 feet 6 in. 
 
 31. David and Solomon, B. Strozzi. 
 
 5 feet by 2 feet 6 in. 
 
 32. Portrait of Hernando Cor- 
 
 tez, (11) Titian. 
 
 2 feet 3 in. by 1 foot 10 in.— can. 
 
 No. 33. 
 
 (10) The original sketch for the large picture at Antwerp, by this 
 master, a copy of which is in the Royal Academy, London. 
 
 (11) A print was engraved from this picture, by Vertue, 1724, with 
 this inscription "Hernan Cortes ex pfetura Titiani in iEdibus praehon- 
 
 blis, 
 
LIST OF PICTURES, &C. 
 
 35 
 
 No. 33. The Virgin and Child, Carlo Cignani. 
 
 2 feet by 1 foot 4 in. — can. 
 
 34. Judith preparing to 
 
 eut off the head of 
 Holofernes, (Ju- 
 dith, Ch. xiii. v. 7.) P. Veronese. 
 
 1 foot 101 in. by 10£ in.— can. 
 
 35. A Port in the Mediter- 
 
 ranean, W. Vandervelde, Jun. 
 
 1 foot 8£ in. by 12£ in. — can. 
 
 36. A Battle piece, fight 
 
 with the Turks, Do. 
 
 1 foot 8x in. by 12$ in. — can. 
 
 37. A Landscape repre- 
 
 senting; the dawn of 
 morning, (12) Claude. 
 
 3 feet 1 in. by 4 feet 4 in. 
 
 38. The Virgin and Child 
 
 in the Clouds, Murillo. 
 
 1 foot 11 in. by 1 foot 6 in. — can. 
 
 39. A Man's Head, Corregio. 
 
 2 feet 3 in. by 1 foot 91 in. — can. 
 
 No. 40. 
 
 blis, Domini D. Pauli Methuen." This adventurer became famous 
 under the Emperor Charles V. for effecting the conquest of Mexico- 
 He died 1554, aged 63. 
 
 (12) A large print has been engraved by Peake from this picture 
 for Boy deli. 
 
 P4 
 
5* 
 36 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 No. 40. Judith going out of the 
 City to Holofernes' 
 Tent, companion to 32, 
 (Judith, Ch. x. v. 10.) .. Paul Veronese.. 
 
 1 foot 10jn. by 10i in. — can. 
 
 Side next to Gallery, 
 
 41. Our Saviour and Nico- , 
 
 demus, (13) John,Ch.iii. Guercino. 
 5 feet 4 in. by 4 feet 3 in. 
 
 42. The Amphitheatre at Rome 
 
 with other ruins, Viviani. 
 
 2 feet 6 in. by 2 feet 9 in. 
 
 43. Our Saviour with the 
 
 Woman of Samaria, com. 
 
 to 41, (13) John, Ch. iv. Guercino. 
 
 5 feet 4 in. by 4 feet 3 in. * 
 
 44. The Marriage of Jacob, 
 
 (Gen. Ch. xxix. v. 22.) Ciro Ferri. 
 
 2 feet 6 in. by 2 feet, — can. 
 
 45. The Virgin, Our Saviour, 
 
 and Saints, Ludovico Caracci. 
 
 2 feet Q\ in. by 1 foot 8J in. — can. 
 
 No. 46. 
 
 (13) Each consists of two half length figures, which are natural, 
 though somewhat formal ; the countenances are expressive and inte- 
 resting. Our Saviour in each picture is represented in a profile face, 
 and the accompanying figure three quarters. 
 
LIST OF PICTURES, &C. 
 
 37 
 
 No. 46. A Garland of Flowers, Mario Nuzzi. 
 
 2 feet 41 in. by 1 foot 11 in. — can. 
 47. Virgin and Child, St. John 
 Baptist, St. Joseph, and St. 
 Anne, (14) : Parmigianq. 
 
 2 feet 51 in. by 1 foot 11 in. — pan. 
 
 East Side. 
 
 48. A Head, an oval, Dobsok, 
 
 19 in. by 23 in. 
 
 49. Our Saviour in the Garden, 
 
 (Luke, Ch.xxii. v. 44.) Malesso. 
 
 1 foot 8 in. by 1 foot 8 in. — can. 
 
 50. The Nativity, (Luke Ch. ii.) ... Pasqtjalino. 
 
 1 foot 7 in. by 1 foot 1 in. — can. 
 
 PICTURE GALLERY, S. Side. 
 
 51. An Emblematical Picture, re- 
 presenting the Virtues and 
 Duties belonging to a good 
 Christian, (15) Titian. 
 
 7 feet 4 in. by 6 feet. 
 
 No. 52, 
 
 (14) This picture is in excellent preservation, is extremely fine, and 
 coloured with great skill and taste. 
 
 (15) In this allegorical painting, the artist has represented the 
 Virgin with the infant Saviour in her lap, St. Peter kneeling and kissing 
 his feet; denoting the submission of the nhurch to Christ. St, John 
 
 if 
 
3& HISTORY^ &C. OF CORSHAM HOUSE. 
 
 No; 52. A Turk's Head, half length, (16) Rembrandt. 
 
 4 feet 3 in. by 5 feet 4 in. 
 
 53. Our Saviour at the Pharisee's 
 house, and Mary Magdalen 
 anointing his feet, (17) Luke, 
 Ch. vii. v. 36, Carlo Dolcf. 
 
 7 feet 6 in. by 6 feet 1 in. 
 
 ^-j* Two large battle pieces, (18) Giordano. 
 
 5 feet 4 in. by 3 feet 10 in. — ovals. 
 56. David with the head of Goliath, 
 
 (1st Samuel, Ch. xvii.) Leon. Spado. 
 
 4 feet 2 in. by 5 feet 2 in. 
 
 No. 57. 
 
 is represented pointing to the lamb; expressive of meekness an(L 
 humility r and to these are introduced the cardinal virtues of Faith, 
 Hope, and Charity : the latter having the care of her two children. — 
 The figures of the Virgin and Charity, are clothed in red drapery. 
 
 (16) A fine specimen of portrait by this great master : For richness 
 of colouring, forcible contrast in light and shade, and dignified cha- 
 racter, this head ranks with his best productions. 
 
 (17) It is said that Carlo Dolce never painted another picture so 
 large, and that this was done after a drawing by Ludovico Cigoli. — 
 The gentleman, for whom it was painted, directed that his own por- 
 trait should be represented in the character of a servant waiting at the 
 table ; the artist complied, and thereby sacrificed character, connexion, 
 and propriety. 
 
 (18) The horrors and confusion of a battle are here delineated in a 
 Tery spirited manner. In examining these pictures with the two in 
 imitation of Paul Veronese, we must admit the versatility of thi* 
 artists powers. 
 
LIST OF PICTURES, &C. 39 
 
 No. 57. Dead Christ, with the Virgin and 
 
 St. John, An. Caracci. 
 
 4 feet 3 in, by 3 feet 6 in. 
 
 58. A Magdalen meditating on a skull, Titian. 
 
 2 feet 6 in. by 3 feet 6 in. 
 
 59. Martyrdom of the Innocents, (19) 
 
 said to be by Vandyck. 
 
 Matthew, Ch. ii. 
 
 3 feet by 2 feet 3 in. — cop, 
 
 $0. Baptism of our Saviour, accom- 
 panied by Angels, (20) Matthew, 
 
 Ch. iii. Guibo. 
 
 9 feet by 7 feet 8 in. 
 61. The Flight of the Assyrian Army, P, Veronese- 
 22 in. by 10 in. 
 
 No. €«. 
 
 (19) In representing this most inhumanly-cruel transaction, this 
 Nero-ish butchery, the painter has portrayed a number of mothers 
 and children, with their savage murderers in different groups. The 
 forcible action, and agonized expression of the distracted parents, and 
 the mangled bodies of the infants, cannot fail to agitate the mind of 
 sensibility. Whilst contemplating this painting, the most poignant 
 indignation is excited at the brutal monster who issued the blood- 
 thirsty decree. Though attributed to Vandyck, it appears rather to 
 be a fine copy from Rubens. 
 
 (20) This picture consists of five figures, Our Saviour, St. John, and 
 three Angels. The countenance of the former is expressive of devo- 
 tion and calmness, and his body is gently bending, with his hands 
 folded. St. John bears a cross in his left hand, and with his right 
 pours the baptismal-water. In the clouds is an emblematical figure 
 of the Holy Ghost. 
 
40 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 No. 62. A Landscape, (21) S. Rosa. 
 
 18 in. by 14 in. — cop. 
 
 63. Holofernes entertaining 
 
 Judith at a feast, (Judith 
 
 Ch. xii.) P. Veronese. 
 
 22 in. by 10 in. 
 
 64. A Mathematician, (22) Spagnoletto. 
 
 2 feet 8 in. by 4 feet 3 in. 
 
 65. Virgin and Child, Lanfranc. 
 
 3 feet 8 in. by 2 feet 5 in. 
 • 66- Herodias with the head 
 
 of St. John Baptist, 
 
 (Matthew, Ch. xiv.) L. Giordano. 
 
 3 feet 3 in. by 2 feet 6 in. — can. 
 67. Rubens and his Family, 
 with horses, dogs, foxes, 
 wolves, &c. (23) Rubens and Snyders. 
 
 7 feet, by 9 feet 10 in. 
 
 No. 68. 
 
 (21) The principal composition of this picture is a large broken tree, 
 under which are figures reposing. In the distance are rocky cliffs 
 rising from a lake, on the banks of which are cattle and figures. 
 
 (22) Great force of colouring, with strong expression, characterizes 
 this portrait. 
 
 (23) Rubens, his wife, and another person . are mounted on horses, 
 which, with the figures, are well drawn and richly coloured. On the 
 left side of the picture are men with spears, and others blowing horns. 
 In the centre are some dogs,, foxes, and wolves in different positions. 
 Rubens and Snyders frequently combined their performances in on« 
 picture, and thus united their respective excellencies. 
 
LIST OF PICTURES, &C. 
 
 44 
 
 No. 68. A Physical Consultation, Spagnoletto. 
 
 2 feet 8 in. by 4 feet 3 in. 
 This consists of two finely painted heads ; of a 
 doctor and an old woman. 
 
 69. The Marriage of St. Cathe- 
 
 rine, Guercijno. 
 
 2 feet 5 in. by 3 feet 8 in. 
 
 70. The Marriage of Cana in Ga- 
 
 lilee, (24) John, Ch. ii L. Giordano. 
 
 3 feet 3 in. by 2 feet 6 in. — can. 
 
 71. Our Saviour betrayed by 
 
 Judas, (25) Vandyck. 
 
 7 feet 8 in. by 9 feet. 
 
 72. Judith reproves the Governors 
 
 of the City, (Judith, Ch. viii. 
 
 v. 11.) P. Veronese. 
 
 22 in. by 10 in. — can. 
 
 73. Landscape, (26) S. Rosa. 
 
 1 foot 6 in by 1 foot 2 in. — cop. 
 
 No. 74. 
 
 (24) This, with No. 46, may be considered as the sportings of the 
 pencil, when Giordano was attempting an imposition on connoisseur- 
 ship, by imitating P. Veronese. 
 
 (25) This picture was painted by Vandyck for his master Rubens. 
 See Du Piles, p. 429. The subject represents the time when Christ 
 was betrayed by Judas into the hands of the soldiers, who arc about 
 to bind him with cords. None of the Apostles are introduced, except 
 Judas, who is exercising his deceitful famiiiaritv. Calmness and re- 
 signation are well depicted in the countenance of our Saviour. 
 
 (26) A confined rocky scene, in the centre of which is an opening, 
 with water falling over broken fragments of stone. Near the fore- 
 ground is a banditti, consisting of four figures well grouped and coloured. 
 
42 
 
 HISTORY, &C. OF CORSHAM HOU&E. 
 
 Mo. 74. Judith presented to Holo- 
 
 fernes, (Judith, Ch. x. v. 17.) P. Veronese, 
 
 22 in. by 10 in. — can, 
 
 75. The Angel conducting Tobias 
 
 to Media, (27) Tobit, Ch. vi. 
 
 v. 3. M. Angelo. 
 
 3 feet 6 in. by 4 feet 7 in. 
 
 76. Venus dressing, and Cupid 
 
 holding her looking glass, P. Veronese. 
 
 3 feet 6 in. by 2 feet 7 in. 
 77* Vulcan at his forge with the 
 
 Cyclops, JORDAENS. 
 
 2 feet 10 in. by 2 feet 3 in. — pan. 
 
 78. Charity and three Children, (28) Vandyck. 
 
 3 feet 11 in. by 5 feet 2 in. 
 
 North Side. 
 
 79/ The Ordination of St. Dennis 
 
 by Pope Clement, Le Sueur, 
 
 6 feet 5 in. by 4 feet, — can. 
 
 S0# David and Abigail, (1st Sa- 
 muel, Ch. xxv. v. 23.) Rubens. 
 
 5 feet 10 in. by 8 feet 9 in. — can. 
 
 No. 81, 
 
 (27) Three quarter figures. Breadth of light, clearness of colouring, 
 strength of effect, with great expression, are the characteristics of this 
 picture. The Angel, who is half covered with blue drapery, leads To- 
 bias by the hand. 
 
 (28) This exquisitely painted and finely composed picture is de- 
 servedly admired by every discriminating connoisseur. It may be 
 justly classed withuhe finest specimens of this very great master, 
 
LIST OF PICTURES, &C. 
 
 43 
 
 No. 81. A Female Saint kneeling, 
 with two Children, and 
 Angels in the Clouds, .... Da Cortona„ 
 6 feet 4 in. by 4 feet, — can. 
 
 52. Tancred and Erminia, 
 
 from Tasso, Do. 
 
 4 feet by 3 feet, — can. 
 
 53. The Annunciation, (Luke, 
 
 Ch. i.) P. Veronese. 
 
 13 in. by 3 feet 9 in. — can. 
 
 84. A Landscape, called Even- 
 
 ing, (29) Claude. 
 
 4 feet by 3 feet 3 in. — can. 
 
 85. The Nativity, Luke,Ch.ii. 
 
 (30) Tintoretto. 
 
 18 in. by 3 feet 9 in.-^can. 
 
 86. Women, &c. working by- 
 
 candle-light, Giacomo Bass an. 
 
 4 feet by 3 feet, — can. 
 
 MUSIC 
 
 (29) This has been engraved by Byrne, for Boydel. See; Claude, in 
 Biographical Sketches. 
 
 (30) A long narrow painting, divided into three compartments, and 
 making three separate pictures. In the lower group (behind whica 
 are cattle) are some females, looking up towards the second group, 
 which consists of the Virgin and child, shepherds, &c. above whom art 
 angels bending over the infant Saviour. 
 
44 
 
 HISTORY* &C. OF CORSHAM HOUSE. 
 
 , MUSIC ROOM, N. Side. 
 No. 87. A Magdalen, .Giacinto Brandi. 
 
 2 feet 10 in. by 2 feet 2 in. — can. 
 
 88. Portrait of Don Anto- 
 
 KIA DE LEIVA, DOSSODI FERRARA. 
 
 3 feet 2 in. by 2 feet 6 in. — can. 
 
 He was General to Charles V. who took Fran- 
 cis I. prisoner at the battle of Pavia. 
 S9. Portrait of Thomas K il- 
 
 LEGREW,(31) DoBSON. 
 
 3 feet 2 in. by 2 feet 6 in. — can. 
 
 90. The Holy Family, Old Palma. 
 
 4 feet 6 in. by 2 feet 9 in. — -can. 
 
 91. Portrait of the famous 
 
 Satirist Berni, (32) ... Giorgxone* 
 
 2 feet 10 in. by 2 feet 3 in. — can. 
 
 92. Portrait of Cosmo, the 
 
 last Duke of Flo- 
 rence, Subtermans. 
 
 3 feet by 2 feet 4 in.— can. 
 
 " Cosma de Medici pren di toscana cidi Mesi — 1 3-1643. " 
 
 No. 93. 
 
 (31) This facetious gentleman was page of honour to Charles the 
 First ; and to Charles the Second he was appointed gentleman of the 
 royal bed-chamber. He is commonly called that Monarch's Jester; 
 and as his situation gave him peculiar privileges of speech, it appears 
 that he frequently exercised them in reproving and animadverting on 
 the licentious conduct of his royal master. He wrote eleven plays : 
 died in 1682, and was interred in Westminster Abbey church. 
 
 (32) Francis Berni, or Bernia, was an Italian poet, a native of Tus- 
 cany, and a canon of Florence. He is usually called the Scarron of 
 Italy. Died 1543. 
 
LIST OF PICTURES, &C# 
 
 45 
 
 No. 93. A Philosopher, Fran. Mola. 
 
 2 feet 10 in. by 2 feet. — can. 
 
 94. The Virgin and Child in 
 
 the Clouds, with five 
 
 Saints, Vandyck. 
 
 3 feet 9 in. by 3 feet 2 in. — pan. 
 
 95. A Bacchanal with Sile- 
 
 nus and Satyrs, Jordaens. 
 
 4 feet 3 in. by 3 feet. — pan. 
 
 96. The Crucifixion, Tintoretto. 
 
 3 feet 3 in. by 2 feet 7 in. — can. 
 
 97. The Birth of our Sa- 
 
 viour, and Adoration 
 
 of the Shepherds, G. Bassan. 
 
 5 feet 3 in. by 3 feet 9 in. — can. 
 
 98. Sir Charles Baromeus 
 
 visiting the sick during 
 the time of a plague 
 
 at Milan, Giacinto B andi. 
 
 2 feet 11 in. by 2 feet 4 in.—- can. 
 
 99. Landscape and figures of 
 
 Dutch Boors, (33) Adrian van Ostade. 
 
 4 feet by 2 feet 8 in.— pan. 
 
 No. 100. 
 
 (33) Ostade is justly celebrated for his colouring, and for the 
 spirit, truth, and characteristic features which he gives to his u jolly 
 boors." The generality of his pictures are small, and consist chiefly 
 of a few figures represented in a room or at an alehouse door. In the 
 present piece he has taken a wider field, and been extremely success- 
 ful This piece represents a public-house on the high road, where 
 
 E several 
 
46 
 
 HI5T0&Y, &C. OF COItfcHAM HOUSE; 
 
 No, 100. Susanna and the Elders, .... Giusappe Chiari. 
 4 feet by 3 feet 3 in. — can. 
 
 101. Nymphs Bathing, . Poelemberc. 
 
 22 in. by }0 in. — pan. 
 
 102. Bacchanals. In two colours, Rubens. 
 
 2 feet 2 in. by 1 foot 6 in. — pan. 
 
 103. Flight into Egypt, (Ma- 
 
 thew, Ch. ii.) Scaramuccia. 
 
 17 in. by 13 in. — can. 
 
 104. Education of Bacchus, Simon Vouet. 
 
 2 feet 3 in. by 1 foot 8 in. — can. 
 
 105. Sketch, in two colours. St. 
 
 Augustine, in an ecstacy, 
 contemplating the myste- 
 ry of the Holy Trinity and 
 the incarnation of our 
 
 Saviour, (34) Vandyck. 
 
 19 in. by 12 in. — pan. 
 
 106. The last Supper, (35) Luke, 
 
 Ch. xxii. v. 14 Tintoretto. 
 
 3 feet 2 in. by 2 feet 2 in. — can. 
 
 No. 107. 
 
 several travellers on horse and foot have halted to partake of the 
 united entertainment afforded by the jolly landlord and a party of 
 musicians. 
 
 (34) A highly finished sketch of the finest picture he ever painted. 
 The latter was in the church of St. Augustine, at Antwerp, but is now 
 in the Louvre, at Paris. 
 
 ^35) Exclusive of the fine colouring of this picture, it displays great 
 breadth of composition, and the expression and attitude of each figure 
 are appropriate and interesting. 
 
LIST OF PICTURES, &C. 
 
 47 
 
 No. 107. Nativity, (Luke, Ch. xi.) Young Palma, 
 21 in. by 10 in. — cop. 
 
 108. The Virgin, our Saviour, and 
 
 several Saints, Guido. 
 
 2 feet 1 in. by 1 foot 4 in. — can. 
 
 109. St. John in the Desert, A. D. Sarto. 
 
 17 in. by 13 in. — pan. 
 
 110. Landscape and Robbery, (36) Bokgognone. 
 
 26 in. by 18 in. — can. 
 
 111. Nymphs Bathing, Pofxbmberg. 
 
 21 in. by 17 in. — pan. 
 
 Music Room, E. Side. 
 
 112. A Small Head called St. Se- 
 
 bastian, Guido, 
 
 20 in. by 26 in. — can. 
 
 113. Our Saviour meditating on the 
 
 Sins of the World, Pordenone* 
 
 2 feet 4 in. by 3 feet.— can. 
 
 114. The Battle of Eckerbert,( 37) Strada. 
 
 3 feet 10 in. by 2 feet 7 in. — can. 
 
 No. 115. 
 
 (36) Though Borgognone is chiefly noted for his representations 
 of battles, this picture proves that he was equally excellent in land- 
 scape. 
 
 (37) This celebrated conflict was fought near Antwerp, by forty 
 Spanish officers on a side, of whom only two remained alive. 
 
 E2 
 
48 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 No. 115. St. Peter, Giacinto Brandi. 
 
 2 feet 5 in. by 3 feet 3 in. — can. 
 
 116. The Continence of Scipio, Cortona. 
 
 3 feet 10 in. by 3 feet 2 in. — can. 
 
 117. St. Lawrence on the Grid- 
 
 iron, S. Rosa. 
 
 4 feet 10 in. by 4 feet. — can. 
 
 118. Fortune-tellers, Giorgione. 
 
 3 feet 9 in. by 3 feet, — can. 
 
 119. Inside of a Church, figures 
 
 by F. Brueghel, (38) ... Stenwyck. 
 
 19 in. by 12 in. — cop. 
 
 120. Taking down from the 
 
 Cross, : Alessandro Tiarini. 
 
 13 in. by 19 in. — marble. 
 
 121. Henry the Seventh's three 
 
 Children, (39) Mabuse. 
 
 20 in. by 14 in.— pan. 
 
 No. 122. 
 
 (38) "H.N.Steinw— 1611." Several little pictures on it on cop- 
 per, very clear and neatly pencilled. 
 
 (39) Arthur, Prince of Wales; Henri/, about three years old, who 
 was afterwards crowned Henry the Eighth; and Margaret, who mar- 
 ried the King of Scotland. Sandford, in his History of England, states 
 that Mabuse painted the portraits of Arthur, Henry, and Margaret, 
 about 1494 ; but whether he painted duplicates of this picture, does 
 not appear from any of his biographers. Horace Walpole particu- 
 larizes four, one " in the China closet at Windsor. A neat little 
 copy of, or rather his original design for, it, in black and white oil 
 colours, is at the Duke of Leeds' at Kiveton. There is another of 
 them in small, in Queen Caroline's closet at Kensington; another, very 
 
 good, 
 
LIST OF PICTURES, &C. 
 
 49 
 
 No. 122. St. John in the Desert, P. F. Mola. 
 
 12J in. by 16 in. — can. 
 123. Judgment of Paris; the 
 
 landscape by P. Brille, .... Rothenhammer. 
 17 in. by 11 in. — cop. 
 
 Music Room, S. Side, 
 
 124. A Portrait of the Artist, (40) Vandyck. 
 
 22 in. by 28 in. 
 
 125. Portrait of Charles Lewis 
 
 Elector Palatine, (41) Do. 
 
 2 feet 8 in. by 3 feet 8 in. 
 
 126. Portrait of Pope Innocent 
 
 the Tenth, Velasquez. 
 
 2 feet 2 in. by 1 foot 7 in. 
 
 No. 127. 
 
 good, at Wilton ; and another in Mr. Methuen's collection. One of 
 these pictures (I do not know which) was sold out of the Royal 
 collection during the civil war for ten pounds." The children are re- 
 presented dressed in black, and playing with fruit on a table covered 
 with green cloth. See Beauries of Wilts, Vol. I. — 190. Walpole's 
 Anecdotes. Granger's Biographical History, Vol. I. A plate was en- 
 graved from this picture, "I. Maubegias pinxit cir. mccccxcvi." — 
 " G. VertueLond. delin. and sculp. 1748." 
 
 (40) A plate was engraved from this picture.—" D. Antonius Van 
 Dyck Eqves. Caroli Regis Magna? Britannia? Pic tor Antverpiae Natus. 
 Ant. Van Dyck pinxit. Vosterman sculp. Cum privilegio." 
 
 (41) A small head engraved (unknown by T/hom, or whether from 
 this picture.) " S. P. Carol vs Lvdovicvs Com Palatin ad Rhenvm. 
 S. Rom. Imp. Princeps Elect Dvx Bavarian etc, Dominvs provi- 
 debit." 
 
 E 3 
 
50 
 
 HISTORY, &C< OF CORSHAM HOUSE. 
 
 No. 127. Portrait of Andrea Vesalius, 
 
 the famous physician, (42) Tintoretto. 
 
 1 foot 11 in. by 1 foot 7 in. 
 
 128. A Naked Boy blowing bub- 
 
 bles, and treading on a 
 
 scull, representing Vanity, Eliz. Sirani. 
 
 2 feet 6 in. by 3 feet 10 in. 
 
 129. Head of a Dominican Friar, Lanfranc. 
 
 1 foot 10 in. by 1 foot 6 in. 
 
 130. Portrait of a Spanish Gene- 
 
 ral, BORGOGNONE. 
 
 2 feet 2 in. by 1 foot 8 in. 
 
 131. Half length of Ann Carr, 
 
 Countess of Bedford, (43) Vandyck. 
 
 3 feet 8 in. by 2 feet 8 in. 
 
 * 132. Girl, with a little dog asleep 
 
 in her arms, Rembrandt. 
 
 1 foot 10 in. by 2 feet 4 in. — pan. 
 
 133. Landscape, N. Poussin. 
 
 1 foot 10 in. by 2 feet 6 in. 
 
 134. Our Saviour breaking the 
 
 bread, Car. Dolce. 
 
 2 feet 5 in. by 2 feet 9 in. 
 
 No. 135. 
 
 (42) A plate was engraven from this picture. — " Andreas Vesalivs 
 Brvxellensis Anatomicorura Princeps. B. Arius Montanus." Died 1564* 
 
 (43) A print engraved from this — u Anna Comitissa de Bedford.— ■ 
 Antonius Van Dyck Eques pinxit. P. Lombart sculpsit, Londini 
 avec Pri du Roy et ex Parisis." The countess has a rose in her bosom, 
 
 and is pulling on a glove. 
 
3LIST OF PICTURES, &C. 
 
 51 
 
 No. 135. Baptism of Queen 
 Candace'sEunuch 
 by St. Philip,(44) 
 Acts. Ch. viii. 
 v. 38 John Both. 
 
 136. Portrait of St. 
 Bruno, founder of 
 
 the Cathusians, .. C. Dolce. 
 2 feet 4 in. by 2 feet 10 in. 
 
 137. Landscape, N. Poussin. 
 
 1 foot 10 in. by 2 feet 6 in. 
 
 138. Hawking, Wouvermans. 
 
 15 in. by 11 in. 
 
 139. Virgin and Child, Bar. ScHidone. 
 
 5£ in. — circle. 
 
 140. Dutch Boors in a 
 
 Cottage, "Av. Ostade, 1647." 
 
 14 in. by 10 in. 
 
 141. Ditto, Ditto. 
 
 14 in. by 10 in. 
 
 142. St. John with two 
 Doctors of the 
 
 Church, Denis Calvart. 
 
 1\ in.— circle. 
 
 No. 143. 
 
 (44) This has been engraved by Browne/and published by Boydell^ \ f j J 
 Though Both was a native of Utrecht, yet, from the general grandeur 
 of his compositions, he obtained the appellation of " Both of Italy " «t~%. k&sdi 
 and this picture certainly entitles him to that distinctive appellation. v\ . 
 
 E4 
 
52 
 
 HISTORY^ &C. OF CORSHAM HOUSE. 
 
 No. 143. Stag-hunting, Wouvermans. 
 
 15 in. by 11 in. 
 
 Music Room, W. Side. 
 
 144. Portrait of an Astrologer, G. F. Penni. 
 
 2 feet 4 in. by 2 feet 8 in. 
 
 145. An emblematical picture 
 
 shewing the folly of 
 spending our lives in 
 the pursuit of wine, 
 
 music, and play, Schorel. 
 
 2 feet 9 in. by 4 feet 6 in.— pan. 
 
 146. Omphale, the mistress of 
 Hercules, (45) A. Caracci. 
 
 2 feet 5 in. by 3 feet 4 in. 
 
 147. Head of a Young Man, ... Andrea del Sarto. 
 
 1 foot 3 in. by 2 feet 2 in. 
 
 148. Landscape with figures. 
 
 Storm, N. Poussin. 
 
 3 feet 3 in. by 2 feet 5 in. — can. 
 
 149. Flight into Egypt, Beinaschi. 
 
 4 feet 9 in. by 2 feet 7 in. — can. 
 
 150. Landscape with figures. 
 
 Storm, Gasper Poussin. 
 
 3 feet 9 in. 2 feet 5 in. — can. 
 
 No. 151. 
 
 (45) This is a picture of very considerable merit. Omphale is re- 
 presented naked, with the club, lion's skin, &c. denoting the conquest 
 of love over strength. 
 
LIST OF PICTURES, &C. 
 
 53 
 
 No. 151. A Tinker with his dog, in 
 
 Landscape, Weeninx. 
 
 2 feet 2 in. by 1 foot 7 in. — can. 
 
 152. The Pope saluting a War- 
 
 rior, Giacoma Bassan. 
 
 1 foot 2 in. by 1 foot 3 in.— can; 
 
 153. The Deity with several 
 
 Angels in the Clouds, (46) F. Albano. 
 10 in. by 12 in. — cop. 
 
 154. The last Supper, (Luke, 
 
 Ch. xx. v. 14.) Gia. Bassan. 
 
 14 in. by 15 in. — can. 
 
 155. Landscape and Cattle, Bomboccio. 
 
 2 feet 3 in. by 1 foot 10 in. — can. 
 
 SALOON. 
 
 156. Head of St. John, Unknown, 
 
 2 feet 2 in. by 1 foot 8 in.— can. 
 
 157. Virgin and Child, St. Jo- 
 
 seph and St. Catherine, 
 
 (47) John Van Eyck. 
 
 2 feet 5 in. by 3 feet 5 in. — pan. 
 
 No. 158. 
 
 (46) This picture belonged to Pope Innocent the Tenth, as may be 
 seen by his arms on the back. The frame, which is of silver, was 
 made by the famous statuary Alessandro Algardi. 
 
 (47) John Van Eyck is commonly called John of Bruges, and as com- 
 foonly said to be the first inventor of oil-colours. See Eyck, 
 
54 
 
 HISTORY, &C OF COR3HA.M HOUSE, 
 
 No, 158. Inside of a Church by torch 
 
 light, with a procession,.. Pet. Neefs. 
 
 1 foot 9 in. by 2 feet 3 in. — can. 
 
 159. Head of Antonia, son of 
 
 Augustina Caracci, ...... An. Caracci. 
 
 12 in. by 10 in. — can. 
 
 160. Portrait of a man in a ruff, Rubens. 
 
 2 feet 4 in. by 3 feet 8 in. — pan. 
 
 161. Head, Spagnoletto. 
 
 1 foot 8 in. by 2 feet 2 in. — can. 
 
 162. Adoration of the Magi, 
 
 (Mathew, Ch. ii.) Al. Durer. 
 
 1 foot 9 in. by 2 feet 10 in.— pan. 
 
 163. Battle Piece, Borgognone. 
 
 1 foot 10 in. 1 by 2 feet 2 in. — can. 
 
 164. Profile Head of a Young 
 
 Female, Guido. 
 
 1 foot 9 in. by 1 foot 2 in. — can. 
 
 165. Judgment of Midas, G, Lair esse. 
 
 6 feet 9 in. by 10 feet 8 in. 
 
 166. Soldiers on Horses, (48) .... Borgognone. 
 
 1 foot 1 in. by 1 foot 6 in. 
 
 167. Sir Francis Xavire dying on 
 
 the coast of China, (49) ... C. Maratti. 
 
 2 feet 1 in. by 2 feet 8 in. 
 
 168. A Battle Piece, (48) Borgognone. 
 
 1 foot 1 in. by 1 foot 5 in. 
 
 No. 169. 
 
 (48) Two very fine pictures, both in colouring and composition* 
 
 (49) See Literary Magazine for Nov. 1738. 
 
LIST OF PICTURES, &C. 
 
 55 
 
 No. 169. Portrait of an old Man, Unknown, 
 
 1 foot 9 in. by 2 feet 3 in.— can. 
 
 170. Head, Dobson. 
 
 2 feet by 2 feet 6 in. — can. 
 
 111. Head, Antonio More, 
 
 1 foot 11 in. by 1 foot 8 in. — can. 
 
 172. Queen Anne's Nurse, John Ryley, 
 
 1 foot 3 in. by 1 foot 8 in. — can. 
 
 173. Annunciation (Luke, Ch. i,) Perugino. 
 
 19 in. by 11 in. — can. 
 
 174. Whole Length Portrait of 
 
 James Stuart, Duke of 
 Richmond and Lenox, (50) Vandyck* 
 7 feet 4 in. by 4 feet 4 in.— can. 
 
 175. Head of Lord Bernard 
 
 Stuart, afterwards Earl of 
 Lichfield, (51) Ditto. 
 
 2 feet 5 in. by 2 feet. — can. 
 
 No. 176\ 
 
 (50) "James, son of Esme Stuart, Duke of Richmond, was nearly 
 allied to Charles the First, and much and deservedly in his esteem.— 
 He had the sincerest affection for the King his master, and was one of 
 the noblemen who offered to suffer in his stead. The whole tenor of 
 his behaviour to that prince, and his extreme regret for his death, shew 
 that he was much in earnest in offering to be a vicarious victim for 
 him. He died, as it is supposed, from the effects of grief, the 30th of 
 March, lo^." Granger. 
 
 Houbraken engraved this, among his illustrious characters, 1740. 
 A three quarter portrait of this nobleman, by Geldorp, is at Gorham- 
 bury, Herts. Earlom engraved a print from the present picture for 
 Boydell. 
 
 (51) This nobleman was the youngest of five sons of the Duke of 
 
 Richmond 
 
56 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 No. 176. Portrait of Franciscus de 
 Talis, the first inventor of 
 
 posts in Europe, (52) Unknown, j^j^J} 
 
 1 foot 5 in. by 1 foot 11 in. — pan. 
 
 177. Head of St. James, Guercino. 
 
 1 foot 4 in. by 1 foot 9 in. — can. 
 
 178. Our Saviour crowned with 
 
 Thorns, Bassan. 
 
 1 foot 9 in. by 1 foot 1 in. — marble. 
 
 179. Judgment of Paris, G. Lairesse. 
 
 6 feet 9 in. by 10 feet 8 in. — can. 
 
 180. Sea piece, Vandevelde, Jun* 
 
 2 feet 10 in. by 2 feet 4 in. — can. 
 
 181. Portrait of a Man in a ruff, Rubens. 
 
 1 foot 10 in. by 1 foot 7 in. — can. 
 
 182. Nativity, Al. Durer. 
 
 1 foot 9 in. by 2 feet 10 in.— pan. 
 
 183. Margaret, Countess of Rich- 
 
 mond and Derby, mother 
 
 of Henry VII. (53) Mabuse. 
 
 1 foot by 1 foot 6 in. 
 
 No. 184. 
 
 Richmond and Lenox ; and, following the example of his noble father, 
 commanded a troop in the cause of his sovereign. In consequence of 
 his gallant behaviour, near Lichfield, he was created an earl. He was 
 killed at the battle of Rowton Heath, near Chester, when pushing 
 forward to rescue the king. Vertue has engraved his portrait. Obiit 
 26, Sep. 1645. 
 
 (52) u For which reason the direction of them has always remained 
 in one of his family, in all the dominions that belong to the House of 
 Austria." English Connoisseur. 
 
 (53) Harding published a plate, 1801, inscribed — Margaret, Coun- 
 
 tess 
 
LIST OF PICTURES, &C. 
 
 57 
 
 No. 184. Head of a Slave, Rap. Del Colle. 
 
 10 in. by 14 in. 
 
 185. Half length portrait of 
 
 Scanderbeg, in armour, Giorgione. 
 2 feet 5 in. by 3 feet 4 in. — pan. 
 
 186. St. Peter, Spagnoletto* 
 
 2 feet 5 in. by 2 feet. — can, 
 
 187. Mary Magdalen, Quintin Matsys. 
 
 2 feet 4 in. by 2 feet 9 in. — pan. 
 
 188. Sir Bryan Tuke, (54) Holbein. 
 
 1 foot 1 in. by 1 foot 10 in. — pan. 
 
 189. Head of a Painter, Unknown 
 
 9 in. by 4 in. — pan. 
 
 190. Murder of the Innocents, All. Turchl, 
 
 2 feet 3 in. by 1 foot 1 in. — pan. 
 
 No. 191. 
 
 tegs of Richmond, &c. From a picture by Mabuse, in the collection 
 of Sir Christopher Sykes, Bart." Margaret was daughter and heir of 
 John Beaufort, Duke of Somerset, and eminent for her public bene- 
 factions. She founded, or rather completed, the foundation of Christs* 
 College, Cambridge,* also one perpetual lecture at the same Univer- 
 sity, and another at Oxford ; she also endowed the grammar-school at 
 Wimborne, county of Dorset. See Walpole's Royal and Noble Au- 
 thors; and Ballard's Memoirs of Learned Ladies. 
 
 (54) He was treasurer of the chambers to Henry the Eighth. The 
 following inscriptions are on this picture. 
 
 " BRIANVS TVKE, MILES, AN ETATIS SV7E, LVI 
 DROIT ET AVANT." 
 
 " NVNQVID NON PAVCITAS DIERVM 
 MEORVM, FINIETVR BREVIS." 
 
 * Beauties of England and Wales, Vol. II. p. 67. 
 
HISTORY, &C. OF CORSHAM HOUSE. 
 
 No. 191. Sea Piece, Vande velbe, Junr. 
 
 2 feet 10 in. by 2 feet 4 in. — can. 
 
 192. Shipwreck of St. Paul on 
 
 the Island of Melita,(55) 
 
 Acts. Ch. xxviii Elsheimer. 
 
 6\ in. by 8| in. — cop. 
 
 193. Landscape and Figures, .. J. Brueghel. 
 
 5| in. by 3| in.— -cop. 
 
 194. Landscape and Figures, .. Ditto. 
 
 5J in. by 3| in.— cop. 
 
 DINING ROOM, WL 
 
 195. Fruit piece, M. Angelo Car. 
 
 3 feet 6 in. by 1 foot 6 in. 
 
 196. Sir Paul Rycaut,* Sir Peter Lely. 
 
 c 2 feet 6 in. by 2 feet. 
 
 Wli Fruit piece, M. Angelo Car. 
 
 3 feet 6 in. by 1 foot 6 in. 
 19$. The Duchess of Mantua, 
 grandmother to the Em- 
 peror Charles V. with 
 her son in her lap, who 
 was the last Duke of 
 Mantua, with allegori- 
 cal figures, B. Castiglione. 
 
 8 feet 2 in. by 10 feet 4 in. 
 
 No. 199. 
 
 (55) Nothing can exceed the high finishing of this picture. It is 
 well designed, and some of the figures well drawn and grouped. On 
 the back is engraved — " Cesto mil doblones en Amberes." 
 
 * See Granger, Vol. IV. p, 67, &c. 
 
LIST OF PICTURES, &C. 59 
 
 No. 199. Don Quixote, Sancho, 
 
 and the Barber, Spanish Painter* 
 
 3 feet 10 in. by 2 feet 9 in. 
 
 Dining Room, S. 
 
 200. Battle piece, Pandolfo Reschi. 
 
 3 feet 6 in. by 2 feet. — can. 
 SOI. Birds and Beasts going 
 
 into the Ark, .. B, Casjiglione. 
 
 5 feet by 3 feet 6 in. 
 
 202. Battle piece, Borgognone. 
 
 3 feet 2 in. by 2 feet 5 in. — canvass. 
 
 203. Sir Peter Lely and family 
 
 in a musical concert, 
 
 (56) Sir Peter Lely. 
 
 7 feet 4 in. by 4 feet 3 in. 
 
 204. A Dutch Kermis, or 
 
 Country-fair, Old P. Bruegel. 
 
 5 feet 5 in. by 3 feet 9 in. 
 
 205. Cats fighting, and still 
 
 life, Snyders. 
 
 4 feet 10 in. by 3 feet 8 in. — can. 
 
 206. Battle piece, Borgognone. 
 
 3 feet 2 in. by 2 feet 5 in. — ; can. 
 
 207. Battle piece, Pan. Reschi. 
 
 3 feet 6 in. by °2 feet. — can. 
 
 Dining 
 
 (56) This is an early picture of Sir Peter's, and is noticed by 
 Granger. 
 
60 HISTORY, &C. OF CORSHAM HOUSE. 
 
 Joining Room, E. 
 
 No. 208. Fruit, Antonio Caracci. 
 
 2 feet 7 in. by 4 feet 1 in. — can. 
 
 209. Fruit, M. Angelo Car. 
 
 1 foot 9 in. by 4 feet 1 in. — can. 
 
 210. Jupiter and Gany- 
 
 mede, M. Angelo Buonarroti. 
 
 2 feet 6 in, by 3 feet 6 in. — pan. 
 
 211. Fruit, M. Angelo Car. 
 
 I foot 9 in. by 4 feet 1 in. — can. 
 
 212. Dogs and Foxes, Snyders. 
 
 I I feet 6 in. by 7 feet 1 in. — can. 
 
 In the Library is a 
 fine portrait of Sir 
 Charles Lucas, Dobson. 
 
 This active officer was shot, with Sir George 
 Lisle, at Colchester, Essex, for defending the 
 Castle there against the parliamentary army 
 under Fairfax. See Beauties of England, &c. 
 Vol. V. p. 315, &c. 
 
 BIOGRAPHICAL 
 
•1 
 
 BIOGRAPHICAL SKETCHES 
 
 OF 
 
 THE PAINTERS 
 
 WHOSE WORKS CONSTITUTE THE CORSHAM 
 HOUSE COLLECTION. 
 
 In drawing up the following Biographical Sketches, (ar- 
 ranged alphabetically) I have carefully endeavoured to 
 obtain a decisive accuracy in the names of artists, and to 
 identify the place and time of their births and deaths; 
 I have also attempted to discriminate the professional 
 characteristics of each ; and to render the whole an useful 
 vade-mecum to those visitors who are desirous of. having 
 some information relating to the painters whose pictures 
 they have been examining. The old masters frequently 
 obtained their names from the places of their nativity, 
 from some peculiarity in their works, or from some 
 other incidental circumstance in life ; and these names 
 are variously spelt by different authors ; some from affec- 
 tation, and others from inattention, or idleness. Indeed 
 our latest edition of Pilkington's Dictionary is so defective 
 in names,* dates, &c. and in several places so much at 
 variance with general usage, that we seek in vain for 
 
 accounts 
 
 * I have seen a list of nearly t*ro hundred names of artists not to 
 be found in their proper places in this great work ; and the names of 
 some occur in the memoirs of another person, though not noticed in 
 their regular alphabetical order. 
 
 F 
 
62 
 
 HISTORY, &C. or CORSHAM HOUSE. 
 
 accounts of many artists, and are perplexed about others. 
 This is rather surprising ; and greatly to be regretted in 
 the present state of the Arts. When Pilkington wrote 
 (about thirty years ago) they were differently circum- 
 stanced to what they are now : collections in Ireland 
 were not very numerous ; and the author deduced almost 
 his whole information from Vasari, Sandrart, and a few 
 other writers. Besides, he was not professionally ini- 
 tiated, and these things considered, we must admit that 
 his work was excellent for the time, but now we require 
 something better. A few lines from an impartially intelli- 
 gent professional man, are of more real importance than a 
 volume by an unpractised connoisseur. Sensible of this, 
 I have obtained the assistance of an eminent artist to look 
 over the following memorandums, and he kindly fur- 
 nished me with some discriminating remarks. 
 
 Francesco Albano : born at Bologna, a city of Italy, 
 in 1578 : died in the same place 1660, aged 82. 
 
 Aibano, though he excelled in historical subjects, oc- 
 casionally exercised his pencil in landscape. He was 
 first a pupil to Denis Calvert, and afterwards to the 
 Caracci. His genuine and perfect pictures are de- 
 servedly held in high estimation, and are distinguished 
 by a peculiar delicacy of touch and freshness of colour- 
 ing, with a laboured and minute style of finishing. The 
 
 small 
 
BIOGRAPHICAL SKETCHES. 
 
 63 
 
 small picture in this collection is no criterion of Albano's 
 talents. No. 153.* 
 
 Michel Angelo, Amerigi, da Caravaggio : b. at Cara- 
 vaggio, a city of the Milanese, 1569 : d. 1609, aged 40. 
 
 This bold and energetic artist broke through the 
 trammels of precedent and prejudice, and dared to depict 
 on canvas he original conceptions of his own mind. — 
 From forms indiscriminately picked from the street, he 
 contrived to give energy and interest by the magic effects 
 of ideal light and shadow. So novel a combination, sup- 
 ported by such powers of execution, could not fail to 
 draw after it a crowd of followers ; and Domenichino, 
 Guido, and others, were so fascinated with his produc- 
 tions that they frequently imitated them. The excellence 
 of this artist consisted in his judicious appropriation of 
 light and. shade, with admirable colouring; but he was 
 always deficient in dignity and grace. No. 75. 
 
 Michel Angelo ; called Di Campidoglio ; b. at Home 
 1610 : d. 1670, aged 60. 
 
 This artist principally excelled in the delineation of fruit 
 and flowers. He studied under Fioravanti, and left two 
 sons, Batista and Pietro : the eldest of whom pursued 
 historical painting. Nos. 16, 195, 197, 209, 211. 
 
 Michel 
 
 * The figures at the end of the account of each painter refer to the 
 pictures in the present collection. 
 
 F 2 
 
64 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 Michel Angelo Buonarotti : b. at the Castle of Caprese, 
 inArezzo, Tuscany, 1474 : d. 1563, aged 90. 
 
 In painting, in sculpture, and in architecture, this 
 great artist rose above all competition, and has remained 
 unrivalled* In painting, (for which he w&s most valued) 
 sublimity of conception and grandeur of form are the 
 elements of his style. As a painter, as a sculptor, and 
 as an architect, he attempted, and above all other men 
 succeeded in, uniting magnificence of plan and endless 
 variety of subordinate parts, with the utmost simplicity 
 and dignity. To give the most perfect ease to the most 
 perplexing difficulty was the exclusive province of this 
 artist. See the life, &c. of M. Angelo Buonarotti, by 
 Mr. Duppa, 4to. 1806. No. 210. 
 
 AxARETTO. 
 
 I cannot find any particulars of this artist. He is said 
 to have been a Genoese painter. No. 23. 
 
 Peter Van Lear called Bamboccio : b. at Laeren near 
 Narden, 1613: d. 1613, aged 60. 
 
 He painted drolls, carnivals, masquerades, &c. and 
 was called Bamboccio by the statuaries, on account of 
 his uncommon deformity of body ; the lower part being 
 one third longer than the upper, and the neck so short 
 that it appeared buried between his shoulders. He 
 studied at Rome. No. 155. 
 
 Giovanni Francesco Barbieri, called Guercino da 
 Cento : b. at Cento, a village near Bologna, 1 590 : d. 
 1666, aged 76. 
 
 Tradition classes him as a disciple of the Caracci, but 
 
 neither 
 
BIOGRAPHICAL SKETCHES. 
 
 65 
 
 neither his age, his habits, nor his works justify the re- 
 port. Of three different styles which he adopted, the 
 second is esteemed the best, and this is founded on that 
 of Caravaggio's. A fervent friendship subsisted between 
 these two great painters, and their mutual communica- 
 tions doubtless proved eminently serviceable to each.— 
 The light and shadow in Guercino's pictures are more 
 detached and spotty than those of Caravaggio ; his de- 
 sign, however, is more graceful ; but, like most imitators, 
 he carried to excess the prevailing style of his model. 
 Boydell has published two volumes of prints after this 
 master. Nos. 41, 43, 69, 177. 
 
 Giacomo Bassan, or Da Ponte da Bassano : b. at Bas- 
 sano, on the river Brenta, in Venice, 1510: d. 1592, 
 aged 82. 
 
 This artist had four sons, Francesco, Leandro, Gio- 
 vanno Batista, and Giordano, all of whom adopted the 
 profession which their father had cultivated with great 
 success. Though a disciple of Bonifacio, he formed 
 a style peculiarly his own. His effect of light is sur- 
 prising, and his colouring generally true to nature, but 
 he is wholly deficient in elegance of design. Nos. 20, 86, 
 97, 152, 154, 178. 
 
 Giovanni Battista Beinaschi, called Cavalier Beinaschi: 
 b. in Piedmont, a principality of Italy, 1634: d. 1688, 
 aged 54. 
 
 He was an excellent designer: his imagination was 
 uncommonly prolific, and his thoughts infinitely various ; 
 
 F 3 and 
 
66 
 
 HISTORY, &C. OF CORSHAM HOUS^. 
 
 and may be pronounced an almost perfect master of that 
 difficult part of delineation called foreshortening. He was 
 knighted at Naples, where he had been principally em- 
 ployed in ornamenting cupolas, ceilings, &c. and was a 
 disciple of Lanfranc No. 149. 
 
 Jacopo Cortese, called II Borgognone : b. at St. Ilippo- 
 lito, in Franche Comic, 1621: d. 1676, aged 55. 
 
 This artist is principally noted for his battle pieces. 
 His school was the camp and embattled field ; and here he 
 imbibed those ideas, and sketched those forms, which he 
 afterwards delineated and recorded on the canvas. — 
 Towards the close of his life he entered into the convent 
 of the Jesuits at Rome. It has been said, and the saying 
 confers the highest encomium on his pictures, that they 
 sound with the shouts of war, the neighing of horses, and 
 the cries of the wounded, His pencil was bold and 
 energetic, and his effects were broad and fine. Nos. 4, 
 110, 130, 163, 166, 168, 202, 206. 
 
 Giacinlo Brandi : b. at Poli, near Rome, 1613: d» 1691, 
 aged 78. 
 
 Though generally considered to be one of the best 
 Roman pupils of Lanfranc, and notwithstanding some of 
 his pictures are esteemed works of merit, yet many of 
 them are distinguished by a carelessness of drawing and 
 meanness of composition. Nos. 87, 98, 115. 
 
 John Both: b. at Utretcht, a city of the United Pro- 
 vinces, 1610: d. 1650. aged 40. 
 
 In his younger days Both visited Italy, where, seeing 
 
 some 
 
BIOGRAPHICAL SKETCHES. 
 
 67 
 
 some of Claude's pictures, he was captivated with their 
 execution, and endeavoured to imitate them. The com- 
 position of his landscapes is generally more romantic and 
 picturesque than Claude's, and his effects are strong and 
 broad. The picture in this collection justly ranks among 
 his finest works. He was pupil to Abraham Bloemart, 
 and many of his early pictures partake of his master's 
 style and manner. His brother, Andreas, generally 
 painted the figures in John's landscapes. The Baptism 
 of the Eunuch has been engraved for Bovdell. No. 135. 
 
 Peter Brueghel, called the Old : b. at Brueghel, a vil- 
 lage near Breda, in Dutch Brabant, 1510: d. 1570, 
 aged 60. 
 
 Though this artist designed his first landscapes from 
 the flat monotonous scenery of his native country, yet, 
 afterwards visiting Italy, he became captivated with its 
 more romantic and picturesque scenery, and soon felt 
 the superior effects of its landscapes, for the purposes of 
 pictorial representation. In the neighbourhood of the 
 Alps, bordering the Tyrolese, he formed many fine 
 studies. He also frequently introduced the marching of 
 armies, &c. and is noted for a picture of the tower of 
 Babel. Nos. 14, 204. 
 
 John Brueghel, called Velvet Brueghel : b. at Brus- 
 sels, a city in Flanders, 1 560 : cL 1625, aged 65. 
 
 John was the son of Peter Brueghel, who first initiated 
 him into the principles of painting. This eminent artist 
 first delineated fruit and flowers, but soon distinguished 
 
 F 4 himself 
 
HI5T0RY. &C. OF CORSI1AM HOUSE. 
 
 himself for his landscapes, markets, battles, and sea~views, 
 in which he introduced numerous figures drawn with 
 decided accuracy, and touched with great spirit and ani- 
 mation. He seems to have been a very industrious artist, 
 as his pictures are very numerous ; and yet all are finished 
 with great care, neatness, and precision. Nos. 193, 194. 
 
 Denis Calvart: b. at Antwerp, a city of Brabant , 
 1555: d. 1619, aged 64. 
 
 He was originally a landscape painter, but going 
 early to Italy to study the human figure, he afterwards 
 applied himself wholly to history. This artist opened 
 an academy at Bologna, and, what will immortalize him, 
 he had for his disciples Guido, Albano, and Domenichino. 
 His own works are designed with correctness, and 
 coloured with brilliancy. No. 142. 
 
 Agostino Caracci : b. at Bologna, 1558: d. 1602, 
 aged 44. 
 
 This artist is not so well known in painting as his bro- 
 thers, having appropriated much of his time to engraving. 
 He is noted, however, for have assisted Annibal in the 
 decorations of the Farnesian Gallery. He painted few 
 pictures, and of those few some pass for the works of 
 his brothers, who jointly painted so much, and that so 
 well, that they formed a particular epoch in the arts, 
 which is distinguished by the name of the Caracci School. 
 No. 146. 
 
 Annibal Caracci: b. at Bologna, 1560: d. at Borne, 
 1609, aged 49. 
 The spirit and genius of painting had nearly slum- 
 bered 
 
BIOGRAPHICAL SKETCHES. 
 
 bered Into torpor, when this great artist, in conjunction 
 with his cousin Ludovico, and his brother Agostino, 
 roused her once more to life, and exalted her to admira- 
 tion. Zealous in his favourite pursuit, he visited the 
 great emporium of art, Italy, and from the best speci- 
 mens of the antique, he cultivated and established a taste 
 which has obtained the admiration of subsequent artists. 
 In designing and composing a picture he evinced the pos- 
 session of great talents. He may be said to have com- 
 bined, in an eminent degree, the broad true colour of 
 the Venetian, with the energy and dignity of design of 
 the Roman School. Nos. 1, 57, 159. 
 
 Antonio Caracci, called II Gobbo : b. at Bologna, 1583 : 
 d. 1618, aged 35. 
 
 This artist was the natural son of Agostino, and was 
 instructed by his uncle Annibal. In his compositions he 
 displayed classic taste, and, but for his premature death, 
 it was supposed he would have raised still higher even the 
 name of Caracci, No. 208. 
 
 Ludovico Caracci: b. at Bologna, 1555: d. 1619, 
 aged 64. 
 
 He is deemed to have less vigor in his designs than An- 
 nibal or Agoctino ; but in grace, dignity, and sweetness 
 he far surpassed them, particularly in religious subjects, 
 in which he nearly approaches his favourite Corregio. 
 Simplicity and elegance distinguish all his compositions; 
 his touch was lively ; his expression good ; the airs of his 
 heads graceful : his figures are marked with a fine out- 
 line t 
 
70 
 
 HIST6RY, &C. OF CORSHAM HOUSE; 
 
 line, and his composition often approaches the sublime. 
 No. 13, 45. 
 
 Giovanni Benedetto Castiglione, called Greghetto : 
 b. at Genoa, a city of Italy, 1616 : d. 1670, aged 54. 
 
 He was one of those geniuses who seem gifted with 
 the happy talent of doing every thing well which they 
 undertake. He painted all subjects, and executed 
 almost all of them well. His principal instructions he 
 received from Vandyck while at Genoa, and in the varied 
 subjects of history, landscape, cattle, and portrait, he 
 produced many excellent pictures. No. 198, 201. 
 
 Giuseppe Chiari : b. at Rome, 1654: d. 1727, 
 aged 73. 
 
 Bekig one of the best scholars of Carlo Maratti, he 
 finished several pictures and designs of that artist. What 
 he wanted in genius he rrjade up by industry, judgment, 
 and moderation. No. 100. 
 
 Carlo Cignani, or Cigniani : b. at Bologna, 162&; 
 d. 1719, aged 91. 
 
 He was a disciple of Albano ; and his most celebrated 
 works were on the cielings of Forli, on which he was em- 
 ployed many years. To great elegance in forms he 
 added sweetness of colour, and his best pictures are fully 
 equal to his master's. No. 33. 
 
 Claude de Lorraine, or Gelee : b. at Lorraine, a town 
 in Fmnce, 1600: d. 1682, aged 82. 
 
 This unrivalled artist, whose works must be admired 
 
 as 
 
BIOGRAPHICAL SKETCHES. 71 
 
 as long as true taste, or a love of the arts*exists, was 
 pupil to Agostino Tassi, at Rome. But he is indebted 
 for his superlative excellence to the care and assiduity 
 with which he studied " Unerring Nature, still divinely- 
 bright." Such is the truth and fascination of the works 
 of Claude, that they please all ranks of people, from the 
 most sophisticated connoisseur to the most unlettered 
 rustic. His excellence^ however, is not confined to mere 
 representations of scenery ; on the contrary, his compo- 
 sitions evince a poetic and elegant mind. Palaces, tem- 
 ples, processions, and splendid fragments of antiquity, 
 are introduced with great judgment and taste. The 
 glowing warmth of his colouring, his fine aerial effects, 
 with a matchless union and harmony of the several parts, 
 form such a combination of excellence as must inevitably 
 captivate the eye and please the imagination : nor can we 
 hesitate to declare, that such landscapes as Claude's are 
 entitled to our warmest admiration, in spite of the fasti- 
 dious philippics of Mr. Fuseh* on the subject. This 
 gentleman, in his lectures at the Royal Academy, has re- 
 presented Claude, G. Poussin, Wilson, &c. as the mere 
 " topographers of landscape," and therefore, according 
 to the intended inference, of the very lowest order of 
 artists. But I cannot help referring Mr. F. to his 
 own pictures, and reminding him, that whilst the for* 
 mer are justly classed among the most fascinating pro- 
 ductions of the pencil, and bought at immense prices, 
 the latter are often pronounced to be caricatures of his- 
 tory, and when brought to the hammer, knocked down 
 m .at 
 
72 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 at very low prices. Witness those sold at the Shakespear 
 Gallery. When professors inculcate such sentiments, 
 and exhibit such works, they provoke animadversion. — > 
 What constitutes a good picture ? I should apprehend a 
 faithful and judicious representation of some select ob* 
 jects in nature. In history, combining dignified and ap- 
 propriate composition with harmonious colouring, and 
 such light, shadow, and effect, as to engage the whole at- 
 tention of the spectator with the great incident repre* 
 sented. To arrest and fix his rational faculties, to excite 
 his curiosity, and satisfy his judgment. Landscape paint- 
 ing, though perhaps less difficult, is still an arduous and 
 meritorious branch of the fine arts ; and I am persuaded 
 that the best pictures of a Claude, Poussin, Wilson, 
 Gainsborough, &c. will ever be ranked among the most 
 valuable productions of the pencil. The finest pieces by 
 the former artist are now in England, and they are cer- 
 tainly more esteemed than any other landscapes. Next 
 to his are those of Salvator : but still neither of these can 
 be said to contain more than single merits, when com- 
 pared to the landscapes by Titian. Each, however, pos- 
 sesses wonderful, but very opposite effects. Claude's are 
 all beauty : Salvator's all grandeur. In Titian's land- 
 scapes these distinct qualities are powerfully combined. 
 This great artist excelled them in truth of colouring, and 
 in tasteful composition. Wherever another landscape 
 painter was deficient, Titian was excellent. Salvator's 
 merit arose from the eminence of his own genius ; whereas 
 Claude was greatly indebted to Titian for the high rank 
 be holds. 
 
 The 
 
BIOGRAPHICAL SKETCHES. 
 
 73 
 
 The pictures of Diana and Acteon, and Diana and 
 Calista, now in the Stafford Gallery, and some others 
 of inferior merit, containing a large portion of landscape 
 by the latter, will, it is hoped, amply justify these re- 
 marks. Among the numerous landscapes by Claude in 
 this country, the two at Mr. Methuen's, those at Lord 
 Radnor's, at Mr. Beckford's, at Mr. Agar's, but parti- 
 cularly the inimitable ones at Mr. Angerstein's, will jus- 
 tify almost any panegyric, and, I trust, be demonstrative 
 refutations of those opinions so sarcastically and vehe- 
 mently proclaimed by the late professor of painting to 
 the Royal Academy. 
 
 Nicolo and Gasper Poussin stand next to Claude and 
 Salvator, but Nicolo was often too boldly extravagant in 
 landscape, and Gasper wanted confidence in colouring ; 
 for, after admitting every other good quality in landscape 
 painting, colouring must be allowed to constitute its 
 first perfection. I have heard of a landscape of Titian's, 
 which consisted of a single figure running across a lawn, 
 or green field, being more enchanting, from the truth and 
 colouring, than the most elaborate performance of any 
 other master. No. 37, 84. 
 
 Raphael del Colle. 
 Though this artist is not mentioned by Pilkington in 
 a separate article of his Dictionary, yet I accidentally find 
 his name in the memoir of Christophero Gherardi, who 
 is there said to have been a pupil of R. D. Colle, whence 
 J infer that he flourished about 1560. No. 184. 
 
 Pietro 
 
74 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 Pietro Berretini da Cortona : b. at Cortona, a town 
 of Tuscany , 1 596 : d. 1 669, aged 73. 
 
 It is not ascertained who was the master of this artist ; 
 but however authors may differ on this point, his excel- 
 lence as a painter is indisputable. At an early age he 
 went to Rome, where he studied with such unremitting 
 ardor, that he very soon produced those celebrated com- 
 positions, The Rape of the Sabines, and The Battle of 
 Alexander, which excited the astonishment and admira- 
 tion of his contemporaries, and which, for invention, dis- 
 position, and excellent colouring, approximate the works 
 of the best masters. Mr. Barry, in his lectures, however, 
 censured him as the first who departed from the simpli- 
 city of the antique, and introduced that manner which 
 proved so destructive to the art. No. 81, 82, 116. 
 
 Antonio Allegrij called II Corregio : b. at Corregio, a 
 town in the Modenese, 1494 : d. 1534, aged 40. 
 
 "The harmony of Corregio, though assisted by ex- 
 quisite hues, was entirely independent of colour : his 
 great organ was chiaro-scuro, in its most extensive sense : 
 compared with the expanse in which he floats, the effects 
 of Leonardo da Vinci arte little more than the dying ray 
 of evening, and the concentrated flash of Giorgione dis- 
 cordant abruptness. The bland central light of a globe, 
 imperceptibly gliding through lucid demi-tints into rich 
 reflected shades, composes the spell of Corregio, and 
 affects us with the soft emotion of a delicious dream." 
 
 A hundred pages from Mengs's works on the excels 
 
 lences 
 
BIOGRAPHICAL SKETCHES. 
 
 75 
 
 lences of Corregio, do not give so fine an idea of thein 
 as the above lines from Fuseli's lectures. No. 39. 
 
 William Dobson; b. at London 1610: d. 1646, 
 aged 36. 
 
 Dobson may be r&nked among the most eminent of those 
 English artists, who flourished previous to the establish- 
 ment of the Royal Academy. He was called, by King 
 Charles the First, the Tintoret of England ; but with 
 greater propriety may be denominated the English Van- 
 {iyck. To the generosity of that eminent artist (of whom 
 he was a close imitator) he, in the first instance, owed 
 his elevation. Dobson painted the court of Charles the 
 First, and followed for a time the fortunes of that ill-fated 
 monarch. See Walpole's anecdotes. Nos. 48, 89, 170, 
 
 Carlo, or Carlino Dolce : b. at Florence, a city of 
 Italy, 1616: d. 1686, aged 10. 
 
 This truly great man was one of those prodigies who 
 give early indications of future eminence. At the age 
 of eleven he painted a picture of St. John, which gained 
 him much approbation ; and shortly after, a portrait of 
 his mother was thought so excellent as to place him in 
 the first rank of painters. His' works are distinguished 
 by peculiar delicacy of composition, by a pleasing tone 
 of colour, by the graceful airs of his heads, and by a 
 placid repose diffused throughout the whole. ]Nos. 11, 
 53, 134, 136. 
 
 Domenichino, or Domenico Zampieri : b. at Bolog- 
 na, 1581 Ci. 1641, aged 60. 
 
 This 
 
76 HISTORY, &C. OF CORSHAM HOUSE. 
 
 This eminent painter received his first instructions 
 from D. Calvart, and afterwards studied in the school of 
 the Caracci. He was not one of those geniuses whose 
 juvenile blossoms are too often prematurely blasted ! but 
 one whose powers take deep root, mature slowly, but are 
 most permanent. A. Caracci always thought favorably 
 of him, and predicted his future greatness, but it may be 
 said that he acquired his reputation more by industry 
 than genius. No. 18. 
 
 Albert Durer: b. at Nuremberg, a city of Germany, 
 1471 : d. 1528, aged 57. 
 
 This justly celebrated artist is considered the father of 
 the German school, and one of the first revivers of the 
 fine arts. He was equally eminent as a painter and en- 
 graver, and seemed endowed with that general capacity 
 which would have enabled him to excel in any depart- 
 ment of the art to which he had applied. He was, how- 
 ever, more an ingenious man than a man of genius ; and 
 ivas more deficient in invention than defective in execu- 
 tion : he studied the human figure with great assiduity ; 
 but neither invented nor composed a permanent standard 
 of style. Colouring wa& his forte, in which he surpassed 
 all the artists of his time. Nos. 162, 182. 
 
 Adam Elsheimer, or Ehheimer : b. at Francfort, a 
 city of Germany, 1574 : d. 1620, aged 46. 
 
 He executed landscape in a style peculiar to himself, in 
 which he introduced historical figures ; the whole painted 
 in small, and finished with the most exquisite neatness. — 
 
 Rather 
 
BIOGRAPHICAL SKETCHES. 77 
 
 Rather studious of fame than fortune, he devoted more 
 time to the finishing of his pictures than was remunerated 
 by their sale. At length he was thrown into prison for 
 debt, and though soon released, the occurrence preyed 
 upon his mind, and hurried him to the grave. Nos. 5, 
 192. 
 
 John Van Eyck : b. at Maaseyk 1370: d. 1441, 
 aged 7 1 . 
 
 Van Eyck studied under his brother Hubert, whose 
 professional excellence he soon surpassed. He painted 
 history, portrait, &c. and finished pictures with great 
 care. This artist has long been considered the inventor 
 of painting in oil ; but, from the investigations of Raspe, 
 it is decisive, that oil painting was known and practised 
 before his time. See " Critical Essay on Oil Painting ; 
 proving that the Art of Painting in Oil was known before 
 the pretended discovery of John and Hubert Van Eyck," 
 by R. E. Raspe, 4to. No. 157. 
 
 Dossodi Ferrara. 
 The time of this artist's birth I have not been able to 
 meet with ; he is said to have died in 1560. He is hono- 
 rably mentioned by Ariosto, his countryman. At Rome 
 and Venice he went through the usual routine of study ; 
 and was particularly noticed for imitating the works of 
 Raphael, Titian, and Corregio. At length, however, he 
 adopted a style of his own ; which Vasari characterizes 
 by calling it more obsolete than that of the above masters. 
 No. 88. 
 
 G Ciro 
 
78 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 Giro Ferri: b. at Rome 1634 : d. 1689, aged 55. 
 The pictures by this master are remarkable for being 
 so like his master's, Pietro da Cortona, that they often 
 pass for that artist's productions. Like all imitators, 
 however, he never equalled hk model. No. 44. 
 
 Luca Giordano, called Luca Fa Presto : b. at Naples, 
 1629: d. 1705, aged 76. 
 
 From great rapidity of execution," this artist acquired 
 the latter appellation. He was a sort of Proteus in the 
 art, having a peculiar facility of imitating almost every 
 other master. His pictures in the present collection are 
 painted on very coarse canvass. Some of his works dis- 
 play great richness of invention and sweetness of co- 
 louring. Nos. 54, 55, 66, 70. 
 
 Giorgione Del Castle Franco : b. at Castle Franco, in 
 the Venetian Territory ', 1478: d. 1511, aged 33, 
 
 Was distinguished for a grand style and masterly exe- 
 cution. Fine outline, skilful foreshortening, dignity, with 
 vivacity of aspect and attitude, breadth of drapery, and 
 beautiful gradations of tone, are all combined in this 
 artist's best pictures. For great depth and beauty of 
 colouring he was only equalled by Titian. Nos. 91, 
 118, 185. 
 
 Guercino. See Barbieri. 
 
 Jacques Jordaens : b. at Antwerp, a city of Brabant, 
 1594: d. 1678, aged 84. 
 Being a pupil of Rubens, this painter was fascinated 
 
 with 
 
BIOGRAPHICAL SKETCHES* 
 
 79 
 
 with the colouring of his master, and in many of his pic- 
 tures imitated his glowing peachy tints. Jordaens 
 painted with uncommon freedom, care, and expedition. 
 " He studied and copied nature, yet without selecting its 
 beauties or rejecting its defects. He painted many altar- 
 pieces in the low countries." Dallaways Anecdotes of 
 the Arts, Nos. 77, 95. 
 
 Gerard Lairesse : b. at Liege, a city of Germany, 
 1640: cL 1711, aged 71. 
 
 This artist has distinguished himself more by his lite- 
 rary than his professional productions. Having fortu- 
 nately acquired the patronage of the Electors of Cologne 
 and Brandenburg, his genius was stimulated to exertion, 
 and his talents were liberally rewarded. Nos. 165, 179. 
 
 Guido Jteni: b. at Bologna 1574: d, in the same city 
 1642, aged 68. 
 
 Guido's best pictures are noted for a peculiar grace of 
 form, pearly sweetness of colour, and amazing boldness 
 and power of pencilling. He had two manners very 
 dissimilar to each other ; one dark and sombre, in imita- 
 tion of Michel Angelo Caravaggio ; and the other clear, 
 light, and lively. Nos. 60, 108, 112, 164. 
 
 John, or Hans Holbein: b. at Basle, a town of Swit- 
 zerland 1498 : d. 1554, aged 56. 
 
 Holbein was taught the rudiments of painting by his 
 father. His progress was rapid, and his versatility 
 almost incredible. He painted and drew portraits ia- 
 
 G 2 oil. 
 
80 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 oil, distemper, chalk, and miniature ; and also painted 
 history. 
 
 This artist was the great painter in England during 
 the reign of Henry the Eighth. His pencil was delicate, 
 his colouring forcible, and he finished his pictures with 
 exquisite neatness : his carnations were wonderfully 
 vivid ; he generally put to his large pictures a flat green 
 back-ground, and to his miniatures a blue. See Walpole's 
 Anecdotes. No. 188. I^t. 
 
 Sir Peter Lely: b. at Soest, in Westphalia, 1617 : d. 
 1680, aged 63. 
 
 Lely was pupil to Peter Srubber, of Haerlem, and such 
 was the rapidity of his progress, that, at the early age of 
 twenty-five, he was ranked in the first class of por- 
 trait painters. He flourished in England, where he be- 
 came state painter to Charles II. by whom he was 
 knighted. This artist was a favourite painter with the 
 ladies, and has transmitted to posterity resemblances of 
 the most celebrated beauties of the age in which he lived* 
 In his best pictures we discover much richness of colour, 
 with breadth of pencilling. No. 196, 203* 
 
 Maltese. 
 
 I have not been able to discover any particulars of 
 the birth or education of this artist. He was, however, 
 an excellent painter of still life, His touch is bold and 
 free, his colouring natural and pleasing, but his compo- 
 sitions in general are crowded and confused. He was a 
 .native of Malta. No. 16. 
 
 Lorenz* 
 
BIOGRAPHICAL SKETCHES. 
 
 81 
 
 Lorenzo Lotto: b. at Bergamo, in Italy, 1508: d. 
 1544, aged 36, 
 
 He was the supposed scholar of G. Belline, and the 
 declared imitator of Giorgione. Lotto was vigorous in 
 his tone of colouring, large in the forms of his drapery, 
 and warm in his carnations. No. 30. 
 
 John Lanfranc, Cavalier: b. at Parma, a town of 
 Italy, 1581 : d. 1647, aged 66. 
 
 This eminent artist was disciple first to Agostino, and. 
 afterwards to Annibal Caracci. His proficiency under 
 the latter was so rapid, that he was employed by him to 
 execute some of his designs in the Farnesian palace at 
 Home, which he finished in so masterly a manner, that he 
 is said to have excelled his preceptor. His genius di- 
 rected him to grand compositions, which he designed with 
 great facility, and painted with a masterly execution. 
 Nos. 65, 129. 
 
 Filippo Lauri : b. at Rome 1623 : d. in the same city 
 1694, aged 71. 
 
 The principal pictures of this master are small histo- 
 rical pieces ; but he painted a few landscapes. His cabi- 
 net pictures, in the Flemish style, are touched with great 
 spirit, vigorously coloured, and full of imagery. Nos. 
 22, 25. 
 
 John de Mabuse, or Mabeuge : b. at Mabeuge^ a vil- 
 lage in the Netherlands, 1499 : d. 1562, aged 63. 
 
 His manner w&s dry and laboured, but he had great 
 industry, and finished carefully. He was employed by 
 i" G 3 Henry 
 
82 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 Henry the Eighth, of England, to paint the portraits of 
 some of his children, in the execution of which he gave 
 great satisfaction. He painted many of the nobility who 
 then attended the English court* See Walpole's Anec- 
 dotes. Nos. 121, 183. 
 
 Malesso. 
 
 I have not discovered any particulars relative to this 
 artist. No. 49. 
 
 CaHo Maratti, called Cavaliere : b, at Camnrano, in 
 Jncona, 1625: d. 1713, aged 88. 
 
 He was the favorite scholar of Andrea Sacchi, and en- 
 joyed, during his life, the reputation of being one of the 
 first painters in Europe. Eazel pictures are what he ge- 
 nerally painted, particularly altar-pieces. He is cele- 
 brated for the lovely, modest, yet dignified air of his 
 Madonas, the grace of his angels, and the devout charac- 
 ter of his saints. The churches and palaces of Rome, 
 •which w r ere almost filled with his works, are the best 
 evidence of his popularity, but no performance of his can 
 give us a more elevated idea of his excellence than his 
 picture of David and Bathsheba. No. 167. 
 
 2uintin Matsys: b. at Antwerp, a city of Brabant\ 
 1460: d. 1529, aged 69. 
 
 This extraordinary man is generally known by the 
 name of the Blacksmith of Antwerp, having followed 
 that profession when a young man. Whatever was the 
 cause of his quitting it is not satisfactorily ascertained, 
 
 though 
 
BIOGRAPHICAL SKETCHES. 
 
 83 
 
 though he certainly had great talents for painting. — 
 His manner was singular and original, his pictures co- 
 loured with great force, and highly finished, though 
 somewhat hard and dry. One of his best pictures (The 
 Misers) is in his Majesty's collection at Windsor, from 
 which there is a fine print. No. 187. 
 
 Pietro Francesco Mola : b. at Lugano, a toxvn of Swit- 
 zerland, 1609 : d. 1665, aged 56. 
 
 This artist painted in fresco and oil. Many of the 
 churches in Rome and Florence are enriched with his 
 works, but the picture of Joseph recognized by his 
 brethren is esteemed his chef d?oeuvre. Mola not only 
 possessed a fine genius for historical painting, but excel- 
 led also in landscape ; whatever he produced in this way 
 exhibited the most varied combination, with the finest 
 execution. Nos. 19, 93, 122. 
 
 Antonio More, Chevaliere : b. at Utrecht, a city of 
 the United Provinces, 1519 : d. 1575, aged 56. 
 
 Though pupil to John Schorel, he seems to have 
 studied more the works of Holbein, and, like that mas- 
 ter, was a close imitator of nature. He did not, how- 
 ever, acquire his delicacy of finishing ; on the contrary 
 he was sometimes very bold and vigorous. Few painters 
 were better remunerated for their labours. He had one 
 hundred ducats for his common portraits, and painted 
 most of the crowned heads of Europe. No. 171. 
 
 Bartholomexv Stephen Murillp : b. at Pilas, near Se- 
 ville, 1613: d. 1685, aged 72. 
 
 G 4 MuriHc 
 
84 
 
 HISTORY. &C. OF C ORSHA M HOUSE. 
 
 Murillo may be considered as a disciple of Velasquez, 
 though he studied more the works of Titian, Rubens, 
 and Vandyck, and at length acquired great excellence. 
 No. 38. 
 
 Peter Neefs, called the Old: b. at Antwerp, a city of 
 Brabant, 1570: d. 1651, aged 81. 
 
 He was a disciple of Henry Stenwych, whose manner 
 he imitated with great exactness. He principally painted 
 Interior views of churches, which he treated with great 
 taste, spirit, and precision, and with a light and shadow 
 at once correct and fascinating. No. 158. 
 
 Mario Nuzzi, called Mario da Fiori: b. at Penna, a 
 village in Naples, 1603 : d. 1673, aged 70. 
 
 Nature was the incessant study of this artist, and his 
 imitations of her in flowers, vases, &c. are correct and 
 elegant. His pencil was light, and his colouring has great 
 force and trnth, with a character of picturesque selection 
 in the disposition of his subjects. No. 46. 
 
 Adrian Van Ostade : b. at Lubeck, a town in Lower 
 Saxony, 1610: d. 1685, aged 75. 
 
 He was pupil to Frank Hals, and pursued that branch 
 of the art, which his master had cultivated, with consi- 
 derable success. He principally excelled in portraying 
 the characters of peasants, with horses, cottages, &c. and 
 some of his pictures are coloured with great truth and 
 sweetness. He etched several of his own works. Nos. 
 99, 140, 141. 
 
 Giacomo, 
 
BIOGRAPHICAL SKETCHES. 
 
 85 
 
 Giacopo Palma, called the Old : b. at Serinalta, in 
 Venice. 
 
 The elder Palma is said to have been a disciple of 
 Titian, and his works so much resemble that master's, 
 that he was once employed to finish a Descent from the 
 Cross which Titian had left imperfect. His pictures are 
 distinguished for a fine taste of composition, with a pleas- 
 ing harmony of colouring, and for the care and accuracy 
 of their finishing. See Fuseli's edit, of Pilkington. No. 90. 
 
 Giacopo Palma, called the Young : b, at Venice 1544: 
 d. 1628, aged 84. 
 
 If this artist was not the last of the Roman, he was the 
 latest of the Venetian school of any acknowledged emi- 
 nence. He is considered the last master of the good, and 
 the first of the bad period of painting at Venice. Melan- 
 choly distinction ! He had the unfortunate though plea- 
 sant talent of great facility ; the consequence of which 
 was, that many of his latter pictures, when he was much 
 employed, were merely slight sketches. No. 107. 
 
 Pietro Perugino : b. at Perusia> a town of Italy, 1446 : 
 d. 1524, aged 78. 
 
 The name of Pietro Perugino will be immortalized 
 from his having been the master of Raphael. But, inde- 
 pendant of celebrity thus acquired, he was an artist of 
 no ordinary talent. In the earl^ part of life he encoun- 
 tered many difficulties, which it would be painful and 
 useless to recount, but his good fortune leading him to 
 Florence, where painting was in the zenith of its glory, 
 
 he 
 
HISTORY, &C. OF CORSHAM HOUSE. 
 
 he so signalized himself in his profession, as to merit a 
 place in the first rank of painters. No. 173. 
 
 Cornelius Poelemburg : b. at Utrecht, a city of the 
 United Provinces , 1586 : d. 1660, aged 74. 
 
 He was disciple to Abraham Bloemart, but went early 
 to Rome, where he applied with such assiduity to the 
 study of the human figure, that he soon arrived at great 
 excellence. He formed a style perfectly original, and 
 surpassed all his contemporaries in the delicacy of his 
 touch, the sweetness of his colouring, and in the choice 
 of agreeable objects and situations. His skies are clear, 
 light, and transparent ; his back grounds often orna- 
 mented with vestiges of magnificent Roman edifices ; his 
 female figures, which he generally represented naked, 
 are remarkable for their beauty and elegance of form. — 
 Nos. 101, 111. 
 
 Giovanni Antonio Licinio Pordenone, called the Old : 
 b. at Pordenone, a castle in Friuli, a Province of Italy, 
 1484 : d. 1540, aged 56. 
 
 As this artist painted principally in fresco, his 
 works are consequently stationary, and he is not so gene- 
 rally known as his merit deserves. He was much patro- 
 nized by the Emperor Charles the Fifth. No. 1 13. 
 
 Nicolo Poussin : b. at Andel, a city of Normandy, 
 1594: d. 1665, aged 71. 
 
 Poussin may, with strict propriety, be called the 
 classic, and his pictures the learned. Being an accom- 
 plished 
 
BIOGRAPHICAL SKETCHES, 
 
 plished scholar, his works are full of erudition, and con- 
 vey a fund of interesting intelligence. His rigid adhe- 
 rence to the antique, and his strict observance of costume, 
 rendered his pictures somewhat hard and stiff; but these 
 are spots in the sun, and he had so much splendour that 
 it eclipsed all petty blemishes. His historical pictures 
 are so many historical facts, represented with all the sim- 
 ple dignity of truth. Nos. 7, 133, 137, 148, 
 
 Gasper Poussin, or Dughet : b. in France 1600 ; ano* 
 ther writer says at Rome 1613: d. 1663. 
 
 Gasper assumed the name of Poussin in compliment 
 to Nicolo, his brother-in-law and benefactor, from whom 
 he received his first instructions. He was, unquestion- 
 ably, one of the finest landscape painters that ever ap- 
 peared ; he saw nature through a grand medium, and 
 never represented a scene into which he did not mingle 
 as much of the sublime as it was susceptible of. He was 
 fond of storms, and of convulsed effects of nature, This 
 great painter and Claude were a sort of antipodes to 
 each other, yet they were both absolutely fine ; Gasper 
 was sublime ; Claude was beautiful. He painted with 
 great facility of pencil. No. 150. 
 
 Pandolfo Reschi : b. at Dantzic, a town of Prussian 
 Pomerania : d. about 1699, aged 56. 
 
 He went early to Rome, where he studied with great 
 diligence and success, and was eminent for painting 
 architecture, battles, and landscapes. He studied and 
 imitated the works of Borgognone, and S. Rosa. Nos. 
 200, 207. 
 
 Francesco 
 
HISTORY, &C. OF CORSHAM HOUSE.' 
 
 Francesco Mazzuoli, called Parmigiano : b, at Parma> 
 a town of Italy, 1504: d. 1540, aged 36. 
 
 The prominent features of his best pictures are ele- 
 gance of form, sweetness of countenance, contrast in at- 
 titude, enchanting light and shadow, and blandishments 
 of colouring. Parmigiano was a learned designer, and 
 made etchings from his own drawings, which had great 
 freedom and spirit. Nos. 6, 47- 
 
 Pasquale Rossi Vicentino, called Pasqualino : ft. 1641 : 
 d. 1700, aged 59. 
 
 By dint of practice and observation on the best Vene- 
 tian and Roman pictures, without the advantage of a 
 master, Pasqualino became a painter of considerable 
 merit, and deserved celebrity. No. 50. 
 
 Giovanni Francesco Penni, called II Fattore : b, at 
 Florence , a city of Italy, 1488 : d. 1528, aged 40. 
 
 From being a sort of steward to Raphael, he became 
 one of his principal assistants in some of his most exten- 
 sive works, and was considered an artist of great abili- 
 ties. " Facility of conception, grace of execution, and a 
 singular felicity in landscape, are mentioned as his dis-? 
 tinguishing characteristics." No. 144. 
 
 John Rothenamfr : b. at Munich, a city of Germany , 
 1564: d. 1604, aged 40. 
 
 This artist is a singular instance of a painter working 
 on a very large and very small scale with equal success. 
 His large pictures are generally in fresco, executed in a 
 
 bold 
 
BIOGRAPHICAL SKETCHES. 
 
 89 
 
 bold masterly style, and his small subjects on copper 
 finished with great delicacy and exquisite neatness, — 
 No. 123. 
 
 Sir Peter Paul Rubens : b. at Cologne, a city of Ger- 
 many, 1577 : d. 1640, aged 63. 
 
 This admirable artist, and accomplished scholar, was 
 the son of a senator of Antwerp. He enjoyed the rare 
 felicity of excelling in every department of theart, and 
 was perhaps the most popular painter that ever pursued 
 the profession. He studied principally under Otho Venius, 
 from whom he imbibed what maybe considered the most 
 exceptionable part of his professional propensities, his love 
 of allegory. To a mind comprehensive, and an imagination 
 truly poetical, he added correct taste and consummate 
 judgment ; no man ever possessed finer powers of exe- 
 cution, and as a colourist he stands without competition. 
 Two pictures, by this artist, were lately sold, by Philips 
 the auctioneer, for the immense sum of 6200. These 
 were the Conversion of St. Paul, an extraordinary pro- 
 duction of genius and talent, £. 4000 ; and Rubens's 
 Nurse by candle light, a singular specimen of fascinating 
 colouring, 2200 : such at least was the statement in a 
 public paper. Nos. 15, 27, 67, 80, 102, 160, 181. 
 
 John Riley: b. in London 1646: d. 1691, aged 45. 
 
 Under the tuition of Zouch, a Dutch artist, Riley ac- 
 quired some reputation j and after the death of Sir Peter 
 Lely, he was recommended to, and employed by Charles 
 the Second. He painted this monarch's portrait, and 
 
 others 
 
90 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 others of King James II. and his Queen ; also King Wil- 
 liam and Queen Mary. After the revolution he was ap- 
 pointed their majesties' painter. He was buried in Bi- 
 shopsgate church, London. No. 172. 
 
 Salvator Rosa: b. at Naples 1614: cL 1673, aged 
 59. 
 
 Salvator stood in the first rank of painters, and no man 
 ever better understood how to generalize his ideas, which 
 rendered his works at once grand and impressive. He 
 delighted in the terrific, and, like a fine tragedian, though 
 his subject was horrible, his fine execution and admirable 
 representation, never failed to delight the beholder. The 
 works of ..this truly poetic painter are distinguished by 
 broad grand masses of light and shade, by simplicity, and 
 an execution neither slovenly nor minute, but a happy 
 degree of finishing admirably suited to the subject. His 
 pictures are enriched by figures highly appropriate and 
 characteristic ; forming at once that perfect whole which 
 is the grand distinction of excellence in the art. Nos. 8, 
 62, 73, 117. 
 
 Raphael, Santio da Urbino : b. at Urbino, a city of 
 Italy, 1483: d. 1520, aged 37. 
 
 " See Raphael there his forms celestial trace, 
 UnrivalPd sovereign of the realms of grace." 
 This wonderful artist, who, as Sir Joshua Reynolds 
 observes, " stands foremost of the first painters," may in 
 some respects be assimilated to our immortal Garrick. — 
 The former, like the latter, has been often equalled, per- 
 haps 
 
BIOGRAPHICAL SKETCHES. 
 
 91 
 
 haps surpassed in some of his subordinate parts, but 
 Raphael, like Garrick, surpassed all others of the pro- 
 fession in the superior range of his mind, and displayed 
 higher and more extensive talents than any other artist. 
 Raphael received his first instructions from his father, 
 a painter of no inconsiderable merit, but whose fame is 
 lost in the splendour of his son*s. His ostensible master 
 was Pietro Perugino. He lived in an age of splendid 
 talents, but all talents, all competition was borne down by 
 the sublime productions of his matchless pencil. No. 28. 
 
 Rembrandt Van Ryn : b. at a village near Leyden y 
 in Holland, 1606 : d. 1674, aged 68. 
 
 Rembrandt had various masters, but it was from Jacob 
 Pinas that he imbibed that love for strong opposition of 
 light and shade which formed the basis of his own fine 
 style. He derived, however, his greatest improvement 
 from the study of nature, which he copied in its most 
 simple dress, but although he did not seem to have a 
 talent for elegant selection, yet he had an amazing power 
 of representing every object before his eyes, with such 
 truth, force, and effect, as nothing but nature itself can 
 equal. The works of this great painter are so numerous, 
 and have such extensive circulation, that it is needless here 
 to expatiate on their particular exellencies. An account 
 of his life and productions has been published by D. 
 Daulby, 8vo. Nos. 52, 132. 
 
 Andrea del Sarto, or Vannacchi : b. at Florence 1 488 : 
 d. U30, aged 42. 
 
 The 
 
HISTORY, &C. OF CdRSHAM HOUSE. 
 
 The characteristics of this painter are taste in compo- 
 sition, correctness in drawing, fine colouring, and a com- 
 prehensive knowledge of the theor} r of the art. In con- 
 junction with Francisco Bigio, he painted many pictures 
 for the churches and convents at Florence, and was 
 equally excellent in fresco and oil pictures. That of 
 St. John preaching in the Wilderness has been much ce- 
 lebrated, and considered his finest production. Nos. 
 109, 147. 
 
 9 ScARAMUCCIA, 
 
 There were two painters of this name, Ludovico and 
 Giovanni Antonio : but there is no account of either in 
 Pilkington, though the former is said to have been the 
 master of An. Lanzano* No. 103. 
 
 Eustachius Le Sueur: b. at Paris 1617: d. 1655, 
 aged 38. 
 
 Le Sueur has been justly deemed one of the most emi- 
 nent artists of the French school : whence the critics of 
 his country have honoured him with the appellation of 
 the French RaphaeL His best pictures have certainly 
 more of the dignity, and chaste simplicity of history, than 
 those of any of his contemporaries. The attitudes of his 
 figures, and their drapery, are generally draw r n and dis- 
 posed with grace and judgment. No # 79. 
 
 David Teniers, called the Young : b. at Antwerp, a 
 city of Brabant , 1610 : d. 1694, aged 84. 
 
 Under the judicious instruction of his father, Rubens, 
 and Brouwer, this artist made great progress in his pro- 
 fession, 
 
BIOGRAPHICAL SKETCHES, 
 
 93 
 
 fession, and acquired very considerable celebrity* Hav- 
 ing obtained the patronage of the Arch-Duke Leopold, 
 who had seen and admired some of his pictures, he there- 
 by attracted notoriety and fame : and the great truth, 
 simplicity, and chaste colouring of his pieces, fully en- 
 titled him to the approbation of his contemporaries, and 
 of the fame he has acquired. Nos. 2, 3, 9, 10, 12. 
 
 Bartelemi Schidone : b. at Modeno, a city of Italy, 
 1560 : d. 1616, aged 56, 
 
 Schidone was one of the school of the Caracci, and re- 
 markable for his excellent imitations of Corregio. His 
 style of painting was elegant, his touch light, delicate, 
 and beautiful, and although he is not always critically 
 correct in outline, yet his heads are remarkable for force, 
 and most of his pictures are very finely finished. No. 139. 
 
 John Schorel, or Schorcel : b. at Schorel, near 
 Alkmar, in Holland, 1495 : d. 1562, aged 67. 
 
 He was as remarkable for his travels as for his paint- 
 ing, having visited almost every country in Europe. He 
 also made a voyage to Palestine, and sketched several 
 pleasing views of Rhodes, Cyprus, &c. He afterwards 
 visited Rome, and is noted for being the first Flemish 
 artist who introduced into his native country the taste of 
 the Italian school. His manner is rather dry, but his 
 heads in general are graceful, with landscape back- 
 grounds always adapted to his subject. No. 145. 
 
 Giuseppe Ribera, called Spagnoletto : b. at Xativa, a 
 city in Spain, 1589 : d, 1656, aged 67. 
 
 H Ribera 
 
94 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 Ribera went to Naples when very young, where he 
 studied under Caravaggio, from whom he acquired that 
 strong and bold style of drawing, &c. which distinguishes 
 his pictures. In the representation of old heads, figures 
 of beggars, banditti, &c. Spagnoletto was highly cele- 
 brated. His Christ disputing zvith the Doctors, in the 
 Cleveland Gallery, is a work of uncommon merit. — 
 Nos. 64, 68, 161, 186. 
 
 Henry Stenwyck, or Stenvick : b. at Stenvick 1589 : 
 d. 1603. 
 
 In representing the interior of churches few artists ex- 
 celled Stenwyck. A simplicity of colouring, accuracy of 
 drawing, and perspective, with judicious management of 
 distances, characterise his best pictures. He was much 
 encouraged in London, and employed by Charles the 
 First. Dying in this metropolis, his widow removed 
 to Amsterdam, and there painted subjects similar to those 
 of her husband. No. 119. 
 
 John Strada, or Stradanus : b. at Bruges 1536 : 
 d. 1604, aged 68. Be Piles dates his birth in 1527, and 
 his age 77. 
 
 Strada left his native place at an early age, to visit and 
 improve himself at Florence, where he was employed in 
 the ducal palace. His favourite subjects appear to have 
 been horses and hunting scenes. No. 114. 
 
 Justus Subtermans : b. at Antwerp , a city of Brabant 
 1597 : d. 1681, aged 84. 
 After studying under De Vos and Pourbus, this artist 
 
 visited 
 
BIOGRAPHICAL SKETCHES. 
 
 95 
 
 visited some of the principal cities of Italy, and was em- 
 ployed by Cosmo IL.the Duke of Tuscany, the Emperor 
 Ferdinand II. Pope Urban VIII. and several other exalted 
 personages. No. 92. 
 
 Bernarindo Strozzi, called Hipolito Galentini, Cap- 
 puccino, and Prete Genoese: b. at Genoa in 1627: d. 
 1706, aged 79. Nos. 29, 31. 
 
 Elimbetha Sirani : b. at Bologna 1638: d. 1664, 
 aged 26. 
 
 At an > early period she attained considerable profes- 
 sional excellence, and is supposed to have been poisoned 
 by some envious rival. No. 128. 
 
 Leonetto Spado : b. at Bologna 1576 : d. 1622, 
 aged 4§. 
 
 This extraordinary man, like Claude, was at first a 
 colour-grinder, and pursued this humble occupation for 
 the Caracci, but he ultimately became one of their best 
 scholars. Some of his pictures are as striking for their 
 whimsicality of conception, as for their excellence of 
 execution. No. 56. 
 
 Alessandro Tiarini : b. at Bologna 1577: d. 1668, 
 aged 91. 
 
 In the churches of Bologna were formerly some large 
 and fine pictures by this master, who practised history 
 and portrait. In the latter branch he was employed to 
 paint Ferdinand Duke of Mantua, who directed him also 
 to paint all the princes of his family. No. 120. 
 
 H 2 Giacomo 
 
96 
 
 HISTORY, &C. OF COR3HAM HOUSE. 
 
 Giacomo Tintoretto, or Bobusti: b. at Venice 1512 : 
 d. 1594, aged 82. 
 
 This distinguished artist surpassed all the painters of 
 the Venetian school, in the fertility of his invention and 
 the rapidity of his execution. His knowledge of the best 
 principles of his profession was very extensive ; but he 
 had too much fire to be always discreet in the applica- 
 tion of that knowledge. His manner of painting is bold, 
 with strong opposition of light and shadow ; his touch is 
 lively and full of spirit, and the general disposition of his 
 subjects excellent. No. 85, 96, 106, 127. 
 
 Sir Anthony Vandyck : b. at Antwerp, a city of Bra~ 
 bant, 1599: d, 1641, aged 42. 
 
 This chaste, correct, and elegant artist was a pupil of 
 Rubens, and practised in Flanders, Italy, and England. — 
 In the latter country his works are justly held in the 
 highest estimation. He was knighted by King Charles 
 the First, who also conferred on him a pension. As a 
 portrait painter, though he might have had an equal, yet 
 he never, perhaps in any age or nation, had a superior. — 
 His most prominent merit was the fidelity of his resem- 
 blances, with all the graces and blandishments of which 
 portrait painting is susceptible. In the representation of 
 infantine beauty, and female charms, Sir Joshua certainly 
 excelled him, but in the delineation of manly energy and 
 dignified resignation, Vandyck has never been surpassed. 
 In this collection the portrait of the Duke of Richmond, 
 (No. 174) ; that of himself, (124) ; the Charity, (78) ; and 
 
 the 
 
BIOGRAPHICAL SKETCHES. 
 
 97 
 
 the Saviour Betrayed, (7 1 ), are interesting specimens of 
 his different styles and varied excellence. Nos. 59, 71, 
 78, 94, 105, 124, 125, 131, 174, 175. 
 
 William Vandervelde, called the Young : b. at Am- 
 sterdam, 1633 : d. 1707, aged 74. 
 
 He received his first instructions from his father, and 
 was afterwards pupil to Simon de Vliegar. On visiting his 
 father in London, some of his works attracted such notice 
 at court, that he was immediately employed by the king 
 and chief nobility, and his performances were considered 
 inestimable. His pictures are designed and finished with 
 great truth, taste, and effect. His best productions are 
 in England, where he was first encouraged and long re- 
 sided, Nos. 35, 3G, 180, 191. 
 
 Titiano Vecelli Cavaliere, called Titian : b. at the 
 Castle of Cador, in the Venetian territory 1480 : d. 1576, 
 aged 96. 
 
 This celebrated painter of nature and truth flourished 
 at Venice. His fame as an artist he owes to his talents 
 and industry, but his elevation to rank and fortune ema- 
 nated from the munificence of the Emperor Charles the 
 Fifth. Titian has been often surpassed as an historical 
 painter, but in portrait and landscape he stands unri- 
 valled. Nos. 26, 32, 51, 58. 
 
 Alexander Veronese, called Turchi : b. at Verona, a 
 city of Italy, 1600 : d. 1670, aged 70. 
 
 This artist is said to have united the Roman gusto of 
 
 fcl 3 design, 
 
98 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 design, with the Venetian style of colouring. He painted 
 many good eazel pictures at Rome, where he principally 
 resided ; but his grand compositions are in the convents 
 and churches at Venice, Verona, and Rome, No. 190, 
 
 Simon Vouet : b. at Paris 1 582 : d, 1 641 , aged 59. 
 
 Vouet studied chiefly at Rome, where he flourished 
 some years. When advanced in life he returned to his 
 native country, where he is said to have introduced that 
 bad style of colouring which tended to deprave the 
 French taste, No, 104. 
 
 John Baptist Weeninx, called the Old : b. at Amster~ 
 dam 1621 : d. 1660, aged 39. 
 
 This artist was a pupil of A. Bloemart, and laboured 
 incessantly, and improved as rapidly. From sketching 
 ruined castles, ships, animals, &c. he acquired such faci- 
 lity of execution that he became an universal painter. 
 No. 151. 
 
 Don Diego Velasquez de Silva : b. at Seville, a city of 
 Spain, 1594: d. 1660, aged 66. 
 
 This eminent painter received a polite education, which 
 shed a lustre on his professional abilities ; and was ho- 
 noured, when very young, by being appointed principal 
 painter to Philip the Fourth, of Spain. The composi- 
 tions' of this artist are remarkable for strong expression, a 
 peculiar freedom of pencil, a spirited touch, and for a 
 tone of colour pleasing and natural. No. 126. 
 
 ' Paolo 
 
BIOGRAPHICAL SKETCHES. 
 
 99 
 
 Paolo Cagliari, called Paul Veronese : b. at Verona, 
 a city of Italy, 1530: d. 1588, aged 58. 
 
 This great master, of what is called the ornamental 
 style, flourished at Venice. His principal works were 
 executed to ornament chapels, saloons, &c. and no painter 
 ever evinced more persevering industry, or was more 
 liberally encouraged. What Sir Joshua observes of 
 Rubens is equally applicable to Veronese, that his powers 
 expand in proportion to the space he had to cover. — 
 Nos. 21, 34, 40, 61, 63, 72, 74, 76, 83. 
 
 Leonardo da Vinci: b. at Florence 1445: d, 1520, 
 aged 75. 
 
 Painting is greatly indebted to this artist, who,*born in 
 an age when it was in its infancy, pursued it with that 
 zeal and science, which reduced it to established prin- 
 ciples. 
 
 He was an author as well as artist, and bequeathed a 
 treatise which evinced the comprehensiveness of his mind, 
 and versatility of his talents. His works have been trans- 
 lated by Rigaud, and published in one 8vo. vol. 1800. 
 No. 24. 
 
 Ottavio Viviani, called Codazzo : b. at Brescia, a city 
 of Italy, 1599: d. 1674, aged 75. 
 
 His subjects were ruins of magnificent edifices, which, 
 for truth of perspective, delicate handling, and fine 
 keeping, are superior to most other performances of that 
 description. No. 42. 
 
 H 4 Phillip 
 
100 
 
 IIISTOHYj &C. OF CORSHAM HOUSE. 
 
 Phillip Wouvermans : b. at Haerlem, a town in Hol- 
 land, 1620: d. 1668, aged 48. 
 
 This artist may be classed among the most eminent of 
 the Dutch school. He was originally instructed by his 
 father, and afterwards studied under John Wynants, with 
 whom he made such rapid improvement, as soon to sur- 
 pass all his contemporaries. Nos. 138, 143, 
 
 A CONCISE 
 
A CONCISE 
 
 Historical, and descriptive account 
 
 OF 
 
 CORSHAM HOUSE. 
 
 The history of ancient mansions, like the memoirs of in- 
 dividuals, furnishes much curious matter for speculative 
 investigation, and a fruitful theme for narrative. Indeed it 
 has been a common fault with tourists and topographers, 
 to consider the baronial-hall and castellated-mansion 
 rather as subjects for romance, than for useful history 9 
 and instead ofendeavouring to /;2/bn?i the reader, they are 
 only solicitous to amuse him. Actuated by very dif- 
 ferent sentiments, I shall ever consider it the imperious 
 duty of every historian to search for truth, and only re- 
 cord rational, or demonstrative facts. Were this a preva- 
 lent custom, literature would then become more essen- 
 tially useful, and the critical reader would resort to it with 
 unequivocal confidence. 
 
 The loose and vague phraseology of our ancient histo- 
 rians and topographers renders their accounts often very 
 perplexing; and the great dissimilarity in laws, customs, 
 and manners of the people in the eleventh and nineteenth 
 century, tends to increase the confusion. Thus manor, 
 domain, village, and lordship are often indiscriminately 
 used, and the first is frequently applied to, or includes all 
 the others. In Dugdale's Monasticon, v. ii. p. 956, it is 
 stated, that the church of Corsham, with all its land and 
 tythes, were given, by William the Conqueror, to the 
 Abbey of St. Stephen, at Caen, in Normandy : again, in 
 the time of Henry the Second, they were given to the 
 
 Abbey 
 
10% HISTORY, &C. OF COHSHAM HOUSE. 
 
 Abbey of St. Martin, of Terns. Leland, speaking of 
 Corsham, says that there are u ruins of an old manor- 
 place, and thereby a park, wont to be dower to the 
 Queens of England. Mr. Baynton, in Queen Anne's days, 
 pulled down, by licence, a pece of this house, somewhat 
 to help his buildings at Bromham."* Camden describes 
 Corsham as u a small village, anciently a royal vill of 
 King Ethelred, and famous for the retirement of the Earls 
 of Cornwall, and whence' is seen the ancient castle of 
 Castlecombe/'f In the Magna Britannia we are inform- 
 ed that " Corsham is a little village over-against Chip- 
 nam, at a little distance from the river noxv, but antiently 
 a place of note, being the lordship of Tosti, Earl of 
 Northumberland, in Edward the Confessor's days, and 
 before having in it the country palace of King Ethelred ; 
 and afterwards being made the retiring place of the 
 Earls of Cornwall." In a survey of the manors, &c. be- 
 longing to the monastery of Sion, Middlesex, An. Dom. 
 1492, " Corsham glebe and parsonage" are mentioned as 
 valued at four marks.J Among the manors which con- 
 stituted the " dower" of Anne, wife of James the First, 
 was this of Corsham. § 
 
 Such are the indefinite, meagre, and unconnected 
 notices I meet with in print relating to Corsham, but 
 none of these particularize the manor or mansion of the 
 lords. In Leland's time there was a park and ruins of a 
 
 manor- 
 
 * Itinerary, Vol. II. 
 
 f Gough's edit. L p. 88. 
 
 X Lyson's Environs of London, Vol. III. p. 85. 
 
 § Lodge's Illustrations of British History, Vol. III. p. 211.. 
 
HISTORY, SCC. OF CORSHAM HOUSE. 
 
 103 
 
 manor-house, which probably occupied the site of the 
 present. Still however we must wish for more circum- 
 stantial accounts of a place that was formerly of so much 
 note, and cannot help feeling regret in reading these un- 
 precise notices, which tend rather to perplex, than gratify 
 our curiosity. 
 
 Corsham House, and its connecting domain, have 
 passed through different possessors, and appear to have 
 been gradually augmenting and improving. Previous to 
 the year 1582 we seek in vain for any thing like authentic 
 history. At that period the ancient part, perhaps the 
 whole marked black in the ground plan, was built, as 
 appears by an inscribed stone inserted over the great door 
 in the south front.* This portion of the mansion is said 
 
 to 
 
 * The Architecture which prevailed in England about this time, may 
 not inaptly be called got hie ; for it had but little either of elegance, 
 beauty, convenience, or comfort in its composition. Neither Grecian. 
 Roman, nor English, yet a motley mixture of the whole ; it was more 
 calculated to form a picturesque building in a large old park, than to be 
 a desirable habitation. But the man whose mind is enriched with true 
 taste, or who seeks for felicity in domestic arrangements, and in the 
 comfortable display of his mansion, will neither select a building of 
 this age for his habitation, nor erect one after such a model. The 
 very essence of domestic architecture consists in the adaptation of 
 apartments to the peculiar requisites of a family, and the comparative 
 magnitude of its establishment : at the same time the exterior forms 
 should assimilate with the neighbouring scenery, and the local cha- 
 racteristics of the country. If in the vicinity of an ancient noted 
 castle, abbey, or cathedral, it would certainly be adviseable to raise the 
 intended building, partly in imitation of its veteran neighbour ; for the 
 mind is pleased with associations, and the eye is always gratified with 
 
 harmonious 
 
104 
 
 HISTORY, &C. OF CORSHAM HOUSE* 
 
 to have been erected by William Halliday, Esq. who was 
 an alderman and sheriff of London, and whose daughter 
 and coheir married Sir Edward Hungerford, Knight. 
 This lady endowed a charitable establishment in Corsharn, 
 
 for 
 
 harmonious combination. I can easily fancy that the picturesque, 
 beautiful, and comfortable may all be united, in a certain degree, in one 
 building; but the former must not be made to consist in raggedness> 
 nor the second be reduced to formal prettyness. The temperate lo- 
 gician always recommends the happy medium, and this I am persuaded 
 will be found the grand desideratum, after all the warm and ironical 
 disputations of writers, who have descanted on the picturesque,, the 
 beautiful, and the sublime ; or on the combination of all under the 
 term taste. This intellectual embellishment and blessing is univer- 
 sally covetted, but few persons have either patience, or a mind adapted 
 to acquire it. Many egregiously deceive themselves by fancying it an 
 innate principle, and impose on their own understandings and the 
 credit of the world by arrogating the possession of it. Thus pre- 
 possessed, they boldly arraign every production of art, and generally 
 condemn or approve in the aggregate. The liberal mind, however, 
 being differently organized, always endeavours to discriminate, and 
 cautiously and good-naturedly animadverts on the works of erring 
 man. For as the most excellent of human productions never attained 
 perfection, it is unjustifiably fastidious to descant only on blemishes. 
 Yet this is a common fault and failing. Every professional artist, 
 and critical connoisseur, flatters himself with the belief that his own 
 taste is more refined or correct than his contemporaries, and there- 
 fore generally estimates the productions of others by some self-created 
 favourite theory, or fanciful criterion. 
 
 As the present work is not intended to embrace a dissertation on 
 this subject, I feel it necessary to restrain my pen. Though many 
 pamphlets and volumes have been written on Taste, the latest, and by 
 far the best, are " Knight's Analytical Enquiry/' 8vo. 1806, and Rep- 
 ton's "Enquiry into the Changes of Taste in Landscape Gardening,** 
 &c, 8vo. 1806. 
 
HISTORY, &C. OF CORSHAM HOUSE. 
 
 105 
 
 for the maintenance of six aged women, and the educa- 
 tion of a certain number of poor children ; but the latter 
 charity appears to be neglected or lost. To whom 
 Corsham House next devolved I have not been able to as- 
 certain, but it was purchased by Paul Methuen, Esq. fa- 
 ther of the present possessor, in 1747. This gentleman 
 made considerable alterations and additions to the house, 
 &c. and employed Launcelot Brown both as his architect 
 and " landscape gardener." The additions then made to 
 the mansion are defined in the accompanying ground 
 plan. At that time the Methuen collection of picture* 
 was very considerable in number, and eminent in public 
 estimation.* The pictures were mostly, however, at the 
 town house in Grosvenor Street, and a catalogue was 
 published of them in the u English Connoisseur," 1766. 
 To concentrate the whole at Corsham House, and display 
 them to advantage, was the intention of the late pos- 
 sessor, but to effect this was reserved for the present wor- 
 thy 
 
 * About the same time that Sir Paul Methuen was forming his 
 collection, Dr. Mead, Sir Luke Schaub, Sir Gregory Page, Mr. Child 
 and Mr. Hoare the bankers, Field-Marshal Wade, General Guise, 
 Frederick Prince of Wales, and the Duke of Norfolk, were all amusing 
 themselves with similar pursuits. u These pictures, considerable m 
 value and number, not unfrequently changed their possessors, and one 
 collection was formed on the wreck of another. How often they 
 have been transferred, and what accession, or diminution of price such 
 removals have occasioned, would compose a volume of well authen- 
 ticated anecdotes," Dallazctn/. The Methuen collection, I believe, is 
 the only one made at that period which has continued perfect to the 
 present time. 
 
106 
 
 HISTORY^ &C. OF COItSHAM HOUSE, 
 
 thy owner, who has greatly enlarged the family mansion, 
 and had it fitted up and embellished in a magnificent style. 
 The modern architectural additions were made from the 
 designs of John Nash, Esq. and great improved alterations 
 were at the same time made in the park and pleasure 
 grounds bv Humphry Rep-ton, Esq. The whole now dis- 
 plays a combination of beauties and conveniences, which 
 must confer much additional reputation on the respective 
 professional abilities of the artists, and be a grand memo- 
 rial of the munificence of the proprietor. As the late 
 additions have been very considerable, I shall briefly de- 
 scribe them, and, at the same time, define the character 
 of the former building. 
 
 The middle of the house, on the south side, was occupied 
 by a hall, stair-case, drawing room,eating room, and a nar- 
 row passage, all which were small and very low. These 
 have been laid together, and formed into one hall, the 
 cielings taken away, and an open gallery made all round, 
 with a staircase at both ends, leading by double flights of 
 steps on each side to the galleries. This room, which is 
 fitted up as an old baronial hall, is one hundred and ten feet 
 in length, including the staircases, twenty-five feet broad, 
 and twent\ r -five feet high. The east wing of the house 
 had a square library, two smaller rooms, and a stair-case. 
 The latter, and the two rooms, have been thrown toge- 
 ther, and converted into a library forty-five feet long 
 and twenty-two feet wide. The square apartment is now 
 made a breakfast room, and is remarkable for a very sin- 
 gular cornice, which is composed of small heads in basso 
 relievo, supporting (I e points of groins. Though there 
 
 are 
 
HISTORY, &C. OF CORSHAM HOUSE; 
 
 107 
 
 are one hundred and sixty in number, yet they are so 
 varied that not any two are alike ; and though every head 
 is expressive of bearing weight, yet each countenance 
 expresses it in a different way. The additional new 
 rooms are on the north side of the house, and consist 
 of a saloon, an eating room, and a music room. The 
 two latter are of the same proportions, measuring thirty- 
 six, by twenty-four feet, and eighteen feet high. The 
 saloon, in the middle, is of an octagonal shape, forty feet 
 diameter and twenty-four feet high. It commands a 
 beautiful view of the lawn and water. These three 
 rooms are en suite, and communicate with the grand 
 picture gallery, hall, and passage. In designing the 
 centre of the new north front, the architect has judici- 
 ously chosen for his model, the east end of Henry the 
 Seventh's Chapel, at Westminster, the character of which 
 is peculiarly light and elegant. Its form and component 
 parts are admirably adapted to this situation: for by pro- 
 jecting before the regular surface of the building, and 
 having windows in the three outer faces, it thereby gives 
 to the saloon a variety and extent of prospect, singularly 
 advantageous. The turrets and flying buttresses are also 
 beautiful appendages, and by catching the rays of the 
 sun when in the east or west, are calculated to illumine 
 the gloom of a northern aspect. 
 
 The scenery of the park, and pleasure grounds, has been 
 chiefly formed by the operation of art. Under the late 
 Mr. Brown many improvements were made in the dispo- 
 sition and plantations of the park and shrubberies ; but 
 the most materia] and considerable have been formed 
 
 after 
 
108 
 
 HISTORY, &C. OF CORSHAM HOUSE. 
 
 after the designs of Mr* Repton. This gentleman has di- 
 rected the formation of a large piece of water, in the 
 lowest part of the park. It is seen from the picture- 
 gallery, saloon, and all the rooms on the east side of the 
 house ; and attracts the eye to a fine combination of 
 wooded scenery, which is backed by a pleasing sweep of 
 distant hilly country. 
 
 Though the house, grounds, and many other connect- 
 ing subjects, may be justly entitled to more circum- 
 stantial verbal description, I have deemed it most advise- 
 able to close the account here. Should another edition 
 be hereafter required, I will cheerfully attend to, and en- 
 deavour to profit by, the advice of any intelligent friends, 
 liberal critics, or generous strangers. In closing this 
 little work, which has given me much pleasure, joined 
 with great solicitude in writing, I feel it a grateful duty 
 to return my unfeigned thanks to Mr. and Mrs. Methuen, 
 for many acts of singular kindness and polite attention. 
 To the following gentlemen I am also obliged for some 
 judicious and useful suggestions relating to the polite arts : 
 Benjamin West, Esq. M. A.Sher, Esq. J. Northcote, 
 Esq. T. Phillips, Esq. H. Bone, Jun. Esq. John Coles, 
 Esq. and Bell, Esq. 
 
 The reader is solicited to correct the following Errata, 
 
 P. 12, for Adrian read Andrea. 
 
 Nos. 195, 197, 209, 211— read Cam. for Car. 
 
 P. 31, for Dolci read Dolce. 
 
 J. Wright, Printer, 
 
 SL John's Square, ClerkenweU, 
 
41 
 
 &X60I