BRITISH GALLERIES 
 
 OP 
 
 PAINTING AND SCULPTURE, 
 
 COMPRISING A 
 
 GENERAL HISTORICAL AND CRITICAL 
 CATALOGUE, 
 
 WITH 
 
 SEPARATE NOTICES 
 
 OP 
 
 EVERY WORK OF FINE ART IN THE PRINCIPAL 
 COLLECTIONS. 
 
 BY 
 
 C. M. WESTMACOTT, 
 
 THE ANNUAL CRITICAL CATALOGUE TO THE ROYAL ACADEMY;" EDITOR OF 
 " THE SPIRIT OF THE PUBLIC JOURNALS," &c. &c. 
 
 ILLUSTRATED WITH 
 
 ENGRAVED PORTRAITS AND INTERIOR VIEAVS, 
 
 BY 
 
 WAGEMAN, CATTERMOLE, HAWKSWORTH, LE KEUX, 
 FINDLAY, AND PHILLIPS 
 
 LONDON: 
 
 PUBLISHED BY SHERWOOD, JONES, AND CO., 
 
 PATERNOSTER ROW. 
 
 MDcccxxn-. 
 
LONDON : 
 Printed bj A\aLLIAM CLOWES, 
 NoithujnberUnd-comt. 
 
CONTENTS OF THE FIRST PART. 
 
 METROPOLITAN GALLERIES: 
 
 The King's (Carlton House), 
 
 Buckingham House, 
 
 National Gallery (late Angerstein'sJ, 
 
 Marquess of Stafford's (Cleveland House), 
 
 Kensington Palace, 
 
 St. James's Palace, 
 
 British Museum, 
 
 Mr. T. Hope's, Duchess-street. 
 
 Presentation Works of the Academicians at the Royal Academy of 
 Arts, Somerset House ; 
 
 An Essay on the Marbles of the Parthenon. 
 
 ENGRAVINGS IN THE FIRST PART. 
 
 Portraits of His Majesty, the Marquess of Stafford, Earl Grosvenor, 
 and Sir J. F. Leicester. 
 
 INTERIOR VIEWS OF GALLERIES: 
 
 Carlton House, Cleveland House, with a plan of the Galleries, and Mr. 
 T. Hope's, in Duchess-street ; 
 
 Willi numerous illustrative Vignettes on wood, embossed into the 
 Letter Press. 
 
INTRODUCTION. 
 
 That the cultivation of the Fine Arts has uni- 
 formly contributed to the Reputation, Charac- 
 ter, and Dignity, of every Government by which 
 they have been encouraged, is an axiom, the 
 truth of which will be admitted by every enlight- 
 ened mind . In this country, the patriotic exertions 
 of a few noble-minded individuals, with an august 
 Prince at their head, have within a few years 
 diffused among the higher and best informed 
 classes of society a laudable emulation in the en- 
 couragement of Native Talent. Half a century 
 since, in England, Genius was seen struggling in 
 her swaddling clothes, an almost helpless infant, 
 
VI 
 
 INTRODUCTION. 
 
 craving the protection of a few refined Patrons, 
 the generous promoters of Science and of Taste. 
 Surrounding nations denied us even the natural 
 qualifications for obtaining excellence in the Sister 
 Arts of Painting and Sculpture ; and the very soil 
 of our country was said to be inimical to the pro- 
 gress of Science, 
 
 The establishment of the Royal Academy, un- 
 der the parental care of our late illustrious and 
 revered Monarch, first broke the trammels of pre- 
 judice ; and from that time to the present period, 
 under the auspices of our munificent reigning 
 King, whose fine taste and liberal encourage- 
 ment of the arts must ever shed a lustre round 
 his name brighter far than the most costly jewel 
 in his diadem, have we continued to increase in 
 dignity and importance until the mighty efforts of 
 succeeding genius have not only equalled the 
 Artists of the Flemish, Italian, and French schools, 
 but in originality, truth of drawing, natural colour- 
 ing, and felicity of composition, have eclipsed them 
 all ; nor have the efforts of the Sculptor been less 
 successful : the application of his art naturally 
 confines it within a narrower space, but it is the 
 boast of Genius to rise superior to local diffi- 
 culties, and we may now proudly point to the 
 works of British Sculptors which adorn our pub- 
 lic places and cathedrals, and challenge competi- 
 tion with the world. 
 
 In the present advanced state of the fine arts, 
 
INTRODUCTION. 
 
 Vll 
 
 it is singular that no general catalogue of a criti- 
 cal and descriptive nature, directing the promoter 
 and admirer to the choicest collections in the 
 metropolis, noticing everi/ work of art separately, and 
 pointing out what is best worthy his attention, 
 should have preceded this attempt. It is true that 
 splendid and elaborate works of some few of the 
 Collections have been published ; but their extra- 
 vagant price have prevented their being generally 
 read, and consequently has confined the know- 
 ledge of these treasures of art to the more wealthy 
 patrons. To diffuse a more general love of paint- 
 ing and sculpture through all circles of the com- 
 munity is surely no mean object of incitement to 
 enable the least informed on these subjects to im- 
 prove their taste ; and to cultivate a still more ex- 
 tended patronage for the increasing splendour of 
 British genius, is the intent and purpose of the 
 present work. Elaborate criticism has been pur- 
 posely avoided, and in the observations made on 
 the various productions of art which are here no- 
 ticed, the author has been more solicitous of stat- 
 ing the historical fact, and drawing the reader's 
 attention to the object in view, than of enforcing 
 his own opinion upon its merits. 
 
 In the prospect of a National Gallery being 
 erected, the pictures of the late Mr. Angerstein, 
 (since purchased by the country), and the splen- 
 did Collections of Marbles in the British Museum, 
 have been purposely placed in this volume in fol- 
 
Vlll 
 
 INTRODUCTION. 
 
 lowing order, that, should such a desirable event 
 take place, a supplement of any other works of 
 art contained therein might easily be added, to 
 make the whole at any time complete. 
 
 C. M. Westmacott. 
 
 Clement's Inn. 
 
 Note. — Since the frequent and continued announce- 
 ments of this Work, necessarily delayed by the desire of 
 the Publishers to render the Illustrations worthy of public 
 patronage, certain criticisms on a few of the Paintings 
 in different galleries, originally pubhshed in the Monthly 
 Magazines, have made their appearance, in a collected 
 form. To prevent misrepresentation, I feel it necessary 
 to state this Work is not founded on any previous Publi- 
 cation, and is, as far as I am aware, the first and only 
 attempt to combine one General Historical and Critical 
 Catalogue, with separate Notices of every Work of Art, de- 
 scriptive Sketches of the Palaces, Mansions, and Galleries of 
 the illustrious and distinguished Owners, with topographical 
 Views, and Essays on all the principal Collections in the 
 Kino^dom. 
 
A CRITICAL AND DESCRIPTIVE 
 
 CATALOGUE 
 
 OP THE 
 
 PAINTINGS, BUSTS, BASSO RELIEVOS, 
 AND WORKS OF ART, 
 
 IN 
 
 THE PRIVATE COLLECTION 
 
 OP 
 
 HIS MOST GRACIOUS MAJESTY 
 
 GEORGE THE FOURTH, 
 
 CARLTON-HOUSE. 
 
 Beneath one royal head, whose vital pow'r 
 Corrects, enlivens, and exerts, the whole 
 In finer arts and pnblic works, shall she. 
 Shall Britain yield ? 
 
 Thomson. 
 
 B 
 
Carlton-House, North Front. 
 
 CARLTON-HOUSE. 
 
 ± HIS structure, which, under the elevated taste of his 
 present Majesty has changed its character from that of a 
 plain mansion to a splendid palace, yet assumes no other 
 than its original title. The estate formerly belonged to 
 the Earl of Burlington, of whom it was purchased in 1723, 
 by the nation, for the use of his Royal Highness Frederick 
 Lewis, Prince of Wales, the father of George the Third. 
 The celebrated architect Flitcroft first commenced the 
 alterations, but a complete rebuilding of the interior took 
 place in 1783, under the direction of Mr. Holland, the 
 architect to his Majesty, then Prince of Wales; to 
 this gentleman the present elegant structure must be 
 principally ascribed, with the exception of the lower suite 
 of apartments, in which the combined skill of Messrs. 
 Wyatt and Nash have made some splendid additions ; his 
 present Majesty held his first state levee here, as Prince 
 of Wales, on the 8th of February, 1790, from which period, 
 
 B2 
 
4 
 
 CARLTON-HOUSE. 
 
 it has been his constant residence. The level of Pall Mall 
 being higher than that of the gardens adjoining the Park, 
 has aiforded the architect an opportunity of forming a suite 
 of apartments in the basement story of the South front, 
 which are those generally occupied by his Majesty; this 
 accounts for the greater number of apartments contained 
 therein, than it would appear to possess when viewed from 
 its principal aspect. The interior arrangements display 
 the strongest proofs of the exquisite taste and elegant 
 mind of the King, although the decorations in the state 
 apartments are now somewhat impaired by the hand of 
 time. The difficulty of access to this palace is a matter 
 of universal regret ; it requires only to be seen to convince 
 the most fastidious of the dignified and superior endow- 
 ments of mind in the royal possessor. As a palace, it is 
 not of sufficient extent and consequence for the Sovereign 
 of the wealthiest nation in the world ; as an occasional re- 
 sidence, it is certainly replete with every elegance in a 
 princely style of grandeur, but the King of England has a 
 right to expect a more magnificent dweUing than Carl ton- 
 House ; it is a reproach to the refinement of the age, that a 
 King who has given such decided proofs of admirable skill 
 in his selection of works of taste, and who has, beyond all 
 his predecessors, extended his royal patronage to the en- 
 couragement of the Fine Arts, both in architectural im- 
 provements and design, should himself require a residence 
 of suitable and corresponding dignity to the high charac- 
 ter and increasing wealth of the country, and the royal 
 splendour of its sovereign. 
 
 It will be seen, that the chief part of his Majesty's private 
 collection of pictures, in Carlton-House, are of the Flemish 
 and Itahan schools ; the selection has been made with a 
 munificence and skill worthy of a royal mind ; these trea- 
 sures of art are almost all unique specimens of the great 
 names they bear. The confined space of the residence, 
 
CARLTON-HOUSE. 
 
 5 
 
 has prevented the King from introducing grand historical 
 compositions, but his princely taste has been devoted 
 to obtaining the most superlative cabinet gems and chef 
 d'auvres of art ; in this, he has been eminently successful. 
 It is known that his Majesty has long expressed an ardent 
 desire to obtain a selection of the best pictures of the 
 English school, to be arranged, according to date, in one 
 gallery, but the parsimony of the state has hitherto pre- 
 vented his paternal wish being satisfied, from the want of 
 a suitable residence and gallery to display them in. 
 
 THE GREAT HALL. 
 
 Entering the door, under a Corinthian portico, the 
 Great Hall presents itself through an intervening corridor, 
 the ascent to which, is by a flight of steps, through a colon- 
 nade of the Ionic order; the form is a parallelogram, forty- 
 four feet in length by twenty-nine in breadth, exclusive of 
 the vestibule and corridor ; the sides are embellished with 
 two Ionic columns, on antse of Sienna marble, supporting 
 an entablature, painted to represent the same material. 
 The bases, capitals, and ornaments, are bronzed ; and on 
 the entablatures, under segment archways, are a number 
 of bronzed antique busts and vases. Upon the stylobate, 
 are niches containing bronzed statues of the Antinous and 
 the Discobolus, with two corresponding female figures; 
 above them, in bassi relievi, on a ground of Sienna marble, 
 are other ornaments of the same material. Encompassed 
 with festoons of oak, in the two centre compartments, are 
 cast-iron stoves, formed of Termini, supporting a canopy, 
 over which is a beautiful bmsi relievi of Roman arinour, 
 
6 
 
 CARLTON-HOUSE. 
 
 and implements of war. In the divisions of the corridor, 
 are painted sculptural ornaments and devices of the crest, 
 and other insignia of the Royal possessor. 
 
 THE VESTIBULE 
 
 Is an octangular room south of the Hall ; in this apart- 
 ment, is a magnificent bust of the celebrated Prince de 
 Cond^ ; each of the four arches is embellished with rich 
 velvet draperies, and the other four sides with marble busts 
 of the Duke of Devonshire, the Duke of Bedford; 
 Lord Lake, and the Hon. Charles James Fox, all of 
 them sculptured by the late J. Nollekins, Esq., R.A. 
 
 THE GREAT STAIRCASE 
 
 Has some beautiful specimens of painted glass over th 
 semicircular ends, in imitation of the ornaments, designed 
 by Raphael, for the Vatican. In the gallery of the stair- 
 case, are the figures of Time and Atlas, with Termini, sup- 
 porting lights, very fine ; on the wall, is a large Equestrian 
 Portrait of King George the Second, and the Arch- 
 angel Michael, by Sir Joshua Reynolds, a copy from 
 Raphael. 
 
 THE WEST ANTE-ROOM 
 
 Contains three whole length portraits, by Sir Joshua 
 Reynolds, namely, /*/s Ro7/al Highness William Duke of 
 
CARLTON-HOUSE. 
 
 Cumberland, uncle of his late Majesty George the 
 Thh'd, in his robes of the Garter; a bold, fine picture, 
 grand, natural, and easy, with great breadth of effect. 
 His Royal Highness Henry Frederic Duke of Cum- 
 berland, brother to his late Majesty, also in his robes of 
 the Garter ; a clear brilliant picture, very jieshy and soft, 
 with great truth to nature. The other, a Portrait of his 
 Serene Highness the late DuKE of Orleans, a picture full 
 of the great taste of the master, and a fine specimen of art. 
 A Portrait of his Royal Highness the Duke of Clarence, 
 in naval uniform, by G. Hoppner, R..A,, also decorates this 
 room, and loses nothing by comparison with his great pre- 
 decessor. Over the chimney is a whole length of Louis 
 XV., inscribed, " Louis le Bien Aime, 1760," supposed to 
 be a duplicate picture, presented to the English Court by 
 some ambassador ; it has all the frigid character and elabo- 
 rate smoothness of the French school about it, which is the 
 more apparent, by comparison with the great works near 
 it. Above the doors, next the hall, are Portraits of their 
 Majesties George the Second and Queen Caroline, 
 three-quarter pictures, in oval frames, not superlatively 
 great in style or execution. 
 
 THE CRIMSON DRAWING-ROOM. 
 
 A BRILLIANT apartment, in which the most splendid ma- 
 terials of art are happily blended with the purest taste, a 
 combination of elegance, that astonishes the eye, and ex- 
 cites the admiration of every beholder. Rich draperies, 
 immense pier-glasses, grand chandeliers, tripods, bronzes, 
 elegant vases, and other costly decorations, shew the mag- 
 nificent taste of the royal occupant. The pictures, in this 
 
8 
 
 CARLTON-HOUSE. 
 
 room, derive considerable advantage from the crimson hue 
 of the furniture. The clocks, at the east and west end of the 
 apartment, are from subjects by David. The Horatii, vow- 
 ing mutual fidelity at the altar, previous to the conflict 
 with the Curiatii ; and the interference of the Sabine wo- 
 men between the Romans and their countrymen, upon the 
 eve of a general battle. The execution and chasing of 
 these elegant compositions are worthy of the situations 
 they fill. On the marble pier tables are bronze groups of 
 the Laocoon and his Sons, and the Rape of Proserpine ; 
 also some splendid vases ; a superb font, presented by the 
 late Pope to his present Majesty, stands in the recess of 
 the window, it is composed of Rosa Antiqua marble, and 
 enriched with splendid chasings in or-molu. Portraits of his 
 present Majesty's early personal friends are in this apart- 
 ment. A half-length of Dr. Markham, Archbishop of 
 York, tutor to the King, is placed over the door, by Hopp- 
 ner, R.A., and is a singularly fine picture. Another half- 
 length, over the corresponding door, is a Portrait of the 
 late Lord Erskine, by Sir Joshua Reynolds, an early 
 likeness, but painted with great spirit. The other, also a 
 half-length of Lord TnuRLOWywhen Lord Chancellor of 
 England, by Sir Thomas Lawrence, a noble fine picture, 
 and a powerful likeness, occupies a place over the door 
 opposite the window. On the left is a lady at her toilet, 
 called the Jewish Bride, by Rembrandt ; a large picture, 
 rich in all the characteristics of that mighty master. The 
 end of the apartment has two fine paintings by Sir Joshua 
 Reynolds ; one a Portrait of Count Le Lippe standing 
 upon a battery, a full length indifierent picture in respect 
 to colour; the other a Portrait of the gi^eat Marquis of 
 GiJ/lJVJsr, in uniform, with his charger, a noble martial- 
 looking composition, finely drawn, with great breadth of 
 effect. 
 
CARLTON-HOUSE. 
 
 9 
 
 THE CIRCULAR ROOM 
 
 Is a rotunda of the Ionic order, selected from the purest 
 specimens of ancient architecture. Passing by the deco- 
 rations of the room, which are splendid in the extreme, 
 we shall just notice the bronze Termini, with heads of 
 Hercules, that support the large looking-glasses. Inserted 
 in arabesque panelling there are also some beautiful can- 
 delebras of bronze, consisting of groups of genii bearing 
 paterae, surrounded by blossoms of the lotus as sockets 
 for lights, and standing on pedestals of bronze, enriched 
 with chasings of ox sculls and festoons of the vine. On 
 the doors are beautiful designs, executed in arabesque 
 and bronze on a silver ground, of the triumphs of harvest 
 and vintage. Above them are bassi relievi in imitation of 
 sculpture, after designs from the Vatican. The ceiling is 
 clouded ; and a magnificent chandelier of immense length 
 is suspended from the centre. The four pier-glasses pro- 
 duce a magical effect by reflection, giving the room the 
 appearance of endless continuity, and increasing the splen- 
 dour fourfold. 
 
 THE THRONE-ROOM, 
 
 Although the ne plus ultra of splendour in respect to 
 decoration, has but one article in it which properly be- 
 longs to us as a work of art ; this is a singularly fine clock 
 in the arch over the fire-place, the principal figure, Apollo, 
 executed in or-molu, leaning on a pedestal, and holding a 
 laurel crown, is supporting a shield, in the centre of which 
 
10 
 
 CARLTON-HO.USE. 
 
 is Fame in bas-relief. Upon the ground is a bust of the 
 Medicean Venus, with the implements of sculpture, paint- 
 ing, and music ; the plinth supporting this costly work is 
 enriched with a pierced foliage, in the centre of which is 
 the crested plume of the Prince of Wales. 
 
 THE ANTE-CHAMBER 
 
 Has a beautiful chimney-piece of white marble and or- 
 molu, enriched with Termini, sphinxes, foliated ornaments, 
 and a bust of Minerva all finely chased, and of the most 
 exquisite design. There are also some beatitiful vases in 
 this room, wrought in or-molu, and standing on rosa an- 
 tique marble pedestals, on each of which is the head of 
 Medusa, with subjects on the body representing nymphs 
 dancing round the altar of Love. The pictures are, first a 
 whole length Portrait of his late Majesty George the 
 Third in his Coronation Robes, and a companion Picture of 
 her late Majesty in her Coronation Robes, both painted by 
 Ramsay. These pictures are distinguished for their close 
 resemblance to the originals, but are also marked by the 
 cold elaborate style of the artist. A ichole length Portrait 
 of his presejit Majesty, in his robes of the order of the 
 garter, painted by Hoppner, R.A., hangs on the same side 
 as his royal father : and on the opposite side is a Portrait 
 of his Royal Highness the Duke of York in the same 
 splendid costume, by Sir Joshua Reynolds. The pictures 
 are both fine, and bear a strong simiUtude in style of art, 
 to each other. 
 
CARLTON-HOUSE. 
 
 11 
 
 ROSE-SATIN DRAWING-ROOM. 
 
 A superb circular table, presented to his Majesty by 
 Louis XVIII. , of France, stands in the centre of the room, 
 and is an object of great attraction to the curious. It is a 
 fine production of art of the Severes manufacture; the 
 plateau is painted on porcelain in imitation of various 
 gems, and has a highly wrought mounting of gold. As a 
 work of art it is unique. Twojine Portraits of Henrietta 
 Maria, Queen of Charles /., by Vandyke, ornament 
 each side the fire-place, one a profile, and the other a front 
 view; there is much delicacy of expression and fine co- 
 louring in both. Two large Landscapes, by Cuyp, occupy 
 the space under the portraits ; they are both clever pleas- 
 ing pictures, but not of the first class of this artist's com- 
 positions. On the left side of the fire-place are three 
 cabinet pictures. 
 
 J Hawking Scene, by Adrian Vandevelde. Brilliant in 
 effect, and painted with a bold pencil. 
 
 The Manteau Bleu, by Metzu. Singularly fine, and exqui- 
 sitely drawn. 
 
 Sportsmen Regaling, by Paul Potter. A splendid effort of 
 this master, with great breadth of light and shadow, and 
 peculiarly pleasing effect. On the other side of the 
 chimney-piece are three other gems of art. 
 
 The Coup de Pistolet, by P. Wouvermans. A camp 
 scene. The horses are spiritedly drawn, and the variety of 
 the composition finely contrasted. 
 
 Children with Guinea Pig and Kittens, by Adrian Vander 
 Werf. An elaborate work, and a superior specimen of the 
 master. 
 
 Interior of a Kitchen, Mieris. A charming specimen of 
 this great artist, abounding in the happiest conceptions of 
 
13 
 
 CARLTON-HOUSE. 
 
 colour, variety, and taste ; with a perspective effect that is 
 truly magical. 
 
 Cavaliers preparing for a Ride, by Cuyp. A large pic- 
 ture, with a fine rich glow of colour and great truth to the 
 evening effect in nature. Under this are three cabinet 
 paintings. 
 
 Crossing the Brook, by Adrian Vandevelde. A mellow 
 toned picture, more pleasing than of great merit. 
 
 The Terrified Boy, by Paul Potter. Rich in all the pe- 
 culiarities of the celebrated artist ; the distance superior to 
 his general touch, but the objects are too much in detail. 
 
 An Interior, by Peter Van Slingelandt. The effect of 
 the sun through the window is well managed with a 
 greater breadth of pencil than generally distinguishes this 
 artist's productions. Above the door on the west side is 
 a Profile of George /., by Sir Godfrey Kneller; and over 
 the opposite door is a Portrait of George II., the artist 
 unknown. They are both very inferior pictures. 
 
 The Village Festival, by D. Teniers. A lively interest- 
 ing picture, painted with great vigour the grouping ad- 
 mirable. The painting is large, and the figures are above 
 the size usually designed by this artist; but they are finely 
 drawn and full of character. Three cabinet gems fill the 
 space beneath. 
 
 A Herdsman and Cattle, by Adrian Van de Velde. The 
 figures of the herdsman and female peasant drawn with 
 great truth to nature, the cattle inimitable, and the pen- 
 cilling elaborate and brilliant. 
 
 An Interior, by Ostade. A clever picture, shewing the 
 domestic economy of a Flemish cottage, with the strong 
 characteristic traits of the peasantry of the artist's time. 
 
 The Hay Field, hy Philip Wouvermans. A singularly 
 fine painting, rich in all the materials of art, with an ex- 
 quisite arrangement of subject, and a magical effect of light 
 and shade. 
 
CARLTON-HOUSE. 
 
 IS 
 
 THE ANTE-ROOM. 
 
 The coup d*ail of this chamber is singularly chaste and 
 beautiful, the emblematical decorations well designed, and 
 in fine keeping with the splendour of the superior apart- 
 ments. Over the marble chimney-piece is an oval Portrait 
 of Madame PoMPADOVR,Q.n animated picture, displaying 
 the peculiarities of the French school. Two superb buhl 
 cabinets decorate the opposite side of the room, and a 
 magnificent cabinet of the same splendid material placed 
 opposite the fire-place supports a bronze equestrian statue 
 of William III., in Roman armour, crowned by victory, 
 and trampling rebellion under foot. On a pedestal of 
 matted gold are some chased basso relievo, finely exe- 
 cuted and richly gilt, with corresponding inscriptions. 
 On the marble chimney-piece is a bronze equestrian statue 
 of Louis XIV. , also in Roman armour, on a pedestal of 
 chased or-mo/w. Over the four doors of this apartment, 
 in superb borders richly carved and gilt, and above one of 
 the pier-glasses, are Portraits of his present Majesty^s 
 Royal Sisters, the Princesses Augusta, Elizabeth, 
 Mary, Sophia, and the late Princess Amelia, all of 
 uniform size, three-quarter paintings, more pleasing than 
 great as works of art, but happily corresponding with the 
 general embellishments of the chamber. 
 
 A Portrait of Louis XV. of France, is over the door 
 leading to the vestibule ; two whole length portraits, oc- 
 cupying the spaces on each side of the north door. 
 
 Gaston be France, frere unique du Roy Louis, 
 1634, by Vandyke. A rich mellow toned picture, ex- 
 hibiting the crisp touches of the master in high pre- 
 servation. 
 
 Henry, Prince of Wales, eldest son of James I., the 
 companion picture, has the reputation of being the work 
 
CARLTON-HOUSE. 
 
 of Vandyke; but is also, and perhaps more justly, as- 
 cribed to George Jameson, usually designated the Scotch 
 Vandyke, from their having studied together under 
 Rubens. 
 
 A singularly clever picture by a modern artist occupies 
 the centre of the east side of this apartment. The Inte- 
 rior of a Convent, during the Ceremony of High Mass, 
 by Grenet. The painting was purchased expressly for his 
 Majesty in Italy, in 1821, it has an almost magical effect 
 of light and shade. 
 
 A Landscape, by Titian. On the right of the door is a 
 fine specimen of this great master's versatility of genius 
 the horizon and the foliage are painted with powerful 
 effect. 
 
 THE BLUE-VELVET ROOM, or KING'S 
 CLOSET. 
 
 On the left from the door is a magnificent painting of 
 the Marriage of St. Katherine, by Vandyke. Cer- 
 tainly one of the most brilliant efforts of this great 
 master, the colouring is rich and grand, and the expres- 
 sion in the figures excellent. It is a recent purchase, by 
 his present Majesty. 
 
 The Shipwright of Antwerp, by Rembrandt. The draw- 
 ing of this picture is particularly fine, the head of the ship- 
 wright very natural and expressive, the female figure in- 
 ferior to many of this great artist's works. 
 
 A River Piece, by Albert Cuyp. A pleasing clever pic- 
 ture ; but without the usual glow and sparkling effect of 
 this artist. 
 
 The Baptism of the Eunuch, hy Philip, painted by 
 
 v.. A- V 
 
CARLTON-HOUSE. 
 
 15 
 
 Both. An evening scene, in which there is a rich flow of 
 colour and great spirit in the fohage. 
 
 Christ Restoring the Sick, by Vandyke. Painted witl 
 great breadth of effect, very fleshy and warm, with a bril 
 liancy of colour not inferior to Rubens. 
 
 THE BLUE-VELVET CLOSET. 
 
 Opposite to the door is a noble picture of a Venus 
 reclining, by Sir Joshua Reynolds, nearly the size of life, 
 and one of the most brilliant efforts of his pencil ; on the 
 left side of the apartment are three paintings. 
 
 A Party returning from Hawking, by Philip Wouver- 
 mans. A natural pleasing picture, in which the figures are 
 well grouped. 
 
 A Camp Scefie, Cuyp. A clear aerial picture, with a 
 beautiful harmony of colour and masterly effect. 
 
 View of a Town in Flanders, by Vanderheyden. An 
 interesting picture, in which the costume and manners of 
 former times are faithfully delineated, the view is well 
 drawn and coloured, and the groups of figures, by Adrian 
 Vandevelde, exhibit all the bustle of real life. 
 
 On the north side is a clever picture by Maas, the sub- 
 ject taken from the German tale of the Haunted Cellar. 
 A higlily-finished cabinet painting, with powerful effect of 
 light and shade, and vigorous pencil. The companion 
 picture. An Intei'ior, by Metzell, exhibits a concert party 
 in a lower apartment, the figures are well grouped and 
 choicely finished, the violoncello as a piece of " still life" 
 is admirable. 
 
 A Landscape, by Ruysdei, on the east side, is painted 
 with all the accustomed crispness of touch which distin- 
 
16 
 
 CARLTON-HOUSE. 
 
 guishes this great master. The picture is rather murky 
 in tone, time having no doubt partially subdued the more 
 lively tints. 
 
 A View in Holland, by Vanderheyden, figures loading- 
 boats on a canal. Is a natural clever painting, freely touched 
 and spiritedly drawn. 
 
 LOWER SUITE OF APARTMENTS. 
 
 Descending by a grand staircase, the lower apartments 
 are entered by a vestibule of great taste and beauty, in the 
 centre of the south front, the windows of which open to 
 the lawn fronting St. James's Park. These rooms are con- 
 sidered as the King's private apartments, and are those in 
 Avhich he invariably resides, and receives his private friends. 
 Previous to his present Majesty inhabiting Carlton-Palace, 
 this part of the building was used as domestic offices, and 
 apartments for the household. Under his auspices and 
 good taste, an elegant suite of rooms have been formed, 
 of the most splendid description, rivalling, in every respect, 
 (but height) the grandeur of the state apartments. 
 
 THE LOWER VESTIBULE, 
 
 Is between the octagon-hall and ante-room, an elegant 
 superstructure, supported by a double row of Corinthian 
 columns and pilasters, the shafts of which are of Scagliola, 
 with gilt bases and capitals, the spaces between the pilas- 
 ters being filled up with magnificent looking-glasses, which^ 
 
 v.. a: „ V. A. 
 
CARLTON-HOUSE. 
 
 17 
 
 by reflection, give a deep perspective, and produce the 
 effect of a continued vista. Here is a splendid variety of 
 Bijouterie and articles of Virtu, in vases, candelabra, pier 
 tables, and other ornaments of most exquisite beauty and 
 design. On the east side is an Architectural Painting, 
 by Vanderheyden, with groups of figures, by Adrian Van- 
 develde, a fine specimen of the united talent of the artists. 
 
 A Landscape and Figures, by David Teniers. The 
 Chateau of the Painter, in which he has introduced, upon 
 the fore-ground, a group of portraits, consisting of his wife, 
 her sister, his page with a dog, and himself, giving instruc- 
 tions to an old servant ; a singularly fine composition, dis- 
 tinguished by the felicitous silvery tones of this great 
 artist, and painted with great spirit. 
 
 A Family Piece, by Graat. Representing seven portraits 
 of persons of both sexes, members of some Flemish family 
 of the seventeenth century ; a highly-finished picture, in 
 characteristic costume, and good preservation. 
 
 A Cattle Piece, by Nicholas Berchem. Chaste, simple, 
 and natural, in effect and colour, with a spirited touch, and 
 finished style. 
 
 Interior of a Dutch Musico, by John Steen. A little 
 dramatic scene, full of humour and character. 
 
 A W itermill, by Hobbeima. A choice specimen of this 
 scarce master, full of natural effect, and combining the 
 most pleasing variety of pastoral objects. 
 
 A Stag-hunt with Landscape, by Hackaert, the figures 
 and animals by Berchem. A brilliant picture, full of anima- 
 tion, and evincing the most spirited conception and exe- 
 cution, in finish, colour, and perspective. 
 
 An old Woman buying Fruit, by Gerard Douw. A con- 
 versation-piece, delineated with great fideUty, and exqui- 
 sitely finished. 
 
 i/br^e^, by Vandyke. A bold masterly sketch, in which 
 the animals appear breathing from the panel. 
 
 c 
 
18 
 
 CARLTON-HOUSE. 
 
 The Oyster Feast, by William Mieris. Portraits of a Fle- 
 mish lady and gentleman, with their black servant ; exqui- 
 sitely finished, and coloured with all the brilliancy that 
 distinguishes the cabinet gems of this rare artist. 
 
 A Landscape, by D. Teniers. A small painting of a 
 mountainous pass in Switzerland, with a bridge, and groups 
 of travellers ; a clear, pleasing picture. 
 
 A Landscape, by D. Teniers, the companion. Exhibit- 
 ing a view of masses of bold projecting rocks j painted 
 with great freedom, and vivid effect, 
 
 A River Scene, by Cuyp. The horizon aerial, and the 
 water painted with fine transparent effect. The groups of 
 wild ducks are too large and overpowering, and not in the 
 best style of the artist. 
 
 THE LIBRARY 
 
 Is a splendid apartment, containing many thousand volumes 
 of the choicest books, in all languages, and in the most 
 splendid bindings. In the recesses of the three windows 
 are placed, on buhl pedestals, three highly finished Mo- 
 dels of the triumphal arches of Constantine, Septimus, 
 Severus, and Titus Vespasian, executed in statuary marble, 
 with chased ornaments in or-molu, basso relievos, and 
 alto relievos, representing groups of figures, busts, and 
 horses, executed by the first Italian artists. These inge- 
 nious specimens of Roman architecture, are modelled to 
 scale, and are admirably executed. 
 
CARLTON-HOUSE. 
 
 19 
 
 THE GOLDEN-DRAWING-ROOM 
 
 Is a splendid architectural apartment, of the Corinthian 
 order, embellished with a richly gilt cornice, and the most 
 costly looking-glasses, which are so disposed as to produce 
 a magical effect by reflection, and increase, to a great ex- 
 tent, the perspective of the chamber. The furniture, <^c., 
 is of corresponding magnificence ; and the whole appear- 
 ance is truly regal. 
 
 Two Pictures of Village Festivals, by D. Teniers, oc- 
 cupy the recesses on each side of the fire-place. They are 
 lively scenes, full of truth and nature, painted with a spi- 
 rited pencil, and the most felicitous conception of charac- 
 ter ; the horizons are clear and aerial, and the figures admi- 
 rably drawn and grouped; there is a playfulness and 
 good-humour in every countenance, that bespeaks the 
 happiness of their rustic revelry. 
 
 A Horse Market, by Philip Wouvermans, occupies the 
 east end of the chamber. The horses are painted with all 
 the nature and spirit of the best time of the artist. The 
 scene is one of great variety, and has afforded him a fine 
 opportunity for diversity of colouring and strong effect of 
 light and shade, in which he has been eminently suc- 
 cessful, 
 
 A Laboratory, by David Teniers, represents the che- 
 mical arcana peculiar to the place with great fidelity of 
 touch. The locality of the scene is happily preserved, and 
 the transparent effect of many of the articles is ad- 
 mirable. 
 
 C 2 
 
9.0 
 
 CARLTON-HOUSE. 
 
 GOTHIC DINING-ROOM, 
 
 At the eastern extremity of the lower suite. This apart- 
 ment is approached through the folding-doors of the golden 
 drawing-room. It is divided into five compartments, each 
 being circumscribed by a Gothic arch, supported by clus- 
 ters of pillars with capitals composed of the Prince's 
 plume. Enriched brackets spring across the ceiling with 
 spandrels of elegant tracery work ; the panel, screen and 
 frame-work of the room are of wainscot, highly varnished ; 
 on the panels are twenty-six shields, emblazoned with the 
 quarterings and heraldic bearings of the royal arms of 
 England, from the reign of Edward the Confessor to that 
 of Queen Anne. 
 
 BOW-ROOM. 
 
 This apartment is on the right of the vestibule which 
 forms the entrance from the grand staircase to the lower 
 suite of apartments, and contains several beautiful cabinet 
 gems of the first class of paintings in the Flemish and 
 Dutch schools. The room is decorated in scarlet and 
 gold, and ornamented with siiperb China vases, rich 
 cabinets of or-molu, and candelabra of elegant design. 
 
 The Wise Men's Offerings, by Rembrandt. A painting 
 rich in all the fascinating peculiarities of this great master ; 
 the composition magnificent, and the colouring diffusing 
 a magical effect of hght and shadow. 
 
 Interior, by David Teniers. Boors at cards, with a 
 conversation group in the back ground ; a pure brilliant 
 picture, in which a felicitous distribution of colour is 
 arranged with singularly fine effect. 
 
 \\,A V 
 
CARL TON-HOUSE. 
 
 21 
 
 Boy with an Ass, by Adrian Vandevelde. A spirited 
 simple composition, coloured with great clearness and 
 choice effect. • 
 
 Sleeping Pigs, by Vandevelde. A rural pleasing picture, 
 shewing the great imitative powers of this artist, who can 
 clothe with importance subjects of the most trifling de- 
 scription by the magical touch of his pencil. 
 
 Portrait of a Painter, by G. Metsu. A portrait of him- 
 self, with his palette, pencils, and resting-stick ; the re- 
 semblance is said to have been good. There is a clearness 
 in the flesh, and boldness of style in the composition, that 
 renders this a very animated picture. 
 
 A Lady at a Window, by Gerard Douw. A singularly 
 fine picture in the happiest style of this captivating 
 master. The contrast of colour is admirable, and the 
 finishing elaborate. * 
 
 Landscape, by Poelemburg. A lively pleasing Italian 
 view, picturesque, and varied by the introduction of groups 
 of figures and animals, painted with great freedom and 
 force of eflfect. 
 
 An Interior, by David Teniers. A picture principally 
 composed of what is termed " still life," in which the va- 
 rious cuhnary articles are skilfully arranged and admirably 
 executed. The figure of an elderly housewife paring tur- 
 nips is powerfully characteristic. 
 
 Landscape, by Berghem. A bold vigorous composition, 
 brilliant and cheerful, with great depth of perspective. 
 
 Landscape, by Karel du Jardin. A natural quiet com- 
 position ; the boy asleep and the cow and calf happily 
 touched. 
 
 Interior, by Ostade. A lively picture representing a 
 group of rustics in a village ale-house, admirably depicting 
 the joyous feelings of the party, painted with great har- 
 mony of colour and force of chiar-oscuro. 
 
 Interior, by Ostade. A group of five men and a woman 
 
22 
 
 CARLTON-HOUSE. 
 
 smoking and drinking ; a very humorous scene, producing 
 a rich effect, combined with great variety of character ; 
 the children at supper in the back ground increase the 
 interest of the picture considerably. 
 
 The Assumption of the Virgin, by E-ubens. A brilHant 
 composition of this great artist, embracing a charm of 
 colour with great force of effect and sweetness of expres- 
 sion. It is a first-rate performance in the most superlative 
 style of art. 
 
 A Cattle Piece, by Karel du Jardin. A morning scene, 
 in which the cool, sober, gray tints predominate with truth 
 to nature ; the cattle are particularly well painted. 
 
 Robbers attacking a Waggon, by P. Wouvermans. 
 A market waggon attacked by a band of gipsies, a very 
 characteristic picture, animated and dramatic in effect, 
 painted with great brilliancy of colour, and highly finished . 
 
 Portrait of Sir Peter Paul Rubens, by Himself. Grand 
 and true to nature, with a richness of colour and power 
 of effect, that manifests the great skill of the artist. 
 
 Portrait of Rubens'" s Wife, by Rubens. A singular fine 
 picture, in which the hands are managed with magical 
 effect, and the countenance full of character and sweet- 
 ness, 
 
 ANTE-ROOM TO DINING-ROOM, 
 
 Furnished in the same elegant style as the bow-room, 
 and ornamented with a profusion of splendid articles in 
 cabinets, vases, and or-molu, with richly gilt mouldings 
 and candelabra. 
 
 A Conversation Piece, by Mieris. A highly finished 
 cabinet picture, the expression in the countenances of the 
 
CARLTON-HOUSE. 
 
 23 
 
 lady and gentleman, who are drinking wine, most felici- 
 tous, and the colouring rich and natural. 
 
 Pan and Syrinx, by Rubens. A noble composition, iu 
 which a contrast of colours is happily blended to produce 
 the most sublime effect. It is painted with great freedom 
 and vigour. 
 
 Hawking, by Wynants. The foliage painted with that 
 crispness and strict attention to detail which invariably 
 distinguishes the works of this master. The figures and 
 horses are animated and natural. 
 
 The Blind Fiddler, by Ostade. A rural scene in the 
 happiest vein of merriment, full of character, and rich in 
 all the excelleiicies of the artist . 
 
 A Farrier's Tent, by P. Wouvermans. In the camp of 
 a gipsy horde, abounding in great variety of character, 
 disposed with admirable skill, the fidelity of the composi- 
 tion clearly proves it to have been a study from nature. 
 
 Cavaliers, by Cuyp. A dapple gray and a roan horse 
 with their riders on the brow of a hill form the subject, 
 which is treated with the usual chasteness and purity of 
 style that distinguishes this pleasing artist ; the declining 
 sun diffuses a glowing colour over the scene, that adds 
 considerably to the harmony of effect. 
 
 A Lady and Parrot, by Mieris. A highly finished pic- 
 ture, faithful to nature, and richly coloured. 
 
 Maternal Affection, by Mieris. A pretty incident well 
 told, the expression of the dogs excellent, and the picture 
 spirited and highly finished. 
 
 Cattle, by Paul Potter. Painted with uncommon 
 truth and freshness of tone, combining great vigour of 
 pencil with elaborate finish. It is a noble example of the 
 master. 
 
 The Drummer, by Teniers. A camp scene in the United 
 Provinces, painted with the accustomed fidelity of thQ 
 
24. 
 
 CARLTON-HOUSE. 
 
 master, the colouring particularly sparkling, silvery, and 
 clear. 
 
 Returning from Hawking, by P. Wouvermans. 'An 
 elaborate performance, in which the horses are particu- 
 larly fine, the figures highly characteristic, and the back 
 ground of the picture superior in variety to most of this 
 artist's productions. 
 
 An Interior y by Ostade. An interesting scene in humble 
 life, representing a woman with a child in her arms near a 
 window, where an old man is pretending to eat the child's 
 food, while another peasant is laughing at the joke : the 
 subject is humorous in the highest degree, and the picture 
 finely painted with great harmony of colour. 
 
 Cattle, by Karel du Jardin. A clever animated picture 
 of rural life, in which the light is managed with peculiarly 
 fine effect; the cattle are drawn with fidelity, and the 
 colouring brilliant. 
 
 Milking, by Adrian V^andevelde. An evening scene, 
 in which is a peasant girl milking a goat, painted with 
 great spirit and freedom. A fine flow of colour enlivens 
 the picture. 
 
 Fishermen, by D. Teniers. A composition not less re- 
 markable for its simplicity and interesting features than 
 for its truth to nature ; the sky melts into the sea, and the 
 distance is in fine aerial perspective. 
 
 Domestic Employment, by Gerard Douw. A dairy 
 scene, exquisitely finished, and painted with great spirit. 
 
 An Arbour, by Ostade. This should rather be called 
 the happy couple. The scene is in a public garden, where 
 a male and female are enjoying their wine beneath the 
 cheering influence of a calm summer evening. It is painted 
 with all the natural truth and feeling of a great master. 
 
 Poulterers Shop, by Mieris. The feathered tribe are 
 painted with a light spirited touch that is truly buoyant, 
 
CARLTON-HOUSE. 
 
 35 
 
 The picture is highly finished, with minute attention to 
 detail, and is a pleasing specimen of this rare artist. 
 
 A Village Fete, by D. Teniers. The scene is rich in ' 
 humour and variety of character. Some of the groups are 
 supposed to be portraits of the painter's family and friends. 
 It is one of those fascinating pictures of rural Hfe that 
 might make the inhabitant of a court sigh for the en- 
 joyment of the more humble plebeian. 
 
 A Conversation Piece, by Mieris. A small picture, 
 painted with great purity of style and exquisite finish. 
 
 DINING-ROOM. 
 
 This magnificent apartment is divided into a centre and 
 two ends by screens of Ionic columns, the shafts of which 
 are of scagliola in imitation of porphyry, with gilt capitals 
 and bases. The folding-doors and window-shutters are 
 black and gold, in correspondence with the adjoiningrooms ; 
 the west end opens into the conservatory, and the piers are 
 filled with large looking-glasses, surrounded by splendid 
 carved mouldings richly gilt; the east end has doors of 
 black and gold, with looking-glass instead of panels. 
 The draperies are rich scarlet silk, and the furniture has 
 cushions to correspond. There is a number of splendid 
 vases, tripods for hghts, and or-molu ornaments richly 
 chased, in different situations, which, being magnified 
 and repeated by reflection in the lofty looking-glasses 
 which surround the apartment, has a most imposing 
 effect. 
 
 A Calm, by W. Vandevelde. Introducing a portrait of 
 the splendid yacht which usually conveyed our King Wil- 
 liam in his voyage between Holland and England. 
 
26 
 
 CARLTON-HOUSE. 
 
 A Calm, by W. Vandevelde. Another view of the stern 
 of the same vessel with her boat, richly ornamented, and 
 conveying some persons of consequence from the shore 
 to the yacht : they are both clever fine pictures, transparent 
 and serene. 
 
 A Calm, by W. Vandevelde. A serene clear picture, in 
 the best style of this ever-pleasing artist. 
 
 A Calm, by W. Vandevelde. A busy scene in Holland, 
 full of variety of design, and painted with corresponding 
 ability. 
 
 The Billet-doux, by Gerard Terburg. The countenance 
 of the female letter-v^^riter is particularly interesting, and 
 that of the youthful page is in the most felicitous style 
 of art. The painting is full of exquisite feeling, and may 
 be considered as a superlative effort of the artist. 
 
 Interior, 'hy John Steen. A card-party, treated in the 
 humorous taste of this master, being dramatic in effect and 
 highly finished. 
 
 A Music Party, by Godfrey Schalcken. A rich mel- 
 low picture, elegant in design, and carefully painted with 
 great character and feehng. 
 
 An Interior, by Schalcken. A composition, describing 
 an old French game entitled Le Roi detrousd, an ani- 
 mated clever picture, full of vigour and elaborately finished. 
 
 An Interior, by Ostade. The kitchen of a farm-house ; 
 near a window are seated an old man and woman singing 
 a ballad, accompanied by an itinerant musician. There are 
 two other whimsical figures in the back-ground. The 
 composition is humorous and spirited, with great harmony 
 of tone and elaborate finish. 
 
 An Approaching Gale, by W. Vandevelde. Fishermen 
 launching their boat, with other vessels in the distance ; 
 the lowering sky and murky streaks stretching along the 
 horizon is finely conceived, and the forebodings of a storm 
 grand and natural. 
 
CARLTON-HOUSE. 
 
 27 
 
 Merrymaking, by John Steen. scene of former times, 
 representing the large hall of some ancient house, with 
 a party surrounding a table covered with a feast. The 
 figures are rich in character, and the composition highly 
 descriptive of the social enjoyments of days of yore. 
 
 CONSERVATORY 
 
 Resembles a cathedral in form, having a nave and two 
 aisles. It is of the style denominated " the Florid Gothic," 
 and is rich in splendid tracery, perforated and filled with 
 glass, producing a chaste mellow light. The windows are 
 ornamented with stained glass, on which are painted the 
 arms of all the sovereigns of England from William the 
 First to the present reign, those of the electoral princes of 
 the house of Brunswick, and all the princes of Wales, in 
 chronological order, inscribed with their names and dates 
 of creation, as follows : 
 
 1. Edward, 1284. 
 
 2. Edward, 1343. 
 
 3. Richard, 1376. 
 
 4. Henry, 1399 
 
 5. Edward, 1454 
 
 6. Edward, 1471. 
 
 7. Edward, 1483. 
 
 8. Arthur, 1489. 
 
 9. Henry, 1503, 
 
 10. Henry Frederic i 1610. 
 
 11. Charles, 1614. 
 
 12. Charles, 1639. 
 
 13. George Augustus, 1714. 
 
 14. Frederic Lewis, 1728. 
 
^8 
 
 CARLTON-HOUSE. 
 
 15. George William Frederic, 1751. 
 
 16. George Augustus Frederic, 1762. 
 
 On the same side are emblazonments, in stained glass, 
 of the illustrious ancestry of his present Majesty, in the 
 following order : 
 
 1. Henry, Duke of Bavaria and Saxony, who married 
 Matilda, daughter of Henry II. of England, and died 
 August 1195. 
 
 2. William, Duke of Bavaria and Saxony, who died in 
 1213. 
 
 3. Otho, who resigned his title of Duke of Saxony to 
 the Elector, Albert II., and was made Duke of Brunswick 
 and Luneburg in 1235— died 1252. 
 
 4. Albert, Duke of Brunswick and Luneburg, died in 
 1276. 
 
 5. Albert, Duke of Brunswick and Luneburg, died in 
 1318. 
 
 6. Magnus /., Duke of Brunswick and Luneburg, died 
 in 1318. 
 
 7. Magnus II., Duke of Brunswick and Luneburg, died 
 in 1364. 
 
 8. Bev7iard, second son of Magnus II., Duke of Lune- 
 burg, his elder brother, Frederic, having been elected 
 Emperor, died in 1434. 
 
 9. Frederic, Duke of Luneburg, died in 1478. 
 
 10. Otho, who died in the hfe-time of his father, in 1471. 
 
 11. Henry, Duke of Brunswick and Luneburg, born 
 1464— died in 1533. 
 
 12. Ernest, of Cell, who embraced the Lutheran relio-ion, 
 born 1467— died 1546. 
 
 13. William, Duke of Luneburg Cell, born 1535— died 
 in 1592. 
 
 14. George, Duke of Luneburg Cell, born 1582— died in 
 1641. 
 
 15. Earnest Augustus, Bishop of Osnaburgh, Duke of 
 
CARLTON-HOUSE. 
 
 Hanover, and Elector of Brunswick, Luneburg, born 1629 
 —died in 1698. 
 
 16. George I., electoral Prince of Brunswick Luneburg, 
 and afterwards King of Great Britain, ^c. 8^c. 
 
 17. George IL, King of Great Britain, ^c. S^c. 
 
 18. Frederic Lewis, Prince of Wales, father of his kite 
 Majesty, George III. 
 
 19. George IIL, King of Great Britain, 8^c. S^c. 
 
 On the windows of the south side are the armorial bear- 
 ings of the Kings of England, in regular succession, from 
 William I. to the present reign ; the west end of the build- 
 ing is filled with niches, and appropriate figures ; from the 
 point of the interior arches are suspended Gothic hexa- 
 gonal lanterns, ornamented with stained glass. 
 
 THE ARMOURY 
 
 Contains a collection of ancient and modern arms of cu- 
 rious and rare workmanship, it forms three apartments on 
 the attic-story of the eastern wing and gallery, which leads 
 to the upper vestibule, and consists of caps, turbans, 
 shields, bows, arrows, and other missiles of the eastern 
 nations. 
 
 In the Glass Cases are a variety of ancient bridles, 
 bits, and other furniture, for horse ; and in the wardrobes 
 are superb specimens of chabraques, housings, and petti- 
 coat bass, of the costume and manufacture of different 
 nations. Among the varieties, is a collection of boots and 
 spurs, remarkable for their size and structure, which have 
 been worn by royal and distinguished persons, from a very 
 early period. 
 
 In the Adjoining Room, is a variety of halberts, 
 
m 
 
 CARLTON-HOUSE. 
 
 staves, 8fG., of singular workmanship, together with imple- 
 ments of war and sacrifice, used by the eastern nations, in 
 their religious ceremonies. 
 
 The chair of state, the foot-stool, and sceptre of the 
 King of Candy ; the chair is covered with plates of gold, 
 ^ chased and studded with rubies, amethysts, and Ceylon 
 diamonds ; and in a glass case opposite is the sceptre of 
 this Monarch, a plain rod of iron, with a gold head, and a 
 fine ruby in its centre. 
 
 Two models of horses, the size of life, on which are dis- 
 played the elegant Turkish caparison of crimson cloth, for- 
 merly the property of Murat Bey; and a splendid suit of 
 horse armour and costume for a warrior, which formerly 
 belonged to Tippoo Saib. 
 
 The saddle and bridle of the late Hettman Platoff; which 
 that celebrated chieftain used in the campaigns of 1813 
 and 1814. 
 
 A coat of mail, covered with striped silk, that belonged 
 to Elphi Bey, and many others, equally curious and mag- 
 nificent. The war-dress of a Chinese Tartar, and the dag- 
 ger of Gengis Khan, one of the Khans of the Crimea. 
 
 There is, besides, a great variety of Eastern and Asiatic 
 armour of every description, forming a rich assemblage of 
 the most costly and curious specimens of ancient and mo- 
 dern use. 
 
A CRITICAL AND DESCRIPTIVE 
 
 CATALOGUE 
 
 OF THE 
 
 PAINTINGS AND PORTRAITS 
 
 IN THE 
 
 ROYAL RESIDENCES 
 
 OF 
 
 ST. JAMES'S, BUCKINGHAM-HOUSE, 
 
 AND 
 
 KENSINGTON. 
 
 Colonr"i speak all languages, but words are understood only hy such 
 a people or nation, j. 
 
 Addison. 
 
ST. JAMES'S-PALACE. 
 
 It will be remembered that the once splendid collection 
 of statues and paintings, which adorned this ancient pa- 
 lace of the Kings of England, and which, during the 
 reign of the unfortunate Charles, received the most noble 
 additions, were sold soon after his death by order of the 
 parliament by public appraisement, for the inconsiderable 
 sura of 12,049^ 4-5. ; including some of the most celebrated 
 works of Titian, Holbein, Corregio, Albert Durer, Raphael, 
 Guido, Carravaggio, and other great and scarce masters. 
 Many of these were purchased by foreigners, and sent 
 abroad, but some of them were afterwards re-purchased 
 or restored during the reign of Charles IL, and were placed 
 in King James's Gallery at Whitehall, where they perished 
 by the destructive fire which consumed that ancient and 
 magnificent palace, in the reign of William III*. 
 
 * Ainonsf tlie principal ones that were sold by order of the parlia- 
 ment, and which were appraised by persons incompetent to judge of 
 their merit, were St. George, painted by Raphael, which sold for 150/. ; 
 
 D 
 
34 
 
 BUCKINGHAM-HOUSE 
 
 Was built by John Sheffield, Duke of Buckingham, who 
 was distinguished in the reign of Charles II. as Earl of 
 Mulgrave. He held the appointment of chamberlain under 
 James II., and was created marquis by William III. He 
 wag elevated to a dukedom by Queen Anne, to whose 
 hand it has been said he aspired when a princess, and under 
 whom when queen he afterwards held the office of Lord 
 Privy Seal. The house, built of brick and stone, is de- 
 lightfully situated at the west end of St. James's-Park ; 
 
 The Burying of Christ, by Isaac Oliver, sold for 100/. ; The Mar- 
 quis of Mantua's Head, by Raphael, for 200/. ; Albert Durer's 
 Father and himself, by Albert Durer, for 100/.; Frohenius and 
 Erasmus, by Holbein, each sold for 100/. ; Mary and Christ, by Old 
 Palraa, for 235/. ; three figures by Titian, for 100/. ; A Man in a Black 
 Dress, by Holbein, for 103/. ; Mount Parnassus, a cabinet picture by 
 Indeluago, for 117/.; Lucretia, by Titian, for 200/.; St. John, by 
 Leonardo da Vinci, for 140/. ; A piece of the Mauritians, by Titian, 
 for 174/. ; Charles V,, whole leng-th, by Titian, for 150/. ; S,t. Jerome, 
 by Julia Romano, for 200/. ; Twelve Emperors, by Titian, 1200/. ; 
 FJleven Emperors, by Julio Romano, for 1100/. ; A Courtezan holding 
 a Looking-glass, by Partinensis, for 150/. ; Titian and a Senator of 
 Fenice, by Titian, for 112/. ; The Flaying of a Satyr, by Corregio, 
 for 1000/. ; Another picture of the same subject, by Corregio, for 1000/. ; 
 Three Pieces, by Lucasvan Leyden, for 101/. ; The Conversion of 
 St. Paul, by Palma, for 100/. ; David with the Head of Goliath meet- 
 ing Saul, by Palnia, for 100/. ; Dorcas lying Bead, by Michael 
 Angelo Carravaggio, for 170/. ; The Family of the Queen of Bohemia, 
 for 100/. ; The History of Queen Esther, by Tintoretto, for 120/. ; 
 A Family Piece, by Pardenone, for 100/. ; King Charles on Horse- 
 hack, for 150/.; and Hercules and Cacus, by Guido Bolognese, sold 
 for 400/. This noble gallery was disposed of for the comparatively 
 small sura of 12,049/. 4s. The rich tapestry and arras hangings,which be- 
 longed to St. James's-palace, Hampton-court, and Whitehall, was pur- 
 chased for Cromwell at the sum of 30,000/. The Twenty-nine Antique 
 Statues, which adorned the armory, were sold by an order of the council 
 of state, to supply the wants of the army, and as appears by the inventory, 
 produced great prices. The palace now contains only a few portraits of 
 no distinguished consequence, which, from the building being under 
 general repair, I found it impossible to collect particulars of. 
 
BUCKINGHAM-HOUSE. 
 
 35 
 
 and, being contiguous to the court, was purchased by his 
 Majesty George III. as a palace for Queen Charlotte, had 
 she out-lived him, in lieu of Somerset-House, which ancient 
 building had long been held as the town residence for 
 the queen-dowagers of England. The purchase was com- 
 pleted soon after the birth of his present Majesty ; and 
 shortly afterwards it became the town residence of his 
 royal parents, and is distinguished as the birth-place of 
 all their succeeding children. The house has since un- 
 dergone considerable improvements, under the direction 
 of the late Mr. Wyatt. 
 
 THE ENTRANCE-HALL. 
 
 The walls of the hall are decorated with sixteen pictures 
 by Canaletti, scenes in Rome and Venice, and are consi- 
 dered among the best paintings of this celebrated Vene- 
 tian artist. They were painted for his first patron, an 
 English envoy, Mr. Smith, who was sent from this court 
 to Venice. At his death, they were purchased for his 
 Majesty George IIL by Mr. Richard Dalton, then sur- 
 veyor of the king's pictures. Beneath these are several 
 architectural views by Zuccharelli, greatly inferior to the 
 former, and by no means equal to the general works of the 
 artist, whose skill in landscape displays great elegance of 
 fancy, with a light playfulness of pencil and an eye true to 
 nature. 
 
 KING'S BREAKFAST-ROOM. 
 
 A Portrait of King William III., by Sir Godfrey Kneller. 
 A whole length picture in his robes of state. A duplicate of 
 the painting in the king's presence-chamber at Windsor. 
 
 D 2 
 
30 
 
 BUCKINGHAM-HOUSE 
 
 Portrait of Queen Mary, by Sir Godfrey Kneller. In 
 her robes of state ; and, like the former, a copy of a pic- 
 ture in the collection at Windsor-Castle. 
 
 Portrait of her Majesty Queen Charlotte, by Benjamin 
 West. A whole length, with the royal infants introduced 
 in the back ground ; an early picture of this great artist. 
 
 Portrait of King James /., by Vandyke. A whole 
 length, said to be by Vandyke from a likeness by Van- 
 somer. , 
 
 Portrait of the late Duke of York, by Battoni. 
 
 Two half-length Portraits of Ladies, by Sir Peter Lely. 
 
 WEST'S GALLERY. 
 
 Rcgulus, by West. Painted on the walls by the late 
 president, when a very young man, by command of his 
 Majesty George IIL The subject was left to his own 
 choice ; and it must be admitted that the selection was 
 admirable. It abounds in fine drawing and great dignity 
 of effect, but is deficient in colouring. 
 
 The Death of General Wolfe, by West. The inimitable 
 hand of Woollett, by whom this highly admirable compo- 
 sition was engraved with that of La Hogue, has spread 
 the fame of both artists over the whole of the civilized 
 world. 
 
 The Death of the Chevalier de Bayard, by West. A 
 grand historical composition in the first style of art. 
 
 Hamilcar swearing the Infant Hannibal at the Altar 
 never to make Peace with Rome, by West. A dignified 
 andsingularly clever picture. 
 
 There are two other pictures in this apartment; one 
 
BUCKINGHAM-HOUSE. 
 
 37 
 
 relating to the History of Cyrus, by West; and the other 
 describing an action of Germanicus, by West: both fine 
 historical compositions. 
 
 KING'S DINING-ROOM. 
 
 Portraits of King George II. and Queen Caroline, by 
 Enoch Zeeman. Both whole lengths in their state robes. 
 
 Portrait of the Duchess of Richmond, by Houseman. 
 
 Portrait of Lord Burleigh, by Frederic Zuccharo. An 
 admirable portrait picturing to the life the character of 
 this great and good man. 
 
 Portrait of his Royal Highness the Duke of York, by 
 Zoffany. Representing this Prince in his childhood, beau- 
 tifully coloured and finely drawn. 
 
 Portrait of the Duke of Richmond, by Daniel My tens. 
 Painted in 1623. This nobleman was Lord Chamberlain 
 to James II., and admiral of Scotland ; a clever picture. 
 
 Portrait of his Majesty King George III., by Zoffimy. 
 
 Portrait of her Majesty Queen Charlotte, by Zoffany. 
 
 Portrait of his Royal Highness William, Duke of Cum- 
 berland. A small equestrian portrait of the uncle of his 
 late Majesty George III. 
 
 Portrait of King Charles II., by V'andyke. Represent- 
 ing the witty monarch, when a boy, in armour. 
 
 Portrait of King Charles I. and Queen Henrietta, by 
 Vandyke. Three-quarter portraits, full of expression and 
 finely coloured. 
 
 Portraits of the Duke and Duchess of Buckingham and 
 two of their Children, by Sir Peter Lely. 
 
 Portrait of the Countess de Grammont, by Sir Peter 
 Lely. 
 
38 
 
 BUCKINGHAM-HOUSE. 
 
 Portrait of King William III. and the Duke of Schom- 
 berg on Horseback, by Old Wyck. A fine characteristic 
 portrait, exhibiting the costume of the time, and painted 
 with great spirit. In this apartment are some Female Por- 
 traits of the Court of Charles II., by Sir Peter Lely; and 
 several interesting views of Venice, by Canaletti. 
 
 Portrait of Anna Hyde, Wife of King James II., by 
 Sir Peter Lely. A picture of exquisite beauty, in the best 
 style of the artist. 
 
 THE SALOON 
 
 Has a rich clock, with allegorical figures, standing upon 
 a mantel-piece of statuary marble; the carving by the 
 elder Bacon, K. A. 
 
 THE CRIMSON DRAWING-ROOM. 
 
 St. Martin dividing his Cloak with a Pilgrim., by Ru- 
 bens. A noble picture glowing with all the peculiar 
 richness of colour that distinguishes the works of this 
 admired artist. 
 
 Portrait of Philip II. , King of Spain, hy Rubens. The 
 horse is not well drawn, but, in other respects, it has all 
 the fascinating attractions of the master, 
 
 St. Agnes, by Domenichino. Well drawn, and coloured 
 with that sobriety of tone that distinguishes this artist. 
 
 The Holy Family, by Paul Veronese. A rich speci- 
 men of the Venetian school. 
 
BUCKINGHAM-HOUSE. 
 
 39 
 
 St. John with the Lamh, by SpagnoleUo. Painted with 
 great breadth of effect, 
 
 St. Magdalene, by Giro Ferri. 
 
 The Infant Jesus, by Giro Ferri. Surrounded by roses, 
 with a globe in the clouds. Two singular pictures. 
 
 THE SECOND DRAWING-ROOM. 
 
 Virgin and Child, by Simon de Pejaro. 
 
 The Holy Family, by Andrea dal Sarto. A masterly 
 picture with great breadth of effect and richness of tone. 
 
 Portraits of the Duke of Buckingham and his Brother, 
 Lord Francis Villi ers, by Vandyke. Youthful portraits, 
 animated and free, with great force of character. 
 
 Jacob with Rachel and Leah. The subject relating to 
 the story of the streaked of the flocks of Laban. 
 
 Children of King Charles /., viz.. Prince Charles, Prince 
 James, and Princess Mary, by Vandyke. The magical 
 touch of the pencil has here perpetuated infancy, by 
 arresting the hand of time : the portraits are as fresh and 
 full of breathing innocence as when first painted. 
 
 Joseph, holding in his Arms the Infant Saviour, by 
 Guido. A beautiful picture, full of expression, and fine 
 contrast of character. 
 
 The Samaritan Woman, by Guercino. A bold and freely 
 painted picture of this indefatigable artist. 
 
 Portrait of Guercino, by himself. The subject alle- 
 gorical and somewhat egotistical, but brilliantly coloured 
 and finely drawn. 
 
 A Sibyl, by Guercino. 
 
 Portrait of Sir Kenelm Digby, by Vandyke, The first 
 English patron of that admirable artist and clever forcible 
 head. 
 
49 
 
 BUCKINGHAM-HOUSE. 
 
 Portraits of Sir Balthazar Gerbier, his Wife, and Fa- 
 mily, by Vandyke, This picture was purchased in Hol- 
 land by the Prince of Wales, father of George III., and 
 was in the collection at Leicester-house. Gerbier was a 
 man of great versatility of genius, architect, painter, and 
 diplomatist. He considered himself the rival of Inigo 
 Jones, and was knighted by Charles II. in 1628. He came 
 to England from Antwerp in the suite of the Duke of 
 Buckingham. 
 
 THE BLUE VELVET-ROOM. 
 
 J onah cast into the Sea, by Nicoli Poussin. A scriptural 
 subject designed with great poetic feeling, full of grand 
 and sublime effect. 
 
 Three Landscapes, by Gasper Poussin. Three singular 
 clever pictures, all of which have been engraved by Cha- 
 telain, Vivares, and others. The pictures in this apartment 
 are fine specimens of their respective schools. 
 
 Landscape, by Claude de Lorraine. Rich and natural, 
 breathing the purest taste, and displaying a luxuriant fancy 
 and crispness of pencilling. 
 
 View of Tivoli, by Claude de Lorraine. A fine clear 
 picture, admirably drawn, with great depth of perspective. 
 
 Landscape, by Claude de Lorraine. 
 
 Sea-Port, by Claude de Lorraine. A charming marine 
 picture, full of variety and transparent effect. 
 
 The Nativity, by Barrochio. A good specimen of the 
 master. 
 
 Summer, a Landscape, by Rubens, This and the fol- 
 lowing picture by Rubens exhibit the mighty hand of the 
 master with great eftbct, they are magnificent scenes, bold, 
 natural, and richly coloured. 
 
BUCKINGHAM-HOUSE. 
 
 41 
 
 Winter, a Landscape, by R-ubens. 
 
 Portrait of the Duke of York, by Sir Peter Lely. A 
 half length, in armour, of the unfortunate James. 
 
 Portrait of the Duchess of York, by Sir Peter Lely. The 
 Lady Anne Hyde, daughter of Lord Chancellor Clarendon, 
 who changed her faith, and became a convert to the 
 Romish church. 
 
 Portrait of Mrs. Elliot, by Riley, supposed to have 
 been the wife of the member for St. Germaii;is, and sister to 
 Mr. Secretary Craggs 
 
 GREEN CLOSET. 
 
 This apartment contains Portraits of all the Children 
 of their late Majesties, excepting the Princess Amelia, by 
 Gainsborough. These are confined to the heads alone, 
 and are painted in that free careless style so peculiar to 
 this eminent artist, whose freedom of pencil rendered all 
 imitation vain. 
 
4% 
 
 KENSINGTON-PALACE 
 
 Was the favourite residence of William III, by whom it 
 was, in great part, rebuilt and enlarged under the able 
 direction of Sir Christopher Wren, then surveyor-general 
 to the crown. The celebrated Kent was also employed in 
 this palace, and designed the cupola room and grand stair- 
 case, and painted the walls and ceilings, as well as those 
 of several other apartments in the palace. The original 
 mansion was purchased from the son of Sir Heneage Finch, 
 afterwards Earl of Nottingham and Lord Chancellor of 
 England. Kensington-palace owed much of its internal 
 decoration to Queen Mary, who died there in December 
 1694. George, Prince of Denmark, consort of Queen 
 Anne, also made it his favourite residence, and both the 
 prince and queen ended their days here, the first in Octo- 
 ber, 1708; and the queen in August, 1714. It afterwards 
 became the residence of George I., and was by his orders 
 considerably improved, the execution being left to the 
 celebrated Kent*. The grounds of the palace were mate- 
 rially increased by the intelUgent Queen Caroline, wife of 
 George II., who added three hundred acres thereunto, by 
 which enlargement the whole formed a circuit of nearly 
 three miles. Both her majesty and her royal consort paid 
 the great debt of nature here, the queen in 1737, and the 
 king in 1760. 
 
 * Kent has been justly styled the father of improved English garden- 
 ing-. The grounds of Carlton-house, Claremont, Lewisham, Esher, 
 Holkhara, and Wanstead, were originally laid out under his direction,. 
 
KENSINGTON-PALACE. 
 
 4S 
 
 THE GREAT STAIR-CASE, 
 
 Is on the western side of the building, and leads from the 
 principal entrance to the palace by a long corridor, the 
 sides of which are painted in imitation of a gallery crowded 
 with figures, supposed spectators on a court-day. Many 
 of these are said to have been well known characters of the 
 time, including some of the attendants of the court, par- 
 ticularly Mr. Ulri, the king's page, a very elegant young 
 man, and other servants of George I. 
 
 PRESENCE-CHAMBER. 
 
 Some singular fine carvings appear on the mantel-piece, 
 by Grinling Gibbons, within which is a painting of the 
 Roman Charity, by Adrian Hanneman : a sober-toned pic- 
 ture, but simple and unaffected in design. 
 
 The Last Supper, by Giacepo Palma, the Younger. 
 
 Portrait of Two Females. Companion pictures ; artist 
 and characters unknown. 
 
 Over the door is a chiar-oscuro, representing Cupid 
 with a bandeau over his eyes, bestriding a globe. A 
 spirited design. 
 
 Portrait of John Schorel, by himself. Schorel was the 
 disciple of John de Mabruse and master of Sir Antonio 
 More; the head is painted in a bold true style of art. 
 
 Portrait of Spinola, Artist unknown. The painting is 
 natural and fleshy in tone, with great breadth of light and 
 shade. 
 
 Martyrdom of St. Sebastian, by Lucas Van Ley den. A 
 curious specimen of the early style of painting in oil, by 
 a cotemporary of Albert Durer. 
 
44 
 
 KENSINGTON- PAL ACE. 
 
 Joseph interpreting Pharaoh's Dream, by Lucas Van 
 Leyden. Similar to the above in style, and heightened 
 according to the custom of the time with gold hatchings. 
 
 Two Children, Daughters of Philip II., of Spain, by 
 Sir Antonio More. Faithful records of the costume of that 
 age, with elaborate detail in the ornaments, and painted 
 with a masterly conception and firm pencil. 
 
 Head of a Man in a large Hat, by Francis Hals. A 
 head convulsed with laughter, a right merry composition, 
 full of life and character, painted with all the accustomed 
 richness of humour which distinguished Hals. 
 
 Head of the Saviour. An oval picture, the size of life. 
 
 Head of the Virgin Mary. A companion picture, by 
 the same hand. 
 
 Portrait of a Female nearly naked, by Giacopo Palma, 
 (commonly called Old Palma). Round and clever in some 
 parts, but badly drawn. 
 
 Christ reproving the Scribes concerning the Tribute 
 Money. 
 
 The Marriage of St. Catharine. An old copy of the 
 celebrated composition of Corregio, highly imitative. 
 
 Portrait of a Boy. An expressive head in a ruff. 
 
 Two Flower Pieces, by Withoos. Playful and well co- 
 loured, with a strict eye to nature. 
 
 Portrait of an Old Man. A fine interesting head 
 full of life and character ; both the model and artist un- 
 known. 
 
 Battle of Paira. An historical curiosity, describing 
 faithfully the manner of battalia when the long pike and 
 match-lock musquets were in use : the artist unknown. 
 
 Bacchus and Ariadne, by Carlo Cignani. A large car- 
 toon, painted in distemper colour, the composition classical 
 and grand, in good preservation; by the founder of the 
 Clementine academy at Bologna. 
 
 A Female Saint bearing a Gross. A small whole length. 
 
KENSINGTON-PALACE. 
 
 45 
 
 Marriage of Joseph and Mary. 
 
 St. Peter in Prison, by Steenwyck. The light ad- 
 mirably managed with a romantic effect ; the figures well 
 drawn and firmly painted. 
 
 Jupiter and lo. A very singular picture, representing 
 the whole story of the metamorphosis of lo and Argus, as 
 related by Ovid. 
 
 Portrait of Anne of Austria, Wife of Louis XIII., of 
 France. Elaborate and characteristic, but heavy and hard 
 in pencilling and colour. 
 
 Cupid armed with the Fulmen of Jupiter sitting on an 
 Eagle, by Carlo Cignani. A cartoon, designed in fine 
 taste, and painted with great richness of colour. 
 
 Virgin and Child. A small half-length picture, well 
 drawn. 
 
 Judith and Holofernes. A sober-toned heavy picture, 
 said to have been in the gallery at Whitehall in the time 
 of Charles I. 
 
 Death of Cleopatra, by Guido. The expression of death 
 and resignation admirable, beautifully coloured, with a 
 roundness and delicacy that approaches nature. 
 
 The Martyrdom of St. Sebastian. 
 
 Portrait of Queen Elizabeth. Well painted, and exhi- 
 biting accurately the royal costume of the time. 
 
 Portrait of Sir George Car etc. A distinguished general 
 of the time of Elizabeth, who is said to have been the 
 friend and patron of the immortal Shakspeare. 
 
 Landscape and Figures, by Vincent Mola. A crude 
 composition, deficient in natural effect and colour. 
 
 Apotheosis of St. Sebastian, by Caracci. A small oval 
 painting, not deficient in merit. 
 
 Christ bearing his Cross. 
 * Jupiter and Europa, by Carlo Cignani. A cartoon, the 
 companion to Bacchus and Ariadne named before, and 
 equally deserving of commendation. 
 
46 
 
 KENSINGTON-PALACE. 
 
 Portrait of Rosalba Carriera, by herself. A female 
 artist who advanced the art of painting in crayons beyond 
 all her competitors ; the picture is graceful and brilliant in 
 colour. 
 
 Portrait of the Duke of Wharton, by Rosalba. A fine 
 portrait of this extraordinary man, who was as eccentric 
 as he v/as brave and profligate. 
 
 Portrait of Hans Holbein, by himself. Painted in semi- 
 transparent water-colours on canvass, a most curious spe- 
 cimen of art. 
 
 Portrait of the Wife of Holbein, by Holbein. A com- 
 panion to the above. 
 
 Portrait, a Head of Sir Thomas More, by Holbein. Sir 
 Thomas More was the first layman who filled the office of 
 Lord Chancellor of England in the time of Henry VIII. A 
 clever fine head. 
 
 Portrait of an Aged Man in a Black Cap. A fine cha- 
 racteristic head. 
 
 Pharaoh's Dream. A grand imposing picture in design, 
 
 but not well drawn. 
 
 St. George and the Fair Princess Cleodolinde, by Tin- 
 toretto. 
 
 Portrait, a Head of Mary de Medicis. The head of the 
 celebrated beauty of Rubens, which forms the chief star 
 in his allegoi'ies in the gallery of the Luxembourg. Queen 
 of Henry IV. of France, and mother of the wife of 
 Charles I. 
 
 QUEEN CAROLINE'S DRAWING ROOM. 
 
 In the centre of the ceiling is a large allegorical paint- 
 ing, by Kent, of Minerva, attended by the Arts and 
 Sciences. 
 
KENSINGTON-PALACE. 
 
 Portrait of a German Lady, by Parmegiano. A delicate 
 interesting picture, with a variety of astronomical instru- 
 ments well arranged on a table by her side. 
 
 Portrait of an Italian Lawyer ^ by Bourdon. A vigorous 
 bold outline, painted with great breadth of effect and fine 
 expression. 
 
 St. William divesting himself of his Armour to take 
 upon himself the Monastic Order of the Carthusians, by 
 Georgione. A careful sober- toned picture ; the counte- 
 nance expressive of the enthusiastic feeling of the devotee. 
 
 The Queen of Francis L, Ki?ig of France, by Leonardo 
 da Vinci. A small three-quarter picture on panel of this 
 scarce master. The queen is represented in a rich satin 
 dress, profusely ornamented and emblazoned with jewels. 
 It is a choice specimen of the best time of the artist. 
 
 Portrait of Prince Henry, by Jameson. A small head, 
 inscribed " Genus et Genires" on one corner, and " ^tatis 
 suaB xviii. A.D., 1617," on the other. 
 
 Portrait o f Anne of Denmark, by V^ansomer. The mo- 
 ther of the before-mentioned prince, in a hunting dress, 
 surrounded by dogs, with a view of the old palace at 
 Oatlands in the back ground. - 
 
 Portrait of a Youth. An allegorical picture, the subject 
 unknown. 
 
 Portrait of the Father and Mother of Hans Holbein, 
 A doubtful picture, more generally ascribed to the father 
 of the artist, who was also a painter, and reputed to have 
 practised in England in the time of Henry VII. 
 
 Female Head. A delicate and pleasing picture in a very 
 spirited style of art. 
 
 Portrait of a Knight of Malta. Bold, natural, and 
 graceful, with strong effect of hght and shade. 
 
 Portrait of the Wife of Thomas Baker. Most of 
 those who had exhibited any personal attachment to 
 Charles TI. in his troubles were afterwards honoured by 
 having their portraits taken, and placed in his collection. 
 
48 
 
 KENSINGTON-PALACE. 
 
 This is supposed to be the \vife of a celebrated mathe- 
 matician of Oxford. 
 
 Portrait of the Countess of Derby. Celebrated for her. 
 defence of Letham House against a division of the par- 
 liament army ; a clever characteristic portrait. 
 
 Head of an Old Man. Spirited and free. 
 
 Portrait of a Royal Child . 
 
 David with Goliath'' s Head. A sobar-toned picture, 
 well drawn. 
 A Naked Child. A study. 
 
 Portraits of two Princesses. Characters unknovs^n, but 
 spiritedly painted. 
 
 Portrait of Alderman Lemon, by Leevines. A charac- 
 teristic picture with great expression. 
 
 Portrait of a Mans Head. 
 
 Virgin and Child. A small whole length, pleasing and 
 graceful. 
 A Girl with Flowers. 
 
 Portrait of a Youth of the illustrious House of Bruns- 
 wick. 
 
 Boys with a Goat. Playful, spirited, and well grouped. 
 
 Portrait of the Duke of Gloucester when a Child, by Sir 
 Peter Lely. This royal infant was the son of Queen 
 Anne by Prince George of Denmark. 
 
 A Female with a Man in Armour. 
 
 Portrait of James Creiciiton. 
 
 Portraits of Francis /., King of France, and his Queen. 
 Animated and natural, but deficient in effect. 
 
 Duke of Florence's Gardener, by Andrea del Sarto. 
 A fine head with a rich flow of colour and powerful effect. 
 
 A Venetian Senator, by Tintoretto. 
 
 A Female blowing Lighted Charcoal, by Schalken. The 
 reflection well managed, and the figure finely drawn. 
 
 Portrait of the King of Prussia. A whole length, in 
 armour, bold and spirited, with a firm pencil. 
 
 Portrait of a Head of a Man. 
 
KENSINGTON-PALACE. 49 
 
 A Boar's Head, by Snyders. Evidently a study from 
 nature, and exhibiting all the ferocity and character of life. 
 
 A Man in Armour holding a Truncheon, by Giorgione. 
 
 An Old Man exhibiting a Box, Inscribed " Carpendo 
 Carpeius ipse Giorgione'' 
 
 A Female Head. 
 
 An Old Man with a Glass, 8fc. 
 
 P ortrait of the Duchess of Savoy. An interesting head. 
 
 Margaret, Daughter of the Duchess of Savoy, by Hon- 
 thorst. Natural and free, with a skilful crisp touch in the 
 pencilHng. 
 
 Portrait of a Man, and Portrait of a Female Head. 
 Two three-quarter companion pictures. 
 
 The Evangelist St. Mark, by Guercino. A forcible 
 clever head. 
 
 Portrait of Catherine Empress of Russia. A whole 
 length, elaborately finished, by some French artist. 
 
 Madonna and Infant Child, with St. Catherine and 
 St. John, by Old Palma. A good specimen of the master. 
 
 Tobit and the Angel. A copy from Titian, but in close 
 imitation of the original. 
 
 St. Catherine at the Altar, by Paul Veronese. A small 
 sketch, very spirited. 
 
 Head of a Female. 
 
 An Old Man's Head, by Guercino. Representing a 
 prophet, highly characteristic. 
 
 Head of a Painter. Spirited and well drawn, artist un- 
 known. 
 
 A Female Head. 
 
 A Portrait in Armour, and a Female, Companion to 
 the same. 
 
 Cupid and Psyche, by Vandyke, A clear, spirited pic- 
 ture, very brilliant in colour. 
 
 Portrait of a Man, with a red Book in his Hand, by 
 Jannet. 
 
 E 
 
50v 
 
 KENSINGTON- PALACE. 
 
 Old Man's Head. 
 
 The Wise Men's Offering, by Schiavone. A favourite 
 subject, very well grouped. 
 
 The Salutation. A composition of three boys and a 
 lamb, a mellow picture, natural and freely painted. 
 
 Portrait of a Man in a Ruf. 
 
 ADMIRAL'S-GALLERY. 
 
 This apartment contains two antique marbles, a statue of 
 Malidia, niece of the Emperor Trajan, and a head of Bac- 
 chus, the last finely carved. 
 
 The portraits in this room are almost all copies from 
 the originals at Hampton-Court, made by G. Bockman, 
 who was also a mezzotinto engraver. 
 
 Portrait of Admiral Beaumont. 
 
 Portrait of Admiral Benbow. 
 
 Portrait of Sir Stafford Fairborne. 
 
 Portrait of Sir George Byng, afterwards Lord Tor- 
 rington. 
 
 Portrait of Sir John Graden. 
 
 Portrait of Sir Thomas Dilkes. 
 
 Portrait of Sir John Jennings. 
 
 Portrait of Admiral Geo7-ge Churchill, 
 
 Portraits of their Royal Highnesses the Princess Anne, 
 Amelia-Sophia-Eleanor, and Elizabeth Caroline, byMin- 
 gand. Three portraits in one picture 
 
 Portrait of a Bishop. 
 
 Portrait of an Old Man. 
 
 Portrait of a Doge of Venice. Supposed to be one of 
 the set of portraits of Doges, bequeathed to his Majesty 
 James I., by Sir Henry Wotton. 
 
KENSINGTON-PALACE. 
 
 51 
 
 A Vision of the Resurrection, by Martin Hemskirk. A 
 singular work, painted with great spirit. 
 
 Three Portraits of distinguished Men of the time of 
 Elizabeth. 
 
 Portraits of a Burgomaster and his Secretary. 
 
 Portrait of three Female Heads. 
 
 Portrait of a Woman holding a Flute, 
 
 Our Saviour at the House of Martha,- supposed to be 
 by Francisco Cleyn. A curious picture, exhibiting speci- 
 mens of the interior architecture of the time of James I. 
 
 Diana with her Nymphs at the Bath, discovered by 
 Acteeon. 
 
 An Infant with a Coral. 
 
 Portrait of her Majesty, Queen Charlotte, by Ramsay. 
 
 The Four Elements. A pleasing composition, the ob- 
 jects of natural history, painted up to the life. 
 
 The breaking of the Boom at Gales, and a Castle by the 
 Sea-side. A companion picture, cleverly managed, and 
 with transparent effect. 
 
 Head of a Sibyl, by Horatio Gentileschi. 
 
 QUEEN CAROLINE'S DINING-ROOM. 
 
 This apartment contains a number of interesting portraits 
 principally painted from the Ufe. 
 
 Portrait of Henry V., and a Profile of Henry VL, by 
 Holbein. Are posthumous likenesses from the best autho- 
 rities of the time. 
 
 Portrait of King James IV. of Scotland, by John de 
 Mabuse. A curious devotional picture, which opens with 
 hinges ; at the back of the panel is painted a representa- 
 tion of the Trinity ; the companion is a portrait of Queen 
 Margaret of Scotland, the daughter of Henry VII. 
 
 £ 2 
 
52 
 
 KENSTNGTON-PALACE. 
 
 Portrait of Henry VII., by Holbein. 
 
 Portrait, a Head of Queen Elizabeth, Wife of Henry 
 VII., by Holbein. 
 
 Portrait of Henry VIII., by Holbein. 
 
 Portrait of Philip the good Duke of Burgundy and his 
 Duchess, whose sister was espoused to the Duke of Bed- 
 ford, brother to Henry V., and regent of France. 
 
 Portrait of Richard III A head painted on panel, 
 with a strong character, illustrative of the malignity and 
 general conduct of the tyrant. 
 
 Portrait of Raphael, s^id to be by Himself. On the 
 breast is a double broach : one being surrounded by an in- 
 scription, ♦^Raffaello;" the other, "Vurbino, 1510." 
 
 Portrait of Edward VI., by Holbein. A half-length, 
 highly finished. 
 
 Queen Margaret, Wife of James IV. of Scotland, by 
 John de Mabuse. A companion picture to that of James 
 IV., painted by the same artist. On the back of this is 
 also an allegorical subject, or a Priest at prayers, supposed 
 to be a portrait of Cardinal Beaton. 
 
 Margaret, the elder Daughter of Henry VII, Queen of 
 James, King of Scotland, and afterwards married to Archi- 
 bald Douglas, Earl of Angus. 
 
 Portrait of Henry IV. A posthumous likeness, but 
 esteemed a faithful resemblance by Antiquaries. 
 Portrait of a Princess of Castile. 
 Portrait of Philip IV., King of France, called " la 
 Belle," or the Fair. It is not known from what authority 
 this portrait was derived, as he hved in the thirteenth 
 century. 
 
 Portrait of a Mans Head, by Holbein. A portrait no 
 doubt, but the character unknown. 
 
 Portraits of Ferdinand and Isabella, King and Queen 
 of Arragon, under whose auspices Columbus, the naviga- 
 tor, made his voyage of discovery to the new world. 
 
 \v.:v, V , 
 
KENSINGTON-PALACE. 5$ 
 
 Portrait of Charles VIII., King of Fra^ice. Who in- 
 vaded Italy, subdued Tuscany, and entered Rome in tri- 
 umph, by torch-light, in 1494, where he was styled Em- 
 peror, and commemorated his title on a coin, struck in 
 that city ; he died of apoplexy, in France, in 1497. 
 
 Portrait of the Emperor Maximilian I. Who annihi- 
 lated the odious " Secret Tribunal," a species of Inquisi- 
 tion that had existed from the time of Charlemagne. The 
 Emperor Maximilian served as a volunteer under Henry 
 VIII. of England, and was present at the famous battle of 
 the Spurs. 
 
 Portrait of Louis XII., King of France. 
 
 Portrait of Holbein, by himself. A small characteristic 
 head on panel. 
 
 St. Matthew at the receipt of Customs, ascribed to John 
 de Mabuse. In the formal stiff manner of the early school 
 of painting, the objects of " Still Life" exquisitely finished. 
 
 Portrait of Maximilian, Archduke of Austria, and a 
 Head. In the early manner of Raphael. 
 
 A Female Head, by Sir Antonio More. A portrait of 
 this early master, name unknown. 
 
 Portrait of Titian. A fine head of this great luminary 
 of the Venetian school, who was born at the castle of Ca- 
 dore in 1477, and died of the plague, when nearly a cen- 
 tury old, in 1576. 
 
 Portrait of Dr. Linacre, by Quintin Matsys. A bold 
 head, by the Blacksmith of Antwerp, of the founder of the 
 College of Physicians, in London. Painted in 1521. 
 
 Portrait of Giacomo da Ponte, by himself Commonly 
 called Bassano, from the place of his birth ; a great master 
 of the Venetian school, who died in 1592, aged 82. 
 
 The Virgin and Child, by Sabbatini. A pupil of the 
 immortal Raphael, and not unworthy of his great instructor. 
 Portrait of Giorgio Barbarelli, called Giorgioue, a 
 
54< 
 
 KENSINGTON-PALACE. 
 
 great master of the Venetian school, who was born in 
 1477, and died of the plague in 1511. 
 
 Portrait, a Head of a Young Man, by Robert Walker. 
 Walker was a cotemporary with Vandyke, and was em- 
 ployed by Oliver Cromwell as his portrait painter ; the 
 above head bears some resemblance to Milton, and may, 
 probably, be a portrait of the great epic poet. 
 
 A Woman reading by Candlelight, by Schalcken. 
 Painted on ivory, and highly finished. 
 
 Portrait, a Head, by Albert Durer. 
 
 Portrait of Philip II. , of Spain, by Jannet. Philip of 
 Spain was married to Queen Mary, at Winchester, in 1554, 
 and after her death made proposals to her sister Elizabetli, 
 but was rejected. 
 
 Adam and Eve in Paradise. 
 
 The Holy Family, with an Infant Angel presenting 
 Fruit. 
 
 Portrait of John De Bologna, a celebrated Italian 
 sculptor. 
 
 St. Matthew reading. 
 A Virgin and Child. 
 
 Portrait, a Female Head and Companion. 
 A Male Head. 
 
 Portrait of the Aunt of the Emperor Charles V. 
 Portrait of a Man's Head in a Ruff. 
 
 QUEEN CAROLINE'S CLOSET. 
 
 Portrait of the King of Bohemia, and of the Queen of 
 Bohemia, by Cornehus Jansen. Two fine portraits, painted 
 with great breadth of effect. 
 
KENSINGTON-PALACE. 
 
 5$ 
 
 Descent from the Cross. 
 A Composition, Cavalry. 
 
 Lions, by Rowland Savery. A natural, spirited picture. 
 
 St. Peter in Prison, by Steinwyck. A small circular 
 picture. 
 
 The Nativity. 
 
 Sophonisba, by Goetand. 
 
 St. Catherine, by Leonardo da Vinci. 
 
 Portraits of the Children of Henry VII., by John de 
 Mabuse. This picture contains portraits of Prince Arthur, 
 Prince Henry, and the Princess Margaret. 
 
 A Landscape. 
 
 Boors regaling. 
 
 An Architectural Piece. 
 
 Martyrdom of St. Bartholomew. 
 
 Hungarians at the Tomb of Ovid. 
 
 Portraits of Henry VII. , his Queen Elizabeth ; Henry 
 VIII., and his Queen, Jane Seymour, by Remigius Van 
 Lemput. This copy, from a large picture by Holbein 
 painted on the wall at Whitehall, in 1537, was made by 
 command of Charles II., in 1667; the original was con- 
 sumed by the fire which destroyed that palace during the 
 reign of William III. 
 
 Witch riding on a Goat, by Elsheimer. A singular com- 
 position, shewing the belief in supernatural agency that 
 prevailed in former time. 
 
 Portrait of the Dauphin, by Jannet. Afterwards Francis 
 II., King of France, and husband to Mary, Queen of Scots. 
 
 Mary Queen of Scots, by Jannet. Represented in her 
 habit of widowhood, a charming pensive-looking portrait. 
 
 A Composition, by Palamedes. A dramatic scene, exe- 
 cuted with all the softness and brilliancy which distin- 
 guishes the elaborate finishing of this great master ; he 
 died in 1638, aged 31. 
 
56 
 
 KENSINGTON-PALACE. 
 
 Venus and Adonis, on copper. Pleasing, and naturally 
 coloured, but deficient in drawing. 
 A View of Florence, by Patin. 
 
 Battle of the Forty, by Peter Snayers. A good represen- 
 tation of the bustle of this extraordinary battle before the 
 walls of Bois le Due, with the inhabitants standing on the 
 surrounding banks as spectators. 
 
 Nymphs bathing, by Elsheimer. 
 
 Landscape, by Paul Brill. 
 
 Portrait of a Man reading, by Jannet. 
 
 Portrait of a Man, by Perregino. 
 
 Architecture and Figures. 
 
 The Earl and Countess of Clarendon, by Russel. Small 
 half-length on panel, copied by Russel, from the originals 
 by Sir Peter Lely. 
 
 Our Saviour before Pontius Pilate. 
 
 A Man playing on a Spanish Guitar, by Murillo. An 
 effective picture. 
 
 Lucretia. A small whole length. 
 
 Mars, Venus, and Cupid, by Paul Veronese. A mas- 
 terly, bold sketch, finely drawn. 
 
 Christ and Mary Magdalene at the Tomb, by Holbein. 
 A clever specimen of this ancient master. 
 
 Shipping, by Vandevelde. Painted with great truth to 
 nature, and the most perfect knowledge of nautical subjects. 
 
 Landscape on copper ; Gipsies conversing with a Tra- 
 veller on tiorseback. 
 
 Portrait of Erasmus, by Holbein. 
 
 Portrait of Trobenius, by Holbein. 
 
 Portrait of a Female with a Dog, and companion Pic- 
 ture. 
 
 A Female. 
 
 A Woman sleeping, by Gerard Douw. Highly finished, 
 and sweetly coloured, 
 
KENSINGTON-PALACE. 
 
 57 
 
 ' Interior of a Church ; and two Friezes, composed of 
 groups of Children, by Polidori. 
 
 Venus, Cupid, and Satyrs, by Rothenhamer. A small 
 oval picture, in the best style of this pleasing master. 
 
 Virgin and Child, with St. Catherine and St. Ignatius 
 Loyola, by Giorgione. 
 
 Virgin and Child, with the Story of Tobit and the 
 Angel, in the hack ground. An interesting picture. 
 
 Two Portraits, on octagon panels. Characters unknown. 
 
 A Landscape and Ruins. Spirited, and in good keeping. 
 
 A Head in Profile. 
 
 Seven Children of the King of Bohemia, by Gerard 
 Honthorst. It appears that this king had eight sons and 
 five daughters by his wife Elizabeth, daughter of James I., 
 of England. 
 
 Sketch of a dying Saint, by Vandyke. Full of the mas- 
 terly conception and spirited execution of the master. 
 
 THE QUEEN'S GALLERY. 
 
 Portrait of King Henry VIII., by Hans Holbein. 
 
 Portrait of Queen Catherine of Arragon, first Wife of 
 Henry VIIL, and her Dwarf, by Holbein. 
 
 Portrait of Queen Elizabeth, by Frederic Zucchero. 
 A curious whole length, in which her Majesty is painted 
 in a fantastic Persian dress ; it is known she was fond of 
 assuming the costume of different countries. 
 
 Portrait of the Emperor Charles VI., by Sir Godfrey 
 Kneller. A noble, fine picture, in the best style of Sir God- 
 frey, who, for painting this picture, was made a knight of 
 the Holy Roman Empire. 
 
 Portrait of James I, by Vansomer, 
 
58 
 
 KENSINGTON-PALACE. 
 
 Portrait of Queen Aime of Denmark , Queen of James /., 
 by Vansomer. 
 
 Portrait of a Duchess of Brunswick. For whom in- 
 tended, or by whom painted, is not known, it is a very in- 
 different picture, by some foreign artist. 
 
 Portrait of an Elector of Bavaria, Every way a com- 
 panion to the former. 
 
 Portrait of the Duke of Cologne. 
 
 Portrait of a Youth. 
 
 Portrait of a Man in Black. 
 
 Portrait of a Man in a Ru f, with a Dog. 
 
 Portraits of the Duke of Buckingham and his Brothers, 
 when Children, by Hanneman. 
 
 Portrait of a Doge of Venice, by Teuteretto. 
 
 Portraits of two Female Children. 
 
 Portrait of Charles 11. , King of Spain, when a Child. 
 
 Pharaoh and his Host overthrown in the Red Sea, by 
 Jordaens. A large picture, spiritedly drawn, and coloured 
 with great effect. 
 
 THE KING'S GREAT DRAWING-ROOM. 
 
 A Portrait of Henri/ IV., of France. Whose noble 
 person forms one of the principal figures in the series of 
 allegories, painted by Rubens in the gallery of the Lux- 
 embourg. 
 
 A Landscape, by Bamboccio. Architectural rains and 
 figures. 
 
 View of the Old Palace at Hampton-Court, by Henry 
 Bankers. Representing this ancient seat before it was 
 altered by Sir Christopher Wren. 
 
 Landscape, with Cattle. 
 
 An Old Mansion and Grounds. A bird's eye view, 
 
KENSINGTON-PALACE. 
 
 59 
 
 Scenery among Vaults by Lamplight. 
 
 Three Views of Park-Place, by Woottoii. In which are 
 introduced portraits of King George, his Queen Carohnej 
 and the royal children. 
 
 Christ restoring Sight to the Blind. 
 
 Lot and his Two Daughters. 
 
 St. Jerome with a Cross. 
 
 A Hunting Party, by John Wotton. A composition in 
 which are introduced the portraits of Frederick, Prince of 
 Wales, grandfather of his present Majesty, with several 
 noblemen and horses, which are also said to be portraits. 
 
 Interior of the Senate-House at Venice. Representing 
 Sir Henry Wolton as ambassador from King James I. pre- 
 senting his credentials to the Doge of Venice. 
 
 Venus and Cupid. 
 
 A Camp Scene. 
 
 Portrait of Charles II., King of Sweden, by Wyck. 
 
 View of the Old Palace at Greenwich from the Park. 
 In which are introduced portraits of Charles II. and some 
 of his courtiers. 
 
 The Siege of Tournay ,by Wotton. An extraordinary 
 large picture, painted with great spirit. In the fore-ground 
 is the great Duke of Marlborough, surrounded by the 
 principal officers of the combined armies who were pre- 
 sent at the siege. 
 
 The Siege of Lisle. A companion picture, worthy of 
 the pupil of Old Wyck. 
 
 THE KING'S GALLERY. 
 
 At the end of the gallery is an elaborate drawing in 
 black chalk from the Transfiguration, by Raphael. It is 
 the size of the original, and copied by Cassanova, 
 
60 
 
 KENSINGTON-PALACE. 
 
 Portrait of Inigo Jones, by Nogari, 
 
 Portrait of a Sculptor, by Bassan. 
 
 Portrait of a Margrave of Anspach, in Armour. 
 
 Portrait of a Margravine of Anspach with a Child. 
 
 Portrait of a Princess of Orange, by Hanneman. 
 
 Portrait of J ohnsony the Virtuoso, by Mirevelt. Sup- 
 posed to be Robert Johnson, who wrote a Manual of Phy- 
 sic, pubhshed in 1684. 
 
 Portrait of Buonarotti, by himself. 
 
 Portrait of Queen Mary when a Child. 
 
 Portrait of Queen Elizabeth when a Child. 
 
 Portrait of the Duke of Cambridge, Son of James II., 
 when a child, in the robes of the garter. 
 
 Portrait of Queen Anne, by Kneller. 
 
 Portrait of James /., by Vansomer. 
 
 Portrait of Paolo Veronese, by himself. 
 
 Portrait of Artemisia Gentileschi, by herself. 
 
 Portrait of Hans Holbein, by himself. 
 
 Portrait of Queen Mary de Medicis. 
 
 Portrait of a Duchess of Tuscany. 
 
 Portrait of Julio Romano, by himself. 
 
 Portrait of William, Duke of Gloucester, by Kneller. 
 
 Portrait of the same Prince, by Claret. 
 
 Portrait of Van Cleve, by himself. 
 
 Portrait of Van Cleve' s Wife, by Van Cleve. 
 
 Portrait of Henry IV., of France, by Pourbus, 
 
 Portrait of King Charles 11. , by Wissing. 
 
 Portrait of William Somers, by Hans Holbein. 
 
 A singular fine portrait of the once witty and celebrated 
 court-jester. 
 
 Portrait of the Hon. Robert Boyle, the celebrated Phi- 
 losopher. 
 
 The Adoration, by Sebastian Ricci. A fine composi- 
 tion, exhibiting great breadth of light and shade, with the 
 most correct drawing. 
 
KENStNGTON-PALACE. 
 
 €1 
 
 QUEEN'S BED-ROOM. 
 
 Over the chimney-piece is a bordure of carving by 
 G. Gibbons, within which is a half-length portrait in 
 Spanish costume. 
 
 A Portrait of a Female playing on a Virginal. 
 
 Susannah and the Elders. 
 
 A Holy Family with the Infant St. John. An interest- 
 ing picture. 
 
 Judith with the Head of Holof ernes. 
 
 Cupid and Venus. 
 
 Venus and Cupid. 
 
 A Head of King David. 
 
 THE KING'S CLOSET. 
 
 Portrait of the Emperor Charles V. 
 
 Portrait of Geoffrey Hudson, a Dwarf, presented by 
 the Duchess of Buckingham to Henrietta, Queen of 
 Charles I.; and another of the Giant Porter of Queen 
 Elizabeth, — by Zucchero. 
 
 There are a few other uninteresting portraits in this 
 apartment, the characters of which are unknown. 
 
 There is also in other apartrwents of the palace, which 
 are now rarely opened, numerous portraits of the kings 
 and queens of England, and other members of the royal 
 families, from the time of Henry IV., most of which have 
 been copied from by different engravers for the purpose of 
 illustrating various Histories of Great Britain*. 
 
 * For a uiore ample account of the architecture, furniture, and deco- 
 rations, of the palaces, see Pyne's splendid work, The History of the 
 Royal Residences, three volumes quarto, with coloured plates, 1S19. 
 
A CRITICAL AND DESCRIPTIVE 
 
 CATALOGUE 
 
 OF THE 
 
 CELEBRATED 
 
 COLLECTION OF PICTURES 
 
 OF THE LATE 
 
 JOHN JULIUS ANGERSTEIN, Esq. ; 
 
 SINCE PURCHASED 
 
 BV 
 
 THE BRITISH NATION. 
 
 Wing'd by tliy virtues, kindling as it flies. 
 
 Praise, iron-pointed dart, pursues thee to the skieg. 
 
 N. O. VII. PlNDAB. 
 
THE ANGERSTEIN COLLECTION. 
 
 lie, join'd with honour's rose, displays. 
 
 Fair Fame ! thy lily's silver rays.— I. O, V. Pindak. 
 
 It hath been said, and justly, that the late Mr. Anger- 
 stein had acquired a fame throughout the whole of the 
 civihzed world by his refined taste in collecting and ac- 
 quiring forty-two of the best pictures of the great masters. 
 What stronger proof can be offered of the illustrious 
 honours which the refinement of the present age awards to 
 liberal patronage and fine taste ; what more powerful sti- 
 mulus can be suggested to the noble and wealthy promo- 
 ters of the arts. Not the luxuriant crown of victory, studded 
 with ten thousand budding honours, the grateful tribute of 
 a nation's voice, can reflect more lustre on the name of a 
 Nelson or a Wellington, than does the enviable laurel 
 wreath, breathing a balmy odour and brightening in per- 
 petual freshness, which decorates the revered recollections 
 of those who have contributed to the glory, and elevated 
 character of their country, by a liberal advancement and 
 promotion of the fine arts. Such is the halo that must 
 ever illumine the name of Angerstein — the man whose cor- 
 rect judgment and exquisite taste brought together the 
 admirable selection before us, to the entire exclusion of 
 inferior productions. To the fostering care and munificent 
 
 F 
 
66 THE ANGERSTEIN COLLECTION. 
 
 patronage of his present Majesty, England is indebted 
 for the preservation of these gems of art to this country. 
 Under his auspicious sanction have they now become the 
 property of the Nation ; and will, to the future glory of the 
 sovereign and his kingdom, soon form part of a Public 
 Gallery, which in a few years will, we have no doubt, rival 
 the foreign national collections, if not in extent, at least in 
 value and character. — See Note to Page 75. 
 
 Christ raising Lazarus, by Sebastian Del Piombo; 
 from the Orleans collection. On canvass, 13 ft. 6 in. 
 high, 9 ft. 5 in. wide. Sebastian was the pupil of Michael 
 Angelo Buonarotti, and many of the subjects he painted 
 were the compositions of his unrivalled master. The figure 
 of Lazarus in this picture is attributed to Buonarotti, but 
 the whole production ranks in the very first class of art. 
 Bold, grand, and natural, with great harmony of tone 
 and force of effect. 
 
 The Emperor Theodosius refused Admittance to the 
 Church at Milan by Archbishop Ambrose, by Vandyke. 
 On canvass, 4 ft. 10 in. high, 3 ft. 9 in. wide. A magnifi- 
 cent picture, rich in all the powerful characteristics of this 
 great master, and not inferior to the celebrated picture of 
 the same subject by Rubens, now in the gallery of the 
 Emperor of Austria, at Vienna. The undaunted and re- 
 proachful expression in the countenance of the archbishop 
 is admirable, and the colouring briUiant. 
 
 The Embarkation of the Queen of Sheba, by Claude. 
 On canvass, 4 ft. 1 1 in. high, 6 ft. 7 in. wide. A work of 
 the first class, breathing the inspiration of a great mind, 
 and glowing in all the fascinating richness of luxuriant 
 nature. There is a sparkling freshness about the pictures 
 of this artist, a natural soul-inspiring effect, that always 
 yields superior delight to the observer, like the first gleam 
 of the spring after a murky winter. 
 
 The Marriage of Rebecca, by Claude, companion to the 
 Queen of Sheba. On canvass, 4 ft. 11 in. high, 6 ft. 7 in. 
 
THE ANGERSTEIN COLLECTION. 
 
 m 
 
 wide. A classical composition, grand, easy, and natural; 
 the foliage touched with a magical effect, and the whole pic- 
 ture serene, clear, and transparent, exhibiting the sweet- 
 ness of colour and harmony of execution, that captivates 
 the eye of refined taste. 
 
 Ganymede, from the Colonna Palace at Rome, by Ti- 
 tian. On canvass, 5 ft. 8 in. high, 5 ft. 8 in. wide. A 
 design full of the imposing grandeur and subHmity of style 
 that invariably distinguishes the work of this child of 
 nature; the roundness of style and fleshy tints of the 
 figure, are in the most felicitous imitation of life. 
 
 The Rape of the Sabines, by Kubens. On canvass, 5 ft. 
 8 in. high, 6 ft. 7 in. wide. A bold masterly design of a 
 subject replete with incident for the noblest exertions of 
 the pencil ; the grouping is exquisite, and the expression 
 in the female figures full of truth and nature ; the colour- 
 ing glowing in the extreme: a magnificent specimen 
 painted in the best time of the master. 
 
 An Italian Sea-Port, Evening, hy Claude. On canvass, 
 3 ft. 3 in. high, 4 ft. 3 in. wide. The sea-ports of this 
 magical and fascinating painter are generally divested of 
 all locahty, being a combination of rich materials selected 
 from studies after nature. The present painting is a gem 
 of the first order. 
 
 Landscape, Morning, by Claude. On canvass, 3 ft. 4 in. 
 high, 4 ft. 5 in. wide. A companion picture to the last, 
 every way worthy the association, painted with a freedom 
 and finish that is only equalled by the brilliant colouring 
 and heavenly serenity of the whole. 
 
 Saint J ohn in the Wilderness, by Annibal Caracci ; 
 from the Orleans collection. On canvass, 5 ft. 4 in. high, 
 3 ft. 1 in. wide. A subhme picture, in the first and most 
 dignified style of art ; a powerful illustration of what may 
 be done with a single figure, when inspiration combines 
 with science to perfect the productions of art. 
 
 F 2 
 
68 
 
 THE ANGERSTEIN COLLECTION. 
 
 Susannah and the Elders, by Lodovico Caracci ; from 
 the Orleans collection. On canvass, 4 ft. 8 in. high, 2 ft. 
 7 in. wide. More distinguished by breadth of light and 
 shadow, and simplicity of colouring, than sublimity of 
 thought; there is a solemn stillness of effect about the 
 compositions of this master that divest them of much of 
 their attractive excellence. 
 
 The Embarkation of Saint Ursula, by Claude ; from the 
 Barbarini Palace. On canvass, 3 ft. 8 in. high, 4 ft. 11 in. 
 wide. Partaking of the usual excellencies of this artist, clas- 
 sical, rich, and clear, with the happiest conception of effect. 
 
 The Woman taken in Adultery, by Rembrandt. On 
 wood, 2 ft. 9 in. high, 2 ft. 3 in. wide. A picture in the 
 most vigorous style of this astonishing artist, pecuUarly 
 striking in expression and effect of hght and shadow, with 
 a great variety of figures, finely grouped ; a rich, golden 
 hue pervades the painting, that displays the great skill of 
 the master. 
 
 A Bacchanalian Triumph, byNicolo Poussin. On can- 
 vass, 4 ft. 8 in. high, 3 ft. 11 in. wide. An elegant compo- 
 sition, in which the ancient fable is treated with an unusual 
 degree of spirit and taste ; the figures are finely contrasted, 
 and the grace and beauty of the drawing exquisite. 
 
 The Concert, by Titian. On canvass, 3 ft. 2 in. high, 
 4 ft. 1 in. wide. A magnificent picture, by the father of 
 portrait painting, brilHant in all the richest materials of art, 
 and surpassing in excellence many of his own compositions. 
 
 Christ in the Mount, by Correggio. On canvass, 1 ft. 
 2 in. high, 1 ft. 4 in. wide. Exhibiting a bright union of 
 grace, harmony, and effect, with a truth of nature and 
 elevated sentiment that is the sure indication of super- 
 lative genius ; there is a magical effect of chiar-oscuro in 
 this picture, that delights the eye of taste *, 
 
 * This picture is a repetition, by Corregg-io, of a paiating- in the pos- 
 session of the Duke of Wellington, which formed part of the spoils at 
 the battle of Vittoria. 
 
THE ANGERSTEIN COLLECTION. 
 
 69 
 
 Pope J ulius IL, by Raphael ; from the Falconieri Palace. 
 On canvass, 3 ft. 6 m. high, 2 ft. 8 in. wide. A portrait of a 
 munificent patron of literature and the fine arts, who shares, 
 with Leo X., the honour of having encouraged and pro- 
 tected Raphael and Michael Angelo ; there is a calmness 
 and serenity about the head, with a softness of touch, that 
 always distinguishes the works of this divine artist. 
 
 Portrait of Gevartius, by Vandyke. On wood, 2 ft. 
 7 in. high, 2 ft. 2 in. wide. Majestic, natural, and clear, 
 with an expression that approaches almost the hfe ; a singu- 
 lar fine specimen of this esteemed master. 
 
 The Nativity, by Rembrandt. On canvass, 2 ft. 1 in. 
 high, 1 ft. 10. wide. An astonishing clever picture, and 
 esteemed one of his finest productions; the management 
 of the hght and shadow is magical, and disposition of the 
 subject grand and natural. 
 
 Venus and Adonis, by Titian. On canvass, 5 ft. 9 in. 
 high, 6 ft. 2 in. wide. A painting, on which th^ artist has 
 evidently bestowed more than usual attention, and has 
 been eminently successful. The head of Adonis is said to 
 be a youthful portrait of Philip II., for whom the picture 
 was originally painted. In colouring, it is equal to any of 
 his other productions, and in general excellence superior. 
 
 A Cattle Piece, by Cuyp. On canvass, 4 ft. 4 in. high, 
 6 ft. 6 in. wide. Distinguished by the most felicitous har- 
 mony of colouring, with the chaste simplicity of nature. 
 No artist was more successful in uniting the grand with the 
 fascinating and the solemn ; there is a classical sentiment, 
 and purity of conception, breathing in all his works. 
 
 Portrait of Lord Heathfield, by Sir .Toshua Reynolds. 
 On canvass, 4ft. Sin. high, 3ft. Sin. wide. Sir Joshua's 
 portraits were all pictures : independent of their great 
 similitude to the originals, they were eqiially distinguished 
 for admirable drawing, great freedom of style, and power- 
 ful effect. It is to be regretted that his experiments in 
 colouring, have, in some instances, divested his works of 
 
70 
 
 THE ANGERSTEIN COLLECTION. 
 
 much of their original beauty ; this portrait is a fortunate 
 exception to this defect, and exhibits, in a single figure, all 
 the capabilities of his mighty pencil. 
 
 Abraham and Isaac, by Caspar Poussin. On canvass, 
 5 ft. 3 in. high, 6 ft. 6 in, wide. A composition rich in 
 tasteful variety and vigorous execution, the evident effect 
 of a most rapid pencil, and an eye true to nature ; the 
 picture before us may be regarded as the finest specimen 
 of the master in this country. 
 
 A Land Storm, by Gaspar Poussin. On canvass, 4 ft. 
 11 in. high, 6 ft. wide. A grand imposing scene, por- 
 traying with unusual skill the terrific convulsion of the 
 elements. There is, In the works of this artist, the most 
 powerful evidence of an elevated mind, and a genius per- 
 fected by a strict attention to natural effect. 
 
 Portrait of Rub ens, hy Vandyke. On canvass, 3 ft. 9 in. 
 high, 3 ft. 9 in, wide. This is an early portrait of the mighty 
 genius, whose florid pencil and grandeur of style has yet 
 met no rival. The subject is treated with the usual ele- 
 gance of the artist, the disposition of the portrait ad- 
 mirably adapted to obtain grand effect by a contrast with 
 the figures in the back ground. This picture was formerly 
 in the possession of Sir Joshua Reynolds, by whom it was 
 much esteemed. 
 
 Hall/ Family, with St. George and a Female Saint, by 
 Rubens ; painted when the artist was in Spain. On 
 canvass, 4 ft. 8 in. high, 5 ft. 4 in. v/ide. Tliis magnifi- 
 cent picture is painted with all the richness of art and 
 viffour of o'enius which adorns the best works of the 
 master. The figures in the corner of the painting are 
 supposed to be portraits of Philip, King of Spain, and the 
 Archduchess Isabella, by Vv-hom Rubens was patronised. 
 
 Apollo and Silenus, by Annibal Caracci : from the 
 Borghese Palace. On wood, 1 ft. 2 in. high, 2 ft. 8 in. 
 wide. A classic thought-breathing poetic inspiration, and 
 painted with all the splendour of superlative art, embody- 
 
THE ANGERSTEIN COLLECTION. 
 
 71 
 
 ing great breadth of effect with fehcity of expression and 
 purity of design. It is a rich specimen of the most dig- 
 nified of the Itahan school. 
 
 Philip IV. of Spain, and his Queent Donna Maria 
 of Austria, by Velasquez. On canvass, 4 ft. 8 in. high, 
 4 ft. 2 in. wide. The picture before us approaches nearly 
 to the fehcitous expression and fascinating style of Van- 
 dyke. Velasquez was the favoured artist of Philip IV., 
 of Spain; and it has been justly said, that his patronage 
 of tliis highly-gifted child of genius reflected more lustre 
 on his reign than all his acts beside. 
 
 * Portraits of Mrs. Angerstein and Child, by Sir Joshua 
 Reynolds. On canvass, 4 ft. 7 in. high, 3 ft. 6 in. wide. 
 
 Ermina with the Shepherds f, by Domenichino. On 
 canvass, 4 ft. 10 in. high, 7 ft. wide. There is a clas- 
 sical feehng and purity of thought in the compositions of 
 this master that always render them pecuharly dehghtful. 
 The specimen before us is happily illustrative of the poet's 
 imagination ; the expression, style, and drawing of the 
 work, displays the great skill of the master. 
 
 The Village Holy day, by Wilkie. On canvass, 3 ft. 
 1 in. high, 4 ft. 2 in. wide. To have obtained a situa- 
 tion in such company is perhaps the highest honour that 
 has yet been paid to the great talents of this child of 
 genius. The picture before us has all the silvery clearness 
 of a Teniers with the finish of a Gerard Douw ; nor is it 
 inferior to those great masters in the happy delineation 
 of character and humour. The rustic revelry, the heart- 
 inspiring village gambol, is painted to the hfe. It is one 
 of those cheerful compositions of the pencil, whose ma- 
 gical influence will always yield a sensation of dehglit, 
 although we paid a visit to it thrice every day. 
 
 * The four pictures with stars annexed have been reserved by the 
 family, or rejected by the contracting parties for the nation. 
 
 t Hoole's Tasso, Book VII, 
 
72 
 
 THE ANGERSTEIN COLLECTION. 
 
 Portrait of Hogarth, by himself. On canvass, 2 ft. 1 1 in. 
 high, 2 ft. 3 in. wide. Hogarth has the merit of having 
 introduced a new style of art into this county, and one 
 purely English. His pictures are little comedies drawn 
 from the follies of the day, and always inculcating a moral 
 feeling. His works, although highly characteristic, were 
 by no means deficient in colour or drawing ; there was a 
 freedom of touch in his pencil and style that exhibits 
 great powers of genius. Of his wit and humour all the 
 world can speak with admiration. This portrait, which 
 IS considered an admirable likeness, was purchased at 
 Mrs. Hogarth's sale by Mr. Angerstein. 
 
 MARWAGE A-LA-MODE. 
 
 Thb six hig-hly characteristic pictures of " Marrlag-e a-la-Mode" 
 have, by the numerous prints of them, been long- known to an admiring- 
 public. They were painted in 1744, and remained in possession of the 
 artist for six years, during which time he with g-reat difficulty proceeded 
 in the publication of a series of plates from them by subscription. In 
 1750, Hogarth adopted a more novel scheme to produce a sale of the 
 paintings by advertising them for public exhibition, for the term of one 
 month, at his own house ; stipulating that the auction should not be 
 carried on in the usual way by personal bidding, but by a written 
 ticket, to be forwarded to Hogarth, on which the sum offered was to be 
 subscribed. From what cause is not known, but such was the want of 
 patronage and public taste, that the paintings were, according to the 
 artist's proposals, claimed by the highest bidder, Mr. Lane, of Hilling- 
 don, near Uxbridge, for the sum of one hundred and twenty pounds, 
 who, on finding himself the purchaser, made the sum one hundred and 
 twenty guineas. On the death of this gentleman in 1792, the pictures 
 became the property of Colonel Cawthorne by inheritance. They were 
 put up to auction the same year, and bought in by the proprietor, who 
 accepted three hundred pounds from Messrs. Boydell, for the privilege 
 of engraving from them ; and in 1797 they were purchased by Mr. An- 
 gerstein for one thousand guineas*. 
 
 Marriage d-la-Mode, No. 1, by Hogarth. On canvass, 
 2 ft. 3 in. high, 2 ft. 11 in. wide. In this painting the 
 
 * See Younrr's Catalogue of the Angerstein Collection, with etch- 
 ings, quarto, 1823, 
 
THE ANGERSTEIN COLLECTION. T3 
 
 Right Hon. the Earl of Squanderfield and an alderman, 
 who it appears, by his gold chain, is also sheriff of the 
 city of London, are employed in negotiating a marriage 
 ■ contract between the famiUes, on the too common terms 
 of bartering youth, beauty, and ready cash, for profligacy 
 and a title. The decorations of the apartment are highly 
 illustrative, the proud genealogical tree and heraldic bear- 
 ings from the Conquest to the present time, all speak the 
 conscious pride of high ancestral distinctions. The close 
 steady attention of the alderman to the marriage contract 
 is finely expressed, and the old servant who is returning 
 the mortgage-deed admirable ; the bride and bridegroom, 
 in a happy state of indifference to each other, and the in- 
 sinuatino- manner of Mr. Counsellor Silvertongue, are finely 
 depicted. The two pointers chained together against their 
 will illustrates the tale. There are other minor points, all 
 equally characteristic of the scene, which is finely pre- 
 served, even to the pictures in the chamber. 
 
 Marriage a-la-Mode, No. 2, by Hogarth. On canvass, 
 2 ft. 3 in. high, 2 ft. 11 in. wide. By the old earl's death, 
 the young couple are left in full possession. Here Hogarth 
 has been unusually successful in depicting the effect of 
 fashionable debauch. The position of the young earl is 
 admirably true to nature, and the mixture of vanity and 
 profligacy in the female figure excellent; the time, morning, 
 and the apartment, bears evident indications of a rout 
 having taken place on the previous night. The whole 
 scene is finely conceived and well painted. 
 
 Marriage a-la-Mode, No. 3, by Hogarth. On canvass, 
 2 ft. 3 in. high, 2 ft. 11 in. wide. The earl is here exhi- 
 bited in the house of a needy quack, pursuing, with the aid 
 of a noted Cyprian, the horrid purpose of seduction. The 
 countenance of the little girl is finely expressive of her 
 fear of the old sinner, and the general disposition of the 
 subject excellent. 
 
74 
 
 THE ANGERSTEIN COLLECTION. 
 
 Marriage a-la-Mode, No. 4, by Hogarth. On canvass, 
 2 ft. 3 in. high, 2 ft. 1 1 in. wide. The peeress is here 
 exhibited at her morning levee and concert, attended by 
 the celebrated singer, Carestini, and Weideman, the Ger- 
 man flute-player. The hint to fashionable mothers is excel- 
 lent ; the number of figures that make up the dramatis 
 •persona of the scene are all finely characteristic of frivolity 
 and folly in high life. 
 
 Marriage d-la-Mode, No. 5, by Hogarth. On canvass, 
 2 ft. 3 in. high, 2 ft. 11 in. wide. This scene conveys a 
 moral to the mind of the highest value; it is a true picture 
 of life. The injured, and perhaps neglectful, fashionable 
 spouse detecting his false wife with her paramour in a 
 brothel, to which they have retired after a masquerade, 
 and falling a victim to the sword of the seducer by his 
 want of skill and temper. There is more true morality 
 to be gained from this painting, than from all the methodis- 
 tical whine of hypocrisy put together. 
 
 Marriage d-la-Mode, No. 6, by Hogarth. On canvass, 
 
 2 ft. 3 in. high, 2 ft. 11 inches wide. Here ends the 
 eventful scene of profligacy and ill-arranged matrimonial 
 speculation. The lady finds an asylum in the house of 
 her father, where, broken down by shame and despair, she 
 swallows poison to free herself from the scorn and con- 
 tempt of the more prudent classes of society. Here, as in 
 all the other five pictures, the painter has introduced a 
 number of objects all highly illustrative of the drama. 
 
 Studies of Heads, by Correggio. On canvass, 5 ft. high, 
 
 3 ft. 6 in. wide. Beaming with expressive brightness and 
 heavenly serenity, and full of the great master's mind. 
 This and the companion picture were purchased by the 
 Regent Duke of Orleans from Christiana, Queen of Swe- 
 den, and became the property of Mr. Angerstein at the 
 sale of the Orleans' collection. 
 
 Studies of Heads, hjCoxxQ^gio- from the Orleans coU 
 
THE ANGERSTEIN COLLECTION. 
 
 75 
 
 lection; companion to the above. On canvass, 5 ft. high, 
 .3 ft. 6 in. wide. Amid the convulsive storms that shook 
 civilized Europe during the French Revolution, the dis- 
 persion of the Orleans gallery was a happy event for this 
 country, and gave a noble opportunity for the acquisition 
 of some of the finest specimens of art, which the munificent 
 patrons of science did not lose sight of. Almost all the 
 gems of that gallery are now incorporated with first-rate 
 collections in this country*. 
 
 * Satan starting from the touch of IthurieVs Spear, 
 by Fuseh. On canvass, 13 ft. 10 in. high, 1 1 ft. 6 in. wide. 
 A grand composition of this eccentric but highly-gifted 
 man. 
 
 * The Birth of Eve, by Fuseli. On canvass, 9 ft. 11 in. 
 high, 6 ft. 10 in. wide. Full of poetic inspiration, and 
 exhibiting the mighty talents of this son of genius in his 
 knowledge of the human form. 
 
 * The Deluge, by Fuseh. On canvass, 9 ft. 11 in. high, 
 6 ft. 9 in. wide. A picture full of inspiration and great 
 majesty of thought, admirably drawn. 
 
 * Two-thirds of tlie Orleans Gallery now form part of the Stafford 
 collection, and the greater part of the remaining portion are in the pos- 
 session of the Earl of Carlisle. 
 
 The following are the terms of arrangement since made with the Exe- 
 cutors of the late Mr. Angerstein, for the Purchase and continued Exhibi- 
 tion of the principal Pictures to the Public in their former Situation, until 
 the National Gallery is ready to receive them. 
 
 (Copy). Treasury Minute, dated March 23, 1824. 
 
 The Earl of Liverpool acquaints the Board, that His Majesty's Govern- 
 ment having deemed it to be highly expedient that an opportunity which 
 presented itself of purchasing the choice collection of pictures belonging to 
 the late Mr. Angerstein for the use of the Public should not be lost, he had 
 entered into a negotiation with tlie executors and representatives of that 
 gentleman, and had concluded an agreement tor the purchase of the whole 
 collection, of which he delivered a catalogue to the Board, for the sum of 
 57,000/. 
 
 Lord Liverpool further states to the Board, that he has made an arrange- 
 ment with the executors, and with Mr. J. J. Angerstein, for the occupation 
 of the house in Pall-mall, where the pictures now are, during the remanider 
 of the term for which it is held by Mr. Angerstein, at the rent which he 
 pays for it. 
 
76 
 
 THE ANGERSTEIN COLLECTION. 
 
 His Lordship further states, that he found, after a careful inquiry, that in 
 order to provide for the security and due conservation of the pictures, and 
 for giving access to the PubUc to view them whilst they remain in their 
 present situation, the following establishment will be necessary: — 
 
 A Keeper of the Gallery, at a salary of 200^. per annum. — To have the 
 charge of the collection, and to attend particularly to the preservation of 
 the pictures; to superintend the arrangements for admission; and to be 
 present occasionally in the gallery. . And Lord Liverpool is of opinion, 
 that the person to be appointed to this office should be competent to value, 
 and (if called upon) to negotiate the purchase of any pictures that may in 
 future be added to the collection, 8(c. 
 
 An Assistant Keeper, or Secretary, at a salary of 150^. per annum. — To 
 attend to the gallery on the public days during the hours of admission ; to 
 issue the tickets of admission ; to superintend, under the direction of the 
 keeper, any arrangement which it may be necessary to make respecting the 
 artists who may be permitted to study in the gallery ; and to act as secre- 
 tary at all meetings of the trustees, or other managers of the gallery, 8fc. 
 
 A respectable person to attend in the two principal rooms during the 
 time of public view, to prevent persons touching or injuring the pictures, 
 may receive two guineas per Week. 
 
 A person to attend the lower room, containing the English pictures, two 
 guineas per week. 
 
 A porter to attend in the hall, to receive the tickets of admission, and to 
 take charge of sticks and umbrellas ; this person to reside in the house, at a 
 salary of 80^. per annum. 
 
 A housemaid, to attend the fires, and to clean the apartments; to reside 
 in the house, at a yearly salary of 40^. 
 
 It will be requisite to have coals, candles, and a small quantity of sta- 
 tionery. 
 
 He recommends, therefore, that an estimate be prepared, to be laid 
 before Parliament, for a vote to defray the purchase of the pictures, and for 
 the charge of the above establishment, and to cover the contingencies 
 thereof for one year. 
 
 My Lords concur in opinion with Lord Liverpool as to the expediency 
 of this purchase, and as to the establishment required, under the present 
 circumstances, for the care of them and the custody of the gallery, and 
 desire that an estimate be prepared, and laid before Parliament accord- 
 ingly. 
 
 An estimate of the sum which will be required to defray the charge 
 of purchasing, together with the expenses incidental to the pre- 
 servation and public exhibition of the collection of pictures 
 which belonged to the late J. J. Angerstein, Esq. . . ^''60,000 
 
 Whitehall. Treasury Chambers, J. C. Herri es 
 
 March 26, 1824. 
 
A CRITICAL AND DESCRIPTIVE 
 
 CATALOGUE 
 
 op 
 
 THE GALLERY OF ANTIQUITIES 
 
 IN THE 
 
 BRITISH MUSEUM; 
 
 INCLCDING 
 
 THE ELGIN, PHIGALIAN, AND TOWNLEY COLLECTIONS 
 OF GREEK AND ROMAN SCULPTURES; 
 
 WITH AN HISTORICAL AND DESCRIPTIVE ESSAY 
 
 ON THE 
 
 SCULPTURED MARBLES OP THE PARTHENON. 
 
Frmtt View of British Museum. 
 
 A BRIEF ACCOUNT OF THE BRITISH 
 • MUSEUM. 
 
 Montagu HOUSE, now the British Museum, re- 
 ceived its original appellation from its founder, Ralph, 
 first Duke of Montagu, who was keeper of the wardrobe 
 to King Charles II., and ambassador to the court of 
 Louis XIV. It was built by Peter Puget, a native of 
 Marseilles, about 1687, who was sent from France on 
 purpose, and had the reputation of being one of the best 
 architects of his time*. Sir Hans Sloane, who died in 
 
 * See Illustrations of theruhlic Buildings of London, with His- 
 torical Accounts, by J. Britton and A. Pug-in, Esqrs,, now publishing- 
 in parts, a singularly beautiful work, every way worthy public patronag-e. 
 
 The building- measures 216 feet in length, and 57 in height to the 
 top of the cornice. On the ground floor are sixteen rooms appro- 
 priately fitted up for the library of printed books; the decorations on 
 the ceiling are by Charles de la Fosse, the landscape and architecture 
 by James Rousseau. On the urPER floor, twelve rooms are devoted 
 to subjects of natural history, and the reception of the Royal, Cottonian, 
 
80 
 
 BRITISH MUSEUM. 
 
 1752, directed by his will, that his hbrary and valuable 
 collection of natural and artificial curiosities, should be 
 oflfered to government for the sum of 20,000^., though esti- 
 mated at 50,000/. The proposal was accepted, and a sum of 
 money was immediately raised by lottery, amounting to 
 95,194/. Ss. 2d. for the purpose of completing the same, and 
 procuring a suitable building for their reception, it being 
 determined to add the CottonianMSS. and those of the Earl 
 of Oxford thereto. Fortunately, the two noble heiresses of 
 the last Duke of Montagu offered the mansion in Russel- 
 street, which was accordingly purchased by the trustees 
 appointed by parliament, for the sum of 10,250/., the ne- 
 cessary repairs creating an additional expenditure of 
 19,486/. 10<?. lOd., as appears by reference to the journals 
 of the House of Commons, Dec. 4, 1767. 
 
 Mr. Smirke, the architect, is charged with the erection of 
 a new museum, the site of which will chiefly lie to the north 
 of the present building. It will surround a quadrangular 
 court, and occupy nearly the whole of the present gardens. 
 The east wing is already commenced, and will consist of a 
 gallery 300 feet long, 40 feet wide, and 30 high, and is 
 intended to receive the library lately presented to the 
 country by his present Majesty; over this will be a suite 
 of apartments, which will form the new national gallery of 
 paintings. Adjoining the king's library will be a hall, of 
 about 80 feet by 70, to contain the manuscripts belonging 
 to the Museum. 
 
 The institution is under the direction of forty-three trus- 
 tees, twenty-one of whom are appointed by virtue of their 
 offices in church or state, seven are nominated by the repre- 
 sentatives of the Sloane, Cotton, Harley, and Townley fami- 
 lies, and the remaining fifteen elected by the preceding. 
 
 Lansdowne, and other scarce and ancient manuscripts ; for particulars 
 of which, see Syno^Jsis of the Contents of the British Museum, 
 1823, 8vo. 
 
BRITISH-MUSEUM. 
 
 81 
 
 Regulations for the inspection of the Museum. 
 
 The Museum is kept open for public inspec tion every 
 Monday, Wednesday, and Friday, in the week, except in 
 the Christmas, Easter, and Whitsun weeks ; also on the 
 30th of January, Ash-Wednesday, Good Friday, the 5th of 
 November, and any fast or thanksgiving day that may 
 occur, and likewise during the whole of the months of 
 August and September. 
 
 Persons who may wish to see the Museum are to apply 
 in the ante-room of the house between the hours of ten 
 and two, where their names and the number of the friends 
 they may wish to introduce with them are inscribed in a 
 book kept for the purpose, upon which tickets will be deli- 
 vered to them for the further admission. These tickets are 
 to be exhibited on entering the first room on the upper 
 floor, and to be delivered at the entrance of the gall.ry of 
 antiquities. 
 
 G 
 
BRITISH MUSEUM. 
 
 GALLERY OF ANTIQUITIES. 
 
 THE TOWNLEY COLLECTION. 
 
 TERRACOTTAS. 
 
 FIRST ROOM. 
 
 Over the door which fronts the entrance into this room 
 is a marble bust of Charles Townley, Esq., to whose pro- 
 found knowledge of ancient sculpture, and zeal in the 
 acquisition of the finest specimens of it, the nation is 
 indebted for the formation of a considerable part of the 
 splendid collection of Terracottas and Marbles contained 
 in this gallery. By the late J. Nollekens, Esq., R. A. 
 
 No. 1. A female statue, probably one of the Muses. 
 
 No. 2. An Amphora. 
 
 No. 3. A terminal head of the bearded Bacchus. 
 
 No. 4. A bas-relief, representing a combat between two 
 Amazons and two Griffins. 
 
 No. 5. Ditto, representing the head of a Triton, on each 
 side of which is a Cupid riding on a dolphin. 
 
 No. 6. A bas-rehef, representing a group of Silenus and 
 Cupid, before whom is a female Bacchante dancing, and 
 playing on the tambourin. 
 
 No. 7. Ditto, representing an engagement between one 
 of the Arimaspi and a Griffin. 
 
 No. 8. A bas-relief, intended by the artist as a compa- 
 nion to No. 7. 
 
BRITISH MUSEUM, 
 
 No. 9. Repetition of No. 6. 
 
 No. 10. A bas-relief, representing a head of Medusa. 
 
 No. 1 1 . Ditto, representing a couple of chiraaBras lapping 
 water out of vessels held to them by two youths, who are 
 attired in Phrygian dresses. 
 
 No. 12. Ditto, representing a female ; in bas-relief. Pro- 
 bably Penelope dejected at the departure of Ulysses. 
 
 No. 13. A bas-relief, imperfect, representing a fragment 
 of Medusa's head, on one side of which is a figure of 
 Minerva. 
 
 No. 14. Ditto, representing the bearded Bacchus, and 
 a female attendant on Bacchus, each of them holding a 
 thyrsus. 
 
 No. 15. Ditto, imperfect, representing a head of Mi- 
 nerva and a head of Jupiter. 
 
 No. 16. Ditto, representing Minerva assisting the Ar- 
 gonauts to build the famous ship Argo. 
 
 No. 17. A bas-relief, imperfect, representing Venus on 
 the ocean, riding upon a sea-horse. 
 
 No. 18. Ditto, representing Victory pouring out a liba- 
 tion to Apollo Musagetes. 
 
 No. 19. Ditto, representing a candelabrum Hghted for a 
 sacrifice. 
 
 No. 20. Ditto, representing Machaon, after he has been 
 wounded, sitting in the tent of Nestor, who is adminis- 
 tering a potion to him, as described in the Eleventh Book 
 of the Iliad. 
 
 No. 21. Ditto, representing Bacchus and a Faun. 
 No. 22. Ditto, representing two Fauns, 
 No. 23. Ditto, representing two of the seasons, Spring 
 and Summer. 
 
 No. 24. A bas-relief, representing Victory sacrificing a 
 bull before a lighted candelabrum, which is used as an 
 altar. 
 
 G 2 
 
84 
 
 BRITISH MUSEUM. 
 
 No. 25. A bas-relief, imperfect, representing Perseus 
 cutting off the head of Medusa. 
 
 No. 26. Ditto, representing Victory sacrificing a 
 bull before a small altar, which is placed upon a tripod 
 table. 
 
 No. 27. Ditto, imperfect, representing a female Bac- 
 chante offering a basket of figs to the goddess Pudicitia. 
 
 No. 28. Ditto, representing two Fauns gathering grapes 
 into baskets. 
 
 No. 29. Repetition of No. 21. 
 
 No. 30. A bas-relief, representing Bacchus leaning on 
 the shoulders of a Faun. 
 
 No. 31. Ditto, representing two Fauns leaning over a 
 large open vessel of wine, as if observing the reflection of 
 their faces on the surface of the liquor. 
 
 No. 32. Ditto, imperfect, representing a trophy, before 
 
 which stands a captive attended by a guard, and secured 
 
 by a chain fastened round his right wrist. 
 
 No. 33. A bas-relief, representing two Fauns gathering 
 grapes into baskets. 
 
 No. 34. Ditto, representing Paris carrying off Helen, in 
 a car drawn by four horses. 
 
 No. 35. Ditto, representing Egyptian hieroglyphics. 
 
 No. 36. Ditto, representing two persons navigating the 
 Nile in a boat. In a fore-ground are a hippopotamus, 
 two crocodiles, some birds, and plants [of the nymphaea 
 lotus. In the distance are buildings, on the roofs of which 
 are seen three Ibises. 
 
 No. 37. Ditto, imperfect, representing a vase with two 
 handles, on one side of which is a panther leaping up, 
 a thyrsus,and the letter A. 
 
 No, 38. A statue of the muse Urania; both the hands 
 are wanting. It is three feet ten inches high, and is one of 
 the largest statues that has been found of terracotta. 
 
BRITISH MUSEUM. 
 
 8S 
 
 No. 39. An Amphora. 
 
 No. 40. A statue of a muse. The figure, in its pre- 
 sent state, is three feet four inches high ; the head is lost. 
 No. 41. An Amphora. 
 No. 42. A bas-relief. 
 
 No. 43. Ditto, representing Cupids supporting festoons 
 of fruit. 
 
 No. 44. Ditto, representing a Faun and a Bacchante 
 dancing, and holding between them the infant Bacchus in 
 a basket. 
 
 No. 45. Ditto, representing the head of Pan, on each 
 side of which is the head of a Satyr. 
 No. 46. Repetition of No. 45. 
 
 No. 47. A bas-relief, representing the Indian Bacchus 
 received as a guest by Icarus. 
 
 No. 48. Ditto, representing two Fauns riding on Pan- 
 thers. The hinder parts of the panthers terminate in 
 vine-leaves. 
 
 No. 49. Ditto, representing a bull and a Hon running in 
 contrary directions. The hind-legs of both animals are 
 enveloped in foliage . 
 
 No. 50. Ditto, representing a lighted candelabrum, 
 which is composed entirely of a plant. The flames issue 
 from the flower. 
 
 Wo. 51, A bas-relief, representing two of the Seasons, 
 Autumn and Winter. 
 
 No. 52. Ditto, imperfect, representing the goddess Sa- 
 lus feeding a serpent out of a patera. 
 
 No. 53. Ditto, representing a warrior consulting the 
 oracle of Apollo. 
 
 No. 54. Ditto, representing a lighted candelabrum, on 
 each side of which stands a priestess, carrying a patera on 
 her head, and holding up a small portion of her robe with 
 one hand. 
 
BRITISH MUSEUM. 
 
 No. 55. A bas-relief, representing Theseus slaying a 
 Centaur. 
 No. 56. Repetition of No. 18. 
 No. 57. Repetition of No. 23. 
 No. 58 Repetition of No. 50. 
 
 No. 59. A bas-relief, representing two Fauns treading 
 out the juice of grapes in a wine-press. 
 
 No. 60. A bas-relief, representing a chariot race. 
 No. 61. Repetition of No. 6. 
 
 No. 62. A bas-relief, representing a mask of Bacchus, 
 between those of a young and an old Faun, 
 No. 63. Repetition of No. 62. 
 No. 64. Repetition of No. 6. 
 
 No. 65. A bas-relief, representing two captives in a 
 car drawn by two horses. 
 
 No. 66. Ditto, representing a head of Jupiter Ammon, 
 which rests on a flower. 
 
 No. 67. Ditto, representing two Fauns gathering grapes 
 into baskets. 
 
 No. 68. Ditto, representing a figure of Victory standing 
 upon a plant, and supporting the branches of it with her 
 hands. 
 
 No. 69. Repetition of No. 33. 
 
 No. 70. A bas-relief, representing Victory sacrificing a 
 bull before a tripod altar. 
 
 No. 71. A bas-rehef, imperfect, representing Theseus 
 riding at full speed, and cutting off the head of an Amazon, 
 whom he has caught by the hair of her head. 
 
 No. 72. Ditto, representing Venus carried through the 
 air upon a swan. 
 
 No. 73. Ditto, representing Cupid pressing Psyche, in 
 the form of a butterfly, to his breast. 
 
 No. 74. DiLto, representing Cupid flying, with a palm 
 t^ranch in one hand, and a wreath in the other, 
 
BRITISH MUSEUM. 
 
 87 
 
 No. 75. A terminal head of the bearded Bacchus. 
 No. 76. A female statue, probably of Thalia, the pasto- 
 ral Muse. 
 
 No. 77. An Amphora. 
 
 No. 78. A female statue, the character unknown. The 
 head and lower arms are modern. 
 
 No. 79. A statue of Juno, crowned with an indented 
 diadem. Part of the arms is wanting. 
 
 Nos. 80 — 83. Amphorse of various forms*. 
 
 GREEK AND ROMAN SCULPTURES. 
 
 SECOND ROOM. 
 
 No. 1. A colossal head of Minerva. 
 
 No. 2. A funeral urn, ornamented with equestrian and 
 pedestrian combatants. 
 
 No. 3. One of the feet, or supports, of an ancient tri- 
 pod table. 
 
 No. 4. A statue of Cupid bending his bow. Purchased 
 in 1812. 
 
 No. 5. A fragment of one of the three supports of a 
 tripod basin, composed of the head and neck of a lion. 
 On the forehead are the horns of a goat. 
 
 No. 6. The capital or upper division of a votive cippus. 
 
 No. 7. The key-stone of a triumphal arch, ornamented 
 with a figure of Victory elaborately hollowed out between 
 the two volutes. This fragment is inserted in a modern 
 pedestal. 
 
 No. 8. A statue of a canephora, anciently made use of 
 as a column. It was one of the caryatides, which sup- 
 ported the portico of a small temple dedicated to Bacchus. 
 
 * A few of the sculptures in this room are from the collectioji of Sir 
 Hans Sloane. 
 
88 
 
 BRITISH MUSEUM. 
 
 No. 9. A candelabrum. 
 
 No. 10. The triangular base of a candelabrum, on the 
 sides of which three Genii hold each a part of the armour 
 of Mars ; namely, his helmet, his shield, and his sword. 
 
 No. 11. A vase, three feet high, with upright massive 
 handles; it is of an oval form, and is ornamented all 
 round with Bacchanalian figures. 
 
 No. 12. A bronze statue of Hercules carrying away the 
 apples from the garden of the Hesperides. 
 
 No. 13. One of the feet, or supports, of an ancient 
 tripod table. 
 
 No. 14. A statue of Venus, naked to the waist, and 
 covered with drapery from thence downwards. It was 
 found in the maritime baths of Claudius, at Ostia. 
 
 No. 15. A bronze statue of Apollo. 
 
 No. 16. One of the feet, or supports, of an ancient tri 
 pod table, executed in porphyry. It represents the head 
 and leg of a panther. 
 
 No. 17. A vase two feet eight inches high, of an oval 
 form, with two upright double handles, which Spring from 
 the necks of swans. The body of the vase in front is en- 
 riched with a group of Bacchanahans. 
 
 No. 18. A fountain ornamented with ivy and olive 
 branches. 
 
 No. 19. A colossal head of Hercules, dug up at the 
 foot of mount Vesuvius, where it had been buried by the 
 lava of that volcano. 
 
 No. 20. A colossal head of Hercules, in a very ancient 
 style of Greek sculpture. 
 
 No. 21. A statue of the Emperor Hadrian, in a military 
 dress ; the breast plate is in high preservation, and richly 
 ornamented. 
 
 No. 22. A colossal head of Minerva, a specimen of 
 very early Greek work, 
 
BRITISH MUSEUM. 
 
 89 
 
 GREEK AND ROMAN SCULPTURES. 
 
 THIRD ROOM. 
 
 No. 1 . A bas-relief representing an old Faun struggling 
 with a Nymph. 
 
 No. 2. Ditto, representing a candelabrum. 
 
 No. 3. Ditto, representing a funeral column, near which 
 is a statue of the god of Lampsacus. 
 
 No. 4. Ditto, representing Bacchus received as a guest 
 by Icarus. 
 
 No. 5. Ditto, representing warriors consulting the ora- 
 cle of Apollo. 
 
 No. 6. Ditto, in the flat early style of Grecian sculpture. 
 It represents Castor managing a horse. 
 
 No. 7. Ditto, representing Hercules securing the Mse- 
 nahan stag, which, at the command of Eurystheus, he had 
 pursued a whole year in the forest of Arcadia. 
 
 No. 8. Blank. 
 
 No. 9. A bas-reUef, divided into three compartments. 
 In the upper division, the infant Bacchus is represented 
 riding on a goat ; in the middle, a Triton, in attendance on 
 Venus, is seizing a marine bull by the horns ; and in the 
 lower division is a company of hunters returning home 
 with their spoil. 
 
 No. 10. Ditto, representing a festoon of vine branches 
 suspended from the skulls of bulls. In the centre, above 
 the festoon, is a mask of a Faun. 
 
 No. 11 . A bas-rehef, representing the Dioscuri on horse- 
 back. 
 
 No. 12. Ditto, representing a Bacchanalian group, con- 
 sisting of three figures ; the first, a Bacchante playing 
 on the tambourin ; the second, a Faun playing on the 
 double pipe; and the third, an intoxicated Faun holding a 
 thyrsus, 
 
90 
 
 BRITISH MUSEUM. 
 
 No. 13. A bas-relief, representing Victory offering a 
 libation to Apollo Musagetes. 
 
 No. 14. Ditto, which has served as an ornament on the 
 outside of a circular building. It consists of a couple of 
 branches issuing from one stem, and curling in opposite 
 directions. 
 
 No. 15. Ditto, representing the Centaur Nessus carry- 
 ing Deianira in his arms. 
 
 No. 16. Ditto, representing a cow suckling her calf, and 
 drinking out of a circular vessel. 
 
 No. 17. Two terminal heads, joined back to back ; one 
 of the bearded Bacchus, the other of Libera. 
 
 No. 18. A statue of the goddess of Fortune. 
 
 No. 19. A terminal head of the bearded Bacchus, of 
 very early Greek work. 
 
 No. 20. A head of Hippocrates. 
 
 No. 20 *. A Greek funeral monument, with a bas-relief 
 and an inscription. It is to the memory of a person named 
 Alexander, a native of Bithynia. 
 
 No. 21. A terminal head of Mercury. 
 
 No. 22. A statue of Venus. 
 
 No. 23. A bas-relief, representing the apotheosis, or 
 deification, of Homer. It was for many years in the Co- 
 lonna Palace, at Rome, and was purchased for the British 
 Museum in the year 1819. 
 
 No. 21*. 22*. Two feet covered with sandals. They 
 have belonged to the same statue, and are in beautiful pre- 
 servation. 
 
 No. 23*. A bas-relief, representing a comic and a 
 tragic mask. 
 
 No. 24 *. A bas-relief, representing four Bacchic masks. 
 No. 25*. A tragic mask. 
 No. 24. A statue of a Faun. 
 
 No. 25. A terminal head of Homer, represented in an 
 advanced age, with a sublime and dignified character. 
 
BRITISH MUSEUM. 
 
 91 
 
 No, 26. A bust of Sophocles. 
 
 No. 26 *. A very ancient Greek inscription, known by 
 the title of the " Marmor Atheniense." It relates to a 
 survey of some temple at Athens, supposed to be the 
 Erectheium. 
 
 No, 27. A terminal head of the bearded Bacchus. 
 
 No. 28. A statue of a nymph of Diana resting herself 
 after the fatigues of the chase. 
 
 No. 29. An entire terminus of the bearded Bacchus, six 
 feet high. 
 
 No. 30. A terminal head of the bearded Bacchus. 
 
 No. 31. A statue of a youth holding with both hands a 
 part of an arm which he is biting. This statue belonged to 
 a group, originally composed of two boys who had quar- 
 relled at the game of Tali, as appears by one of those 
 bones called tali remaining in the hand of the figure which 
 is lost. 
 
 No. 32. A terminal head of Pericles, helmeted, and in- 
 scribed with his name. 
 
 No. 33. A statue of a Faun, inscribed with the name of 
 the artist. 
 
 No. 34. A terminal head of Epicurus. 
 
 No. 35. A terminal statue of Pan playing upon a pipe. 
 
 No. 36. A Greek inscription upon a circular shield, con- 
 taining the names of the Ephebi of Athens under Alca- 
 menes, when he held the office of Cosmetes. 
 
 No. 37. A terminal statue, supposed to be that of Venus 
 Architis. 
 
 No. 38. A circular votive patera. 
 
 No. 39. An unknown bronze head, supposed to be that 
 of Pindar. 
 
 No. 40. A circular votive patera, with a head of Pan in 
 very high relief. 
 
 No. 40*. A torso of Hercules. 
 
 No, 41. A Greek sepulchral monument. An inscription 
 
92 
 
 BRITISH MUSEUM. 
 
 on the top of this monument contains a Hst of names, pro- 
 bably of those who fell in some engagement. 
 
 No. 42. A terminal head of Periander. 
 
 No. 43. A repetition of No. 33. 
 
 No. 44. An unknown terminal head, probably of a Greek 
 poet. 
 
 No. 45. A statue of Acteeon attacked by his dogs. 
 No. 46. A terminal head of the young Hercules; it is 
 crowned with the leaves of the poplar *. 
 
 GREEK AND ROMAN SCULPTURES. 
 FOURTH ROOM. 
 
 No. 1. A bust of Trajan, with the breast naked. 
 
 No. 2. A statue of Apollo, of very early Greek work. 
 
 No. .3. A head of Apollo, of early Greek work. 
 
 No. 4. A head supposed to be that of Arminius. 
 
 No. 5. A statue of Thaha, found at Ostia, in the mari- 
 time baths of the emperor Claudius. 
 
 No. 6. A colossal head of Marcus Aurehus, represented 
 in the character of one of the Fratres Arvales. 
 
 No. 7. A colossal bust of Lucius Verus, covered with 
 the imperial paludamentum. 
 
 No. 8. A group of Bacchus and Ampelus. 
 
 No. 9. A head of the young Hercules. 
 
 No. 10. A head supposed to be that of Dione. 
 
 No. 11. A statue of Diana. 
 
 No. 12. A bust of Hadrian, with the breast naked. 
 
 * Among the liberal donors to the Museum, in this apartment, the 
 Earl of Exeter, and the Dilettanti Society have a distinguished plac?. 
 
BRITISH MUSEUM. 
 
 93 
 
 ROMAN SEPULCHRAL ANTIQUITIES. 
 
 FIFTH ROOM. 
 
 No. I. A sepulchral urn, with abas-relief in front; it 
 appears never to have been used, as it is solid, and with- 
 out any inscription. 
 
 No. 2. Ditto, with an inscription to Atimetus. 
 
 No. 3. A funeral inscription to M. Nasvius Proculus. 
 
 No. 4. A sepulchral urn, with an inscription to Vernasia 
 Cyclas. 
 
 No. 5. Ditto, with an inscription to L. Lepidius Epa- 
 phras. 
 
 No. 6. Two earthen ollee, placed in the manner of those 
 which contained the ashes of the slaves and inferior order 
 of the Roman people. 
 
 No. 7. A sepulchral urn, with an inscription to Pom- 
 peius Justinianus. 
 
 No. 8. Ditto, with an inscription to T. Titulenus Isau- 
 ricus. 
 
 No. 9. Blank. 
 
 No. 10. A sepulchral urn, with an inscription to Fl. 
 ^lius Victor. 
 
 No. 11. Ditto, with an inscription to Silia Attica. 
 
 No. 12. A sepulchral vase, found in a tomb near Naples. 
 
 No. 13. A sarcophagus, on the front of which is re- 
 presented the lamentation of a family over a female corpse. 
 
 No. 14. A sepulchral urn, with an inscription to Serul- 
 lia Zosimenes. 
 
 No. 15. Ditto, with an inscription to P. Licinius Suc- 
 cessus. 
 
 No. 16. Blank. 
 
 No. 17. A sepulchral urn, with an inscription to Cos- 
 sutia Prima. 
 
94* 
 
 BRITISH MUSEUM. 
 
 No. 18. A sepulchral urn, with an mscription to Ti. 
 Claudius Lupercus. 
 
 No. 19. Two earthen ollae, similar to those described at 
 No. 6. 
 
 No. 20. A funeral inscription to Eutychia. 
 
 No. 21. An Etruscan cinerary urn in baked clay. The 
 bas'rehef in front represents the hero Echetles fighting 
 with a ploughshare for the Greeks at the battle of Mara- 
 thon. Upon the cover is a recumbent female figure. 
 
 No. 22. A sepulchral urn, with an inscription to Clau- 
 dia Fortunata. 
 
 No. 23. A funeral inscription to Lucretia, 
 
 No. 24. An Etruscan cinerary urn in baked clay. The 
 story of Echetles is represented in front (see No. 21.), and 
 on the cover is a recumbent female figure. The figures 
 on this monument were originally painted. On the 
 upper part of the urn is an Etruscan inscription in red 
 letters. 
 
 No. 25. A sepulchral urn, with an inscription to T. Sex 
 Agatha. 
 
 No. 26. A sepulchral vase, with an inscription to Flavia 
 Valentina. 
 
 No. 27. A sepulchral urn, with an inscription to Junia 
 Pieris. 
 
 No. 28. An earthen olla, similar to those described at 
 No. 6. The monumental inscription placed in front of it 
 records the name of Opiha Faustilla. 
 
 No. 29. A sepulchral urn, with an inscription to Ccelia 
 Asteris. 
 
 No. 30. A sepulchral mn, with an inscription to P. 
 Octanius Secundus. 
 
 No. 31. A fragment of a testamentary inscription, cut 
 from a sepulchral cippus. 
 
 No. 32. A sepulchral urn, with an inscription to Pom- 
 peius Locusto, Attilia Clodia, and Pompeius. 
 
BRITISH MUSEUM. 
 
 9S 
 
 No. 33. A sepulchral urn, with an inscription to C. Ma 
 gius Pal. Heraclides. 
 
 No. 34. An Etruscan cinerary urn in baked clay. The 
 bas-rehef in front represents the single combat between 
 the two brothers, Eteocles and Polynices. The two fe- 
 male figures, who are standing near the combatants, are 
 Furies. An Etruscan inscription is painted in red letters 
 on the upper part of this urn. 
 
 No. 34*. A sepulchral vase, in yellow alabastfet. 
 
 No. 35. A sarcophagus, on the front of which various 
 figures of Cupid and Psyche are represented. 
 
 No. 36. A sepulchral urn, with an inscription to D. 
 Albiccus Licinus. 
 
 No. 37. Ditto, with an inscription to Flavia Eunya. 
 
 No. 37 *. A sepulchral vase, in yellow alabaster. 
 
 No. 38. A monumental inscription to Dasumia Soteris, 
 
 No. 39. A sepulchral vase, in alabaster. 
 
 No. 40. A sepulchral urn, with an inscription to Iso- 
 chryses. 
 
 No. 41. An earthen olla, similar to those described at 
 No. 6. The monumental inscription, placed in front of 
 it, records the name of Apuleia Tychen. 
 
 No. 42. A funeral inscription to Flavia Provincia. 
 
 No. 43. A sepulchral urn, with an inscription to PiJia 
 Philtata. 
 
 No. 44. A funeral inscription to Isidorus. 
 
 Np. 45. A mosaic pavement, discovered in digging the 
 foundation for the new buildings at the Bank of Eng- 
 land*. 
 
 * A few of the articles iu this room were presented by W. A. Mcac- 
 kinnon, Esq., and Thomas Hollis, Esq. ; and others are from the col- 
 lection of Sir William Hamilton. 
 
96 
 
 BRITISH MUSEUM. 
 
 GREEK AND ROMAN SCULPTURES. 
 
 SIXTH ROOM. 
 
 No. 1 . A medallion, representing in profile the bust of 
 an unknown Greek philosopher. 
 
 No. 2. Part of the front of a sarcophagus, representing 
 Achilles among the daughters of Lycomedes. 
 
 No. 3. A bas-relief, cut from the end of a sarcophagus ; 
 it represents two Fauns punishing a Satyr. 
 
 No. 4. Part of the front of a large sarcophagus, repre- 
 senting a marriage. 
 
 No. 5. The front of a sarcophagus representing the 
 nine Muses with their respective attributes. 
 
 No. 6. A bas-relief, cut from the end of the same sarco- 
 phagus as No. 3. It represents two Cupids and a Faun 
 carrying an intoxicated Satyr. 
 
 No. 7. Part of a sarcophagus, representing a carpentum, 
 pr funeral car, drawn by four horses. 
 
 No. 8. A medallion, representing in profile the bust of 
 an unknown Greek philosopher. It is similar to No. 1, 
 but of a later time and inferior sculpture. 
 
 No. 9. The front of a sarcophagus, representing cap- 
 tive Amazons with their shields and battle axes. 
 
 No. 10. A fragment of a sarcophagus, representing 
 Bacchus with a thyrsus in his left hand, and with his 
 right-arm thrown over the shoulders of a Faun. 
 
 No. 11. A fragment of a magnificent sarcopliagus, re- 
 presenting an elderly man with a manuscript roll in his 
 hand, which he is reading. Before him stands a Muse 
 holding a mask. 
 
 No. 12. The front of a sarcophagus, representing a 
 Bacchanalian procession. 
 
 No. 13. Heads of Paris and Helen, in alto-rehevo. 
 
 No. 14. The front of a sarcophagus, representing Genii 
 
BRITISH MUSEUM. 
 
 supporting various pieces of armour. On a shield, in the 
 centre, is an inscription to SaUustius lasius. 
 No. 15. A head of Jupiter. 
 
 No. 16. A terminal statue of a youth, represented with 
 the attributes of Mercury. 
 
 No. 17. A votive altar, sacred to Apollo. 
 
 'No. 17 *. A bas-relief, representing a female Bacchante 
 clothed in thin floating drapery, through which the beauti- 
 ful forms of her body are perfectly apparent. 
 
 No. 18. A head of Apollo Musagetes, resembling, in 
 the disposition of the hair and in the character of the face, 
 the head of a Muse. 
 
 No. 19. A Greek inscription, being a decree of the 
 people of Athens aind of the Pirffius, in honour of CaUida- 
 mas. 
 
 No. 20. A votive statue of Diana triformis, with a dedi- 
 catory inscription round the plinth. 
 
 No. 21. An altar of Roman work, ornamented with 
 Egyptian figures. 
 
 No. 22. A bust, inscribed to the memory of CI. Olym- 
 pias, by Epithymetus, her freed-raan. 
 
 No. 23. A funeral monument of Xanthippus, who is 
 represented sitting in a chair, and holding a human foot 
 in his right-hand. 
 
 No. 24. A statue of a Satyr. 
 
 No. 25. An altar, on which various Egyptian figures are 
 represented. It is of Roman work. 
 
 No. 26. A head of an Amazon, in the early style of 
 Greek sculpture. 
 
 No. 27. A Greek sepulchral monument, with a bas- 
 relief, and an inscription to Mousis, who was a native of 
 Miletus, and daughter of Argaius. 
 
 No. 28. A figure of Victory sacrificing a bull. 
 
 No. 29, A bust of Hadrian with the imperial paladamen- 
 tura. 
 
 H 
 
98 BRITISH MUSEUM. 
 
 No. 30. A statue of Diana Lucifera, of which the head 
 and arms are lost. It was found at Woodchester, in the 
 county of Gloucester. 
 
 No. 31. A head of one the Homeric heroes. It is 
 highly animated, and is looking upwards, apparently in 
 great agitation. 
 
 No. 32. A Greek inscription, originally placed under a 
 statue of Jupiter Urius, which stood within a temple 
 erected to that deity at the mouth of the Pontus. 
 
 No. 33. A bronze statue of a Roman Emperor, probably 
 of Nero when he was young. The figure is represented in 
 armour, which is most beautifully inlaid. It was found 
 near Barking-hall, in Suffolk, on the estate of the Earl of 
 Ashburnham. 
 
 No. 34. A bust of Severus with the imperial paluda- 
 mentum. 
 
 No. 35, 36, 36*. Three Tiles, in terracotta, brought 
 from Athens. The fronts are ornamented with a border of 
 the honeysuckle pattern, and in the centre of each is the 
 head of a lion for carrying off the water. 
 
 No. 37. A sarcophagus, in the centre of which is the 
 portrait of an elderly man, placed in the inside of a shield, 
 which is supported by two Genii. 
 
 No. 38. A colossal foot of Apollo. 
 
 No. 39. A figure of Victory sacrificing a bull. 
 
 No. 40. A head of Faustina, the wife of Marcus Aure- 
 lius. 
 
 No. 41. A triangular base of a small candelabrum. 
 No. 42. A sepulchral cippus, with an inscription to 
 Viria Primitiva. 
 
 No. 43. A swan, in red marble. 
 
 No. 44. A votive altar, dedicated to Silvanus. 
 
 No. 45. A head of Tiberius. 
 
 No. 46. A Greek sepulchral monument, with a bas- 
 relief, and an inscription to Isias, who was a native of 
 
BRITISH MUSEUM. 
 
 99 
 
 Laodicea, and daughter of Metrodorus. Brought from 
 Smyrna. 
 
 No. 47. An Eagle. 
 
 No. 48. A triangular base of a candelabrum, the sides 
 of which are ornamented with the^feittributes of Apollo ; 
 namely, a griffin, a raven, and a tripod. 
 
 No. 49. A head of Plautilla. 
 
 No. 50. A votive altar, dedicated to Diana. 
 
 No. 51. A sepulchral cippus, which appears never to 
 have been used, a blank space being left for the inscrip- 
 tion. 
 
 No. 52. A statue of Libera, holding a thyrsus over her 
 right shoulder, and a bunch of grapes in her left hand: 
 at her feet is a panther. 
 
 No. 53. A head of Atys. 
 
 No. 54. A head of an unknown female, the hair ele^ 
 gantly bound with broad fillets. 
 
 No. 55. A statue of Ceres, crowned in the manner of 
 Isis. 
 
 No. 56. A head of Nero. 
 
 No. 57. A votive statue of a fisherman. 
 
 No. 58. A sepulchral cippus, without an inscription. 
 
 No. 58 *. A sun-dial. 
 
 No. 59. A Greek sepulchral urn, solid, and with a bas- 
 rehef in front ; it is inscribed with the names of Pytharatus 
 and Herophilus. 
 
 No. 60. A Grecian altar. 
 
 No. 61. A head of Augustus. 
 
 No. 62. A Greek funeral monument of Democles, the 
 son of Deniocles, with a bas-relief, and an inscription in 
 eight elegiac verses. It was brought from Smyrna. 
 
 No. 63. A statue of Bacchus, represented as a boy 
 about five years old. 
 
 No. 64. The front of a votive altar, with an inscription 
 for the safe return of Septimius Severus and his family 
 
 II 2 
 
100 
 
 BRITISH MUSEUiVf. 
 
 from some expedition. The parts in the inscription which 
 are erased contained the name of Geta, which, by a severe 
 edict of Caracalla, was ordered to be erased from every 
 inscription throughout the Homan empire. 
 
 No. 65. A bust of Caracalla ; the head only is antique. 
 
 No. 65*. Abas-rehef, representing the goddess Luna, 
 surrounded by the signs of the zodiac. 
 
 No. 66. A votive statue of a fisherman, holding a basket 
 of fish in his left hand. 
 
 No. 67. A votive altar sacred to Bacchus. On the front 
 Silenus is represented riding on a panther. 
 
 No. 68. A group of two dogs, one of which is biting the 
 ear of the other in play. 
 
 No. 69. An unknown bust, dressed in the Roman toga. 
 
 No. 70. A head of a female child. The hair is divided 
 into plaits, which are twisted into a knot on the back part 
 of the head. Some of the red paint, with which the hair 
 was originally coloured, is still visible. 
 
 No. 71. A small statue of a muse sitting on a rock, and 
 holding a lyre in her left hand. 
 
 No. 72. A small statue of Cupid bending his bow. 
 
 No. 73. A bas-relief, representing Priam in the act of 
 supplicating Achilles to deliver to him the body of his son 
 Hector. 
 
 No. 74. A small statue of Hercules sittinp- on a rock. 
 No. 75. A bust of Gordianus Africanus the elder, 
 dressed in the Roman toga. 
 No. 76. A head of a child. 
 
 Nos. 77, 78. Two tiles in terracotta, brought from 
 Athens ; the fronts are painted. 
 
 No. 79. The front. of the cover of a magnificent sarco- 
 phagus. It represents a group of cattle, on one side of 
 which is an old Faun, and on the other a young Faun, 
 both recumbent. 
 
 No. 80. A fragment of a mask of Bacchus. 
 
BRITISH MUSEUM. 
 
 101 
 
 No. 81. A fragment of a colossal foot. 
 
 No. 82. A votive foot, with a sandal. Round the foot 
 a serpent is twined, with its head resting on the summit, 
 which terminates a little above the ankle. 
 
 No. 83. An earthen vase, found in the baths of Titus, 
 with above seventy others of the same sort; all of them 
 contained the fine African sand, with which, when mixed 
 with oil, the Athletse rubbed their bodies before they 
 exercised . 
 
 No. 81*. A votive foot, covered with a sandal, and 
 having a serpent twined round it, in the same manner as 
 is described at No. 82. 
 
 No. 82*. A colossal hand. 
 
 No. 83*. A mask of Bacchus. 
 
 No. 84. A sphinx, w^hich anciently formed part of the 
 base of a superb candelabrum. 
 
 No. 84*. An unknown head. 
 
 No. 85. A head of Sabina. 
 
 No. 86. A small figure of a recumbent Satyr. 
 
 No. 87. A sepulchral cippus, without an inscription. 
 It is richly ornamented on the four sides with festoons of 
 fruit. 
 
 No. 88. An Egyptian tumbler, practising his art on the 
 back of a tame crocodile. 
 
 No. 89. A sepulchral cippus, with an inscription to 
 M. Ccelius Superstes. 
 
 No. 90. An unknown bust of a middle-aged man. On 
 the plinth is an inscription, signifying that L. iEmilius For- 
 tunatus dedicates the bust to his friend. 
 
 No. 91. A Greek sepulchral monument, with a bas- 
 relief, and an inscription to Exacestes and Metra his 
 wife. 
 
 No. 92. A trophy found on the plains of Marathon. 
 No. 93. A sepulchral cippus, with an inscription to 
 T, Claudius Epictetus. 
 
102 
 
 BRITISH MUSEUM. 
 
 No. 94. A head of Domitia. 
 
 No. 95. A small statue of Jupiter sitting. He is repre. 
 sented in his two-fold capacity, as king of the upper and 
 lower regions. 
 
 No. 96. A monumental inscription, cut from the front of 
 a sepulchral cippus. It records the name of Claudia 
 Tychen. 
 
 No. 96*. A head of Demosthenes. 
 
 No. 97. A statue 3 feet 10 inches high, ending from the 
 waist downwards in a terminus. 
 
 No. 98. A votive altar, with a dedicatory inscription to 
 Bona Dea Annianensis. 
 
 No. 99. A head of Jupiter Serapis. The paint with 
 which the face was originally coloured is still discernible. 
 
 Nos. 100, 101. Two bas-rehefs from Persepolis. 
 
 Nos. 102, 103. Two bas-rehefs from Persepolis *. 
 
 ROMAN ANTIQUITIES. 
 
 SEVENTH ROOM. 
 
 No. 1. An unknown statue ; it is clothed in the Roman 
 toga. 
 
 No. 2. A bust of a sleeping child, in alto-relievo. 
 
 No. 3. A fragment of a frieze, representing two Cupids 
 running a race in cars drawn by dogs ; they appear to have 
 just started from the carceres of a circus. 
 
 No. 4. A pig of lead, with the name of the Emperor 
 ■Domitian inscribed upon it ; it weighs 154 pounds. It 
 was discovered in the year 1731, under ground, on Hay- 
 
 * Some" of the sculptures contained in this room were presented to 
 the Museum by the Earl of y\bcrdecn and Samuel Lysons, Esq., and 
 others purchased from the collections of the late Edmund Burke, Esq., 
 Sir William Hamilton^ and Sir Haas Sloane. 
 
BRITISH MUSEUM. 
 
 103 
 
 shaw Moor, in the manor of Dacre, in the West Riding of 
 Yorkshire. 
 
 No. 5. Ditto, inscribed with the name of L. Aruconius 
 Verecundus; it weighs 81 pomids. It was found near 
 Matlock Bank, in Derbyshire. 
 
 No. 6. A large sepulchral cippus, with an inscription to 
 M. Clodius Hernia, Annius Felix, and Tyrannus. 
 
 No. 7. Blank. 
 
 No. 8. The front of a sarcophagus, with a Greek m- 
 scription to M. Sempronius Neicocrates. 
 
 No. 9. A pig of lead, with the name of the Emperor 
 Hadrian inscribed upon it. It weighs 19 1 pounds. It was 
 found in the year 1796 or 1797 in a farm called Snail- 
 beach, in the parish of Westbury, ten miles S.W. of 
 Salop. 
 
 No. 10. Ditto, also inscribed with the name of the 
 Emperor Hadrian; its weight is 125 pounds. It was found 
 in Cromford Moor, in Derbyshire. 
 
 No. 11. A large sepulchral cippus, with an inscription 
 
 to Agria Agatha. 
 
 No. 12. A statue of Septimus Severus, clothed in the 
 imperial paludamentum. 
 
 No. 13. Fragments of a Persepolitan inscription. 
 
 The Eighth Room contains Egyptian Antiquities, con- 
 sisting of Mummies, Idols, 8^c. For particulars of which, 
 see Synopsis of the Contents of the Museum. 
 
104 
 
 BRITISH MUSEUM. 
 
 EGYPTIAN SCULPTURES. 
 NINTH ROOM. 
 
 Many of the Articles contained in this Room were collected hy the 
 French m different parts of Egypt, and came into the possession 
 of the English Army in consequence of the capitulation of Alex- 
 andria, in the month of Sejjtemher, ISOI. They were brought 
 to England in February, 1802, utider the care of General 
 Turner; and were sent, by order of his late Majesty, to the 
 British Museum. 
 
 No. 1. A large statue of an Egyptian deity, sitting iri a 
 kind of chair, and resting the arms upon the thighs. In 
 the left hand is held the sacred instrument called the Tau. 
 The head of this deity is that of a lion, the rest of the 
 figure is human. 
 
 No. 2. Similar to No. 1. The disc and the erect ser- 
 pent's head have been knocked off from the head of this 
 figure, but in the preceding statue a portion of them re- 
 mains, and in No. 16 they are nearly entire. 
 
 No. 3. Part of the frieze of an Egyptian temple. It is 
 covered with hieroglyphics on both sides. The upper part 
 of the front of this frieze consists of a row of serpents. 
 
 No. 4. An Egyptian obelisk. 
 
 No. 5. A large Egyptian sarcophagus, of breccia, 
 brought from the mosque of Saint Athanasius, at Alexan- 
 dria. It is covered with hieroglyphics both within and 
 without. 
 
 No. 6. A colossal fist of very considerable magnitude. 
 No. 8. A colossal ram's head, which has formed part of 
 a sphinx. 
 
 No. 9. A capital of an Egyptian column. 
 No. 10. A colossal hawk. 
 
 No. 11. The head and upper part of the body of a 
 colossal statue, brought from tlie ruins of the Memnonium 
 
 - «r- »r --^w - w^ 
 
BRITISH MUSEUM. 
 
 105 
 
 a building dedicated to Memnon, at Thebes. This frag- 
 ment is composed of one piece of granite of two colours; 
 and the face, which is in remarkably fine preservation, is 
 executed in a very admirable manner. 
 
 No. ,12. A large Egyptian sarcophagus of black gra- 
 nite, covered with hieroglyphics inside and outside. This 
 sarcophagus, which was brought from Grand Cairo, was 
 used by the Turks as a cistern, which they called " The 
 Lover's Fountain." 
 
 No. 13. An Egyptian oueHsk. 
 
 No. 14. Part of a frieze of an Egyptian temple. 
 
 No. 15. The statue of an Egyptian deity, similar to 
 No. 1. 
 
 No. 16. Ditto. 
 
 No. 17. A Greek inscription on a marble slab, of consi- 
 derable dimensions, brought from the island of Tenos. 
 
 No. 18. A small mutilated Egyptian figure, kneehng on 
 a broken square plinth. 
 
 No. 19. A fragment of an Egyptian deity, similar to 
 No. 1. 
 
 No. 20. A stone sarcophagus, discovered in a tomb at 
 Thebes ; the paintings with which it is ornamented have 
 been restored. 
 
 No. 21. A fragment of an Egyptian deity, similar to 
 No. 1. 
 
 No. 22. A figure of Isis, the size of life. 
 
 No. 23. An Egyptian sarcophagus, in basalt, shghtly 
 resembling in its form the human figure. It has a single 
 border of hieroglyphics round the outside. 
 
 No. 24. A sphinx, represented, according to the cus- 
 tom of the Egyptians, without wings ; found in the exca- 
 vation made in front of the great sphinx. 
 
 No. 25. One of the horns of an altar, which was found 
 ip front of the great sphinx. 
 
106 
 
 BRITISH MUSEUM. 
 
 No. 26. A small hawk, of very coarse work, found in 
 front of the great sphinx. 
 
 No. 27. A fragment of the plaited beard of the great 
 sphinx. 
 
 No. 28. A sphinx, represented, like No. 24, without 
 wings. 
 
 No. 29. A votive column, on which is an inscription in 
 Greek to the great god Serapis at Canopus ; it was brought 
 from Aboukir. 
 
 No. 30. A small figure of Isis, without a head. 
 
 No. 31. An Egyptian figure, the size of life, kneeling 
 on a square plinth, round which is a border of hierogly- 
 phics ; the head and the arms of the figure are wanting. 
 
 No. 32. A manuscript written on Papyrus in the encho- 
 rial characters of Egypt. 
 
 No. 32*. A tablet of hieroglyphics, found in front of 
 the great sphinx. 
 
 No. 33. The lower part of an Egyptian figure, kneeling 
 on a square plinth, round which is a border of hierogly- 
 phics. 
 
 No. 34. A Greek inscription erected in front of the 
 great sphinx by Marcus AureUus and Lucius Verus. 
 
 No. 35. A fragment of an Egyptian deity, similar to 
 No. 1. 
 
 No. 36. Ditto. 
 
 No. 37. A Greek inscription erected in front of the 
 great sphinx by Nero. 
 
 No. 38. The Rosetta stone, containing three inscrip- 
 tions of the same import; namely, one in hieroglyphics, 
 another in the ancient vernacular language of Egypt, and 
 another in the Greek language. These inscriptions record 
 the services which Ptolemy the Fifth had rendered his 
 country, and were engraved by order of the high priests 
 when they were assembled at Memphis, for the purpose 
 
BRITISH MUSEUM. 
 
 lOT 
 
 of investing him with the royal prerogative. Tliis stone 
 was found near Hosetta. 
 
 No. 39. A head of an Egyptian sphinx. 
 
 No. 40. A piece of stone, with hieroglyphics, found in 
 front of the great sphinx. 
 
 No. 41. A small Egyptian figure kneeling upon a square 
 plinth, and supporting with his hands a kind of altar, in 
 front of which, within a sunk tablet, is a figure of Isis. 
 
 No. 42. An Egyptian monument, in which are sunk two 
 square tablets, one of which is left blank, and in the other 
 are represented two female figures standing side by side. 
 These tablets are surrounded by hieroglyphics. 
 
 No. 43. A small Egyptian figure, with a beard, a short 
 apron, and a terrific aspect. 
 
 No. 44. A piece of stone, with figures represented in 
 intaglio. Found in front of the great sphinx. 
 
 No. 45. A painted statue, found in a sepulchre near the 
 Pyramids. 
 
 No. 46. A colossal fist. 
 
 No. 47. A fragment of a large sarcophagus, similar in 
 its structure to Nos. 5 and 12. 
 
 No. 48. A lion, very rudely sculptured ; it is supposed 
 to have stood on one of the walls between the paws of the 
 great sphinx. 
 
 No. 49. The impression of a human foot carved in stone, 
 with the letters NEK<I>0 engraved over it. Found in 
 front of the great sphinx. 
 
 No. 50. A small lion, found in a temple, between the 
 paws of the great sphinx. 
 
 No. 51. A fragment, which was found at the foot of 
 Pompey's Pillar, and is partly covered with hieroglyphics. 
 
 No. 52. A fragment of a porphyry column. 
 
 No. 53. An Egyptian bas-relief, consisting of a double 
 range of figures. It was found near Sakkara, four leagues 
 from Grand Cairo. 
 
108 
 
 BRITISH MUSEUM. 
 
 No. 54. A mutilated Egyptian figure, kneeling and sup- 
 porting with both hands an altar, on which a scarabaeus is 
 placed. 
 
 No. 55. A fragment covered with hieroglyphics. 
 
 No. 56. A large square tablet, of breccia, covered with 
 hieroglyphics. It appears to have been used as a mill- 
 stone for grinding corn*. 
 
 GREEK AND ROMAN SCULPTURES. 
 TENTH ROOMt. 
 
 No. 1. A head of Juno, crowned with a broad indented 
 diadem. 
 
 No. 2. An upright narrow piece of marble, ornamented 
 with branches of the olive and the vine. 
 
 No. 3. A head, apparently of a trumpeter. 
 
 No. 4. An unknown female head. The sockets of the 
 eyes are hollow, and have been originally filled with co- 
 loured stones, or some other material. 
 
 No. 5. A torso of a small statue of Venus. 
 
 No. 6. An unknown female head, with a broad fillet 
 across the forehead. 
 
 No. 7. A head of a goat. 
 
 No. 8. Cupid sleeping upon a lion's skin. 
 
 No. 9. An epitaph on a dog. 
 
 No. 10. An unknown head. 
 
 No. 11. A head of Apollo. 
 
 No. 12. A head of a lion, being a fragment of a large 
 sarcophagus. 
 
 * Many of the sculptures in this room have been presented to the 
 Museum by his late Majesty, Earl Spencer, Earl of Bute, Earl Bel - 
 more, Sir Joseph Banks, Captain Caviglia, and M. Daune, Esq. 
 
 t Principally from the collection of Sir William Hamilton. 
 
BRITISH MUSEUM. 
 
 109 
 
 No. 13. An oblong square basin of granite, similar to 
 such as were used in the temples, to contain the water ne- 
 cessary for the purification of those who sought admit- 
 tance to the sacrifices. 
 
 No. 14. A mask, cut from the cover of a large sarco- 
 phagus. 
 
 No. 15. A terminal head of Libera. 
 No. 16. A head of a female Bacchante. 
 No. 17. A case containing a collection of antique 
 bronzes. 
 
 No. 18. A head of a laughing Faun. 
 No. 19. Small terminal heads of Bacchus and Libera, 
 joined back to back. 
 
 No. 20. A small terminal head of Libera. 
 No. 21. Ditto, in yellow marble. 
 No. 22. Ditto, in red marble. 
 
 No. 23. Ditto, in reddish-yellow marble, with a neck- 
 lace composed of ivy leaves. 
 
 No. 24. A small terminal head of Libera, in white mar- 
 ble, with the breast covered with drapery. 
 
 No. 25. A small terminal head of the bearded Bacchus. 
 
 No. 26. A small female head, the hair of which is formed 
 of a distinct piece of marble, and is fitted to the head in 
 the manner of a wig. 
 
 No. 27. A small head of a young man, covered with a 
 helmet, which is ornamented with the horns of a ram. 
 
 No. 28. A small mask of Silenus. 
 
 No. 29. A small cylindrical piece of marble, which ap- 
 pears to have been part of the stem of a candelabrum. It 
 is ornamented with four griffins and two candelabra. 
 
 No. 30. A fragment of a bas-relief, representing the 
 head of an elderly man. It has the beard on the chin and 
 upper lip, and the hair of the head is short and curly. 
 
 No. 32. A fragment of bas-relief, representing a head of 
 Antinous 
 
110 
 
 BRITISH MUSEUM. 
 
 No. 33. A votive barrel sacred to Bacchus. 
 
 No. 34. A small terminal head of the bearded Bacchus, 
 in yellow marble. 
 
 No. 35. A votive horn, in marble, two feet long. 
 
 No. 36. A head of Adonis, covered with the pyramidal 
 hood. The lower part of the face and neck is covered with 
 drapery. 
 
 No. 37. A head of Jupiter Serapis in green basalt. 
 
 No. 38. A small statue of a Muse, sitting on a rock, 
 and playing on a lyre. 
 
 No. 39. A head of Jupiter Serapis. 
 
 No. 40. A piece of mosaic pavement, found at Wood- 
 chester, in the county of Gloucester. 
 
 No. 41. A statue of a Discobolus, who is represented at 
 that precise moment of time which immediately precedes 
 the delivery of the discus. It is an ancient copy in marble, 
 from the celebrated bronze statue executed by Myro. 
 
 No. 42. A small bust of Antoninus Pius ; the head only 
 is antique. 
 
 No. 43. A small scenic figure, sitting on a square plinth. 
 The face is covered with a comic mask. 
 
 No. 44. A bust of a child, with the breast naked. 
 
 No. 45. A bas-relief, representing the arms of the Da- 
 cians and Sarmatians. 
 
 No. 46. A bust of an unknown female, represented in 
 the character of Isis. It is gracefully terminated by the 
 flower of the Nymphaea Lotus, on which it appears to rest. 
 
 No. 47. A head of a Muse, crowned with a wreath of 
 laurel. 
 
 No. 48. A case containing a collection of antique 
 bronzes. 
 
 No. 49. A head of one of the Dioscuri. 
 No. 50. A fragment of a small head of Hercules, covered 
 with the skin of a lion. 
 
BRITISH MUSEUM. 
 
 Ill 
 
 No. 51. A funeral mask, wliich was used to cover the 
 face of a female corpse. 
 
 No. 52. A small head of Hercules. 
 
 No. 53. A small unknown bust, with a military garment. 
 The head is of yellow marble. 
 
 No. 54. A small head of Hercules, very much injured 
 by the decomposition of the marble. 
 
 No. 55. The capital of a small column of the Ionic 
 order. 
 
 No. 56. A small unknown head. 
 No, 57. A small head of Vulcan, covered with a cap. 
 No. 58. A votive mask of a bearded Faun. 
 No. 59. A small unknown female head, the hair of which 
 is tied in a knot behind. 
 
 No. 60. A small head of Juno. 
 
 No. 61. A group, representing Venus and two Cupids. 
 No. 62. One of the handles of a vase. 
 No. 63. A fragment of a bas-relief, representing part of 
 a female figure. 
 
 No. 64. A bas-relief, representing a mask of a Faun. 
 No. 65. A left foot covered with a sandal. 
 No. 66. The right foot of a child. 
 
 No. 67. A hand of a female, holding a lock of hair. 
 This fragment probably belonged to a statue of Venus, 
 who was represented in the act of wringing the water from 
 her hair. 
 
 No. 68. The right hand of a female holding a pipe. 
 
 No. 69. A lion's foot, which probably has formed part 
 of a tripod table. 
 
 No. 70. The left hand and part of the arm of a female, 
 probably Psyche, holding a butterfly. 
 
 No, 71. A lion's foot, which has been applied to the 
 same purpose as No, 69. 
 
 No. 72. The left hand of a female, stretched out upon a 
 fragment of something unknown. 
 
112 
 
 BRITISH MUSEUM. 
 
 No. 73. The right hand of a youth, holding, apparently, 
 a fragment of a bow. This is, probably, part of a statue 
 of Cupid bending his bow. 
 
 No. 74. The right hand of a child holding the head of a 
 ram. 
 
 No. 75. A left foot, covered, apparently, with linen, 
 round which bandages are fastened. 
 
 No. 76. A large votive patera, with a bas-relief on each 
 side, one representing Silenus, and the other a Satyr. 
 
 No. 77. A small fragment of a figure holding a bird. 
 
 No. 78. The left hand of a child holding a fragment. 
 
 No. 79. A torso of a male figure, the arms of which 
 appear to have been raised above the head. 
 
 No. 80. A small mutilated figure. The right breast is 
 naked ; the other parts are entirely covered with drapery. 
 It has a necklace, from which a scarabseus is suspended. 
 
 No. 81. A head of an eagle, which appears to have 
 served as the hilt of a sword. 
 
 No. 82. A votive patera, with a bas-relief on each side, 
 one representing a mask of the bearded Bacchus, and the 
 other a panther. 
 
 No. 83. A fragment of a serpent. 
 
 No. 84. A head of Apollo. 
 
 No. 85. A head of Cybele. 
 
 No. 86. A head of a hon, which was a part of the same 
 sarcophagus from which No. 12 was taken. 
 
 No. 87. A cistern of green basalt, originally used as a 
 bath. On the sides are carved two rings in imitation of 
 handles, in the centre of which is a leaf of ivy. 
 
 No. 88. A head of Minerva. 
 
 No. 89. A colossal head of Antinous in the character 
 of Bacchus ; it is crowned with a wreath of ivy. 
 
 No. 90. A head of Diana, the hair of which is drawn 
 up from the sides, and tied in a knot at the top of the 
 head . 
 
BRITISH MUSEUM. 
 
 113 
 
 No. 91. A fragment of abas-relief, representing three 
 legs; they have belonged to two figures in powerful 
 action, one of which appears to have been aiming a blow 
 at the other, who is falling. 
 
 ► No. 92. A head of Diana, somewhat similar to No. 90, 
 but of superior work. 
 
 No. 93. A small domestic fountain, of a square form,* 
 which was used for sacred purposes. 
 
 No. 94. A bust of Minerva ; the head only is antique. 
 The helmet and the bust, which are of bronze, are, with 
 some variations, copied from an ancient bust of Minerva 
 which was formerly in the Vatican, but is now at Paris. 
 
 No. 95. An upright narrow piece of marble, ornamented 
 with branches of the olive and the pine. 
 
 No. 96. A statue of an intoxicated Faun. 
 
 No. 97. A statue of Mercury, sleeping upon a rock. 
 
 MEDALS AND COINS. 
 
 ELEVENTH ROOM. 
 
 This collection, the basis of which was formed by the 
 cabinets of Sir Hans Sloane and Sir Robert Cotton, has 
 been from time to time enlarged by many valuable pur- 
 chases and donations, but principally by the munificent 
 bequest of the Rev. C. M. Cracherode. It is compre. 
 hended under the three following heads : 
 
 1. Ancient coins. 
 
 2. Modern coins. 
 
 3. Medals. 
 
 The first of these heads consists of Greek and Roman coins. 
 
 I 
 
114. 
 
 BRITISH MUSEUM. 
 
 The Greek coins are arranged in geographical order, 
 and include all those struck with Greek characters, in 
 Greece or elsewhere, by kings, states or cities, which were 
 independent of the Romans. With this class are placed 
 likewise the coins of free states and cities, which made use 
 of either the Etruscan, Roman, Punic, Spanish, or other 
 characters. 
 
 The Roman coins are placed, as far as it can be ascer- 
 tained, in chronological order. They consist of the As 
 and its divisions; Family or Consular coins; Imperial 
 coins struck in Rome ; Imperial coins struck in Egypt ; 
 Imperial coins struck with Greek characters, in different 
 states and cities subject to the Romans ; Imperial coins 
 struck in the Roman colonies ; Imperial coins struck with 
 Punic characters ; and Contorniates. 
 
 The second head, comprising modern coins, consists of 
 Anglo-Saxon, English, Anglo-Gallic, Scotch, and Irish 
 coins, and likewise the coins of foreign nations. This 
 class is arranged according to the respective countries to 
 which the coins belong, those of each country being kept 
 separate. 
 
 The third head, which comprises a class considerably 
 more modern than either of those which precede it, con- 
 sists of medals struck in our own country, and of those 
 which have been struck abroad. These are arranged in 
 the same manner as the modern coins. 
 
 ANTE-ROOM. 
 
 No. 1 . In the centre of the Ante-room, at the head of 
 the stairs, is placed the celebrated Barberini vase, which 
 was, for more than two centuries, the principal ornament 
 
BRITISH MUSEUM. 
 
 115 
 
 of the Barberini Palace. This vase was purchased of Sir 
 William Hamilton nearly thirty years ago, by the Duchess 
 of Portland, since which period it has been more generally 
 known by the name of the Portland Vase. It was found 
 about the middle of the sixteenth century, two miles and a 
 half from Rome, in the Road leading to Frascati. At the 
 time of its discovery, the vase was enclosed in a marble 
 sarcophagus, within a sepulchral chamber, under the 
 Mount called Monte del Grano. The material of 
 which the vase is formed is glass : the figures, which are 
 executed in relief, are of a beautiful opaque white, and the 
 ground is in perfect harmony with the figures, and of a 
 dark transparent blue. The subject of these figures is ex- 
 tremely obscure, and has not, hitherto, received a satisfac- 
 tory elucidation; but the design and the sculpture are 
 both truly admirable. This superb specimen of Greek art 
 was deposited in the British Museum, in 1810, by his 
 Grace the Duke of Portland. 
 
 N 0. 2. An ancient painting in fresco, representing deer ; 
 it was found in a subterraneous chamber at Scrofano, 
 about sixteen miles from Rome. 
 
 No. 3- A bas-relief, in stucco, representing a winged 
 boy, or genius, carrying a pedum across his right shoulder. 
 
 No. 4. An ancient painting in fresco, representing a 
 female figure holding a patera, on which a vase is placed. 
 
 No. 5. An ancient painting in fresco, representing two 
 females seated, in the Arabesque style, on the curling 
 branches of a plant ; one of them is holding a vase, the 
 other a tamborine. Between these figures is a bas-relief, 
 m stucco, representing a human head surrounded with ivy, 
 and underneath are two birds drinking out of a well. 
 
116 
 
 BRITISH MUSEUM. 
 
 COLLECTION OF SIR WILLIAM HAMILTON. 
 
 TWELFTH ROOM. 
 
 Cases 1, 2, 3, 4. Penates or household gods, in bronze. 
 In the lower part of these cases are contained some large 
 bronze vessels, one of which, in the form of a round patera, 
 is remarkable for the beauty of its handles, which are raised 
 above the edge : they represent two serpents holding an 
 egg in their mouths ; underneath the serpents is the segis 
 of Minerva. 
 
 Case 5. A raven, the size of life, and seven large can- 
 delabra, in bronze. The raven was presented, in 1777, by 
 Lord Seaforth. It is of the finest workmanship, and has, 
 probably, accompanied a statue of Apollo. 
 
 Case 6. Specimens of ancient glass. The principal 
 articles are eight cinerary urns. One of them has the 
 leaden covering in which it was preserved ; and another 
 contains the burnt bones, and the asbestos cloth which 
 prevented the ashes of the body from mixing with those 
 of the funeral pile. These articles are accompanied by a 
 great number of lacrymatories, and various other vessels, 
 and fragments of vessels, of different forms and colours ; 
 the whole of which afford ample proof of the ingenuity of 
 the ancients, and of the great knowledge they possessed 
 in the art of manufacturing glass, and of imparting to it 
 whatever colour or form they chose. 
 
 Case 7. A large collection of paterae, upon which are 
 engravings, principally in outline. In this case are also 
 exhibited the umbo of a shield and the scabbard of a para- 
 zonium, both of Avhich are ornamented in like manner with 
 engraved figures. The same case likewise contains two 
 bronze arms, execiited in a good style ; the largest appears 
 to be of very early work. 
 
 Case 11. Necklaces, ear-rings, armillse, and various 
 
BRITISH MUSEUM, 
 
 117 
 
 other trinkets in gold, several of which are enriched with 
 precious stones. Among the antiquities of gold in this case 
 is a bulla, and a large patera : the latter is embossed with 
 bulls, and was found at Gergenti in Sicily. This case 
 contains also a large collection of scarabasi, and engraved 
 gems, from the collections of Sir WiUiam Hamilton, Charles 
 Towneley, Esq., and the Rev. C. M. Cracherode. A piece 
 of small mosaic work, and a few specimens of ancient art, 
 executed in silver, are likewise among the articles included 
 in this case. 
 
 Case 15. Fragments in terra-cotta. They consist chiefly 
 of small heads, some of which are well executed, and others 
 are valuable, as exhibiting specimens of the Roman head-- 
 dresses. 
 
 Case 16. Small figures, and miscellaneous articles in 
 terra-cotta. 
 
 Case 17. Hindu, Chinese, and Japanese idols. 
 Case 26. Ditto. 
 
 Case 27. Small figures, and miscellaneous articles in 
 terra-cotta. 
 
 Cases 28, 32, 36. Fragments of friezes in terra-cotta. 
 
 Case 37. Specimens of ancient armour in bronze, con- 
 sisting of helmets, breast-plates, standards, swords, belts, 
 heads of spears, points of arrows, &iG. In the middle 
 division of this case is the Roman helmet which was found 
 at Ribchester, in Lancashire. 
 
 Case 38. A tripod, a lectisternium, a pair of steelyards, 
 and two very large candelabra, in bronze. The two first 
 articles were presented by Sir William Hamilton, namely, 
 the tripod in 1774, and the lectisternium in 1784. 
 
 Cases 39, 40, 41, 42. Miscellaneous antiquities in 
 bronze, comprising scales, knives, paterse, and simpula; 
 mirrors, lamps, bells, and mortars ; measures and wine- 
 strainers ; large vessels for culinary and other purposes ; 
 several small candelabra, and other articles. 
 
118 
 
 BRITISH MUSEUM. 
 
 Cases 43, 44, 45. A large collection of Roman lamps 
 in terra-cotta. 
 
 Cases 46, 47, 48. Ditto. 
 Cases49, 50, 51. Ditto. 
 
 Case 52. Dice and tali, formed of various substances. 
 
 Case 53. A great variety of tesserse in ivory, bronze, 
 crystal, agate, and terra-cotta, many of which-were tickets 
 of admission to the theatres. In this case, also, is a con- 
 siderable number of styles for writing on wdcx tablets; 
 pins for the hair ; bodkins, and needles, both for sewing 
 and netting. 
 
 Case 54. Architectural mouldings in porphyry, part of 
 a frieze in rosso-antico, handles of knives, fragments of 
 lectisternia, ^c. ^c. 
 
 Case 55. Stamps for sealing casks. 
 
 Case 56. A large collection of Roman weights. 
 
 Case 57. Votive offerings in bronze. 
 
 Case 58. A brick taken out of the ruins of a large city, 
 supposed to have been Babylon, near the town of Hil- 
 lah, on the river Euphrates ; it has an inscription in un- 
 known characters. 
 
 Case 59. Specimens of ancient painting, from Hercu- 
 laneum. 
 
 Case 60. A brick similar to the one in Case 58. 
 Cases 61, 62, 63. Specimens of bas-reliefs in stucco, 
 from the walls of Herculaneum. 
 Case 64. Celts. 
 
 Case 65. Various instruments used by the ancients. 
 Case 66. Celts. 
 
 Case 67. A marble patera, fourteen inches in diameter, 
 found in the ruins of Hadrian's Villa ; in this case are also 
 contained specimens of Roman enamel, and inlaid work ; 
 and likewise some figs and other vegetable substances 
 found in a calcined state in the ruins of Herculaneum. 
 
 Case 68. Armillee, or bracelets, and various unknown 
 ornaments in bronze. 
 
BRITISH MUSEUM. 
 
 119 
 
 Case 69. A large patera of Oriental jasper, cups of 
 crystal, agate, &)C. 
 
 Case 70. Hinges and nails. 
 Case 71. Fibulse, or brooches. 
 
 Case 72. Buckles used by the Ancients for different 
 purposes. 
 
 Case 73. Handles and other parts of vases. 
 Case 74. Ditto. 
 
 Case 75. Specimens of locks and keys. 
 
 Case 76. Spears, knives, and various instruments in iron. 
 
 Case 77. Bits, spurs, and ornaments for harness; frag- 
 ments of chains, S^c. 
 
 Case 78. Some articles in bronze; the uses to which 
 many of them were applied are unknown. 
 
 The intermediate and subsequent cases in this Room 
 are filled with Greek vases, of which great numbers were 
 found in sepulchres within those parts of the kingdom of 
 Naples, anciently called Magna Greecia. Most of these 
 vases are ornamented with paintings, representing a variety 
 of subjects, chiefly mythological, the compositions of which 
 are truly elegant. The forms of the vases are much 
 varied, and are equally simple and beautiful. 
 
 PRINTS AND DRAWINGS. 
 
 THIRTEENTH ROOM. 
 
 This Room contains an extensive and valuable collection 
 of prints and drawings, the most important part of which was 
 bequeathed by the Rev. C. M. Cracherode. — The contents 
 of this Room, as well as the collection of coins and me- 
 dals, can be seen only by a few persons at a time, and by 
 particular permission. 
 
BRITISH MUSEUM. 
 
 PHIGALIAN MARBLES. 
 
 FOURTEENTH ROOM. 
 
 No. 1. — 23. Bas-reliefs, representing the battles of the 
 Centaurs and Lapithse, and the combat between the 
 Greeks and Amazons, found in the ruins of the temple of 
 Apollo Epicurius (or the Deliverer), built on Mount Coty- 
 lion, at a little distance from the ancient city of Phigalia, in 
 Arcadia. These bas-rehefs composed the frieze in the inte- 
 rior of the Cella. The battle of the Centaurs and Lapithae 
 is sculptured on eleven slabs of marble (1 — 11). That of 
 the Greeks and Amazons occupies twelve (12 — 23). The 
 direction of the slabs belonging to the former subject was 
 from right to left ; that of the latter from left to right. 
 
 Pausanias, in his description of this temple, informs us 
 that it was built by Ictinus, an architect contemporary with 
 Pericles, and who built the Parthenon at Athens. 
 
 No. 24. A fragment of a Doric capital of one of the 
 columns of the Peristyle. From the same temple. 
 
 No. 25. A fragment of an Ionic capital of one of the 
 columns of the Cella. From the same temple. 
 
 Nos. 26, 27. Two fragments of the tiles which sur- 
 mounted the pediments, and formed the superior mould- 
 ing. From the same temple. 
 
 Nos. 28 — ^38. Fragments of the Metopes, found in the 
 porticoes of the Pronaos and Posticus, w^hich were en- 
 riched with triglyphs. From the same temple. 
 
 No. 39. A small tile, which was used for the purpose of 
 covering the joints of the greater tiles ; the ornament in 
 front surmounted the cornice. From the same temple. 
 
 No. 40. Another tile, used for the same purpose, but on 
 the point of the ridge. From the same temple. 
 
Gallery of Sculpture, British Museum. 
 
 HISTORICAL AND DESCRIPTIVE ESSAY ON THE 
 SCULPTURED MARBLES OP THE PARTHENON. 
 
 Remarks and Opinions of eminent Men, including Stuart, Fauvel, 
 Burrows, Canova, Visconti, Flaxman, NoUekens, TVestmacott. 
 Chantrey, Rossi, &c. &c. — Ancient Athens, — Pericles, — Decline of 
 Athens, and Ruin of the Parthenon,— Phidias, — The Parthe- 
 non, — Minerva, — The Centaurs and Lapithai, — The Panathe- 
 naea, — Description of the Sculpture of the Pediments, Metopes, 
 and Frieze. 
 
 These monuments of the splendid school of Phidias and 
 the administration of Pericles were purchased by the na- 
 tion from the Earl of Elgin, under the recommendation of 
 a committee of the House of Commons in 1816 at an 
 expense of 35,000/. It has been justly said that no 
 country could be better adapted than our own to afford an 
 honourable asylum to these magnificent specimens of the 
 purest style of Grecian sculpture; beneath the fostering 
 influence of a free government, ever liberal in the patron- 
 age of works of art, these classic relics of the antique have 
 received the homage and admiration due to their super- 
 lative merit. As models and examples to the rising genius 
 of Britain they cannot be too highly appreciated. Expe- 
 rience shews that the high road to excellence is the per- 
 spective prospect to honours and reward ; the distinction 
 
122 
 
 ESSAY ON THE MARBLES 
 
 paid to these trophies of antiquity must stimulate the 
 modern artist to imitate, and eventually to rival, them. 
 
 To use the words of Canova, " every thing about them 
 breathes animation, with a singular truth of expression, 
 and with a degree of skill, which is the more exquisite as 
 it is without the least affectation of the pomp of art, which 
 is concealed with admirable address." The sculptured 
 marbles which decorated the Temple of Minerva were for 
 more than seven hundred years the admiration of the 
 ancient world, and they still continue to excite an interest, 
 in which only four or five statues of all the other works of 
 antiquity participate in an equal'degree. The late Joseph 
 Nollekens, Esq., R. A., in giving his opinion before a Com- 
 mittee of the House of Commons, thought them " finer than 
 anything in this country ; the basso-relievos he ranked in the 
 first class of art ; the Theseus he esteemed of as fine sculpture 
 as the Apollo Belvidere." John Flaxman, Esq., R.A., 
 " reckoned them as superior to, and of greater antiquity 
 than, thePHYGALiAN and the Townleian marbles." Ri- 
 chard Westmacott, Esq., R. A., " rated them of the first 
 class of art. Two of them he presumed to be unequalled, 
 and would oppose them to any thing he knew in art, 
 the River God and the Theseus." Francis Leggatt 
 Chantrey, Esq, R.A., "placed them unquestionably in the 
 first class of art." Charles Rossi, Esq., R. A., " thought 
 them the finest he had ever seen ; in his estimation, they 
 were jewels of art." Richard Payne Knight, Esq., a ce- 
 lebrated connoisseur of his day, " differed with the fore- 
 going eminent sculptors as to their value and rank, but 
 thought them estimable as a school of art." Many other 
 eminent men followed, the tenor of whose examinations 
 and opinions coincided with the distinguished artists 
 above named, and clearly proved that the Earl of Elgin 
 was fully entitled, not only to the gratitude of his country 
 for the preservation of these treasures, but to a remunera- 
 tion of equal magnitude with the important improvement 
 
OP THE PARTHENON. 
 
 123 
 
 tliey were calculated to effect in the most exalted classes 
 of the fine arts. I have thus thoup;ht it better to bring 
 together the opinions of these distinguished and expe- 
 rienced persons upon the Elgin Marbles, than to hazard a 
 criticism or conjecture of my own. My intention is to 
 teach the spectator " with reason to admire." Relin- 
 quishing to the antiquary and the professed Hellenist 
 every pleasure to be derived from new researches, I have 
 followed Visconti, Stuart, and Fauvel, in a brief explana- 
 tion of the subjects. The historical part is principally 
 derived from the Rev. Mr. Burrows's work. 
 
 It is generally known that the great works with which 
 Pericles adorned and strengthened Athens were mostly 
 carried on under the direction and superintendence of 
 Phidias, to whom, from various passages in ancient au- 
 thors, and from a combination of circumstances, the 
 designs for the sculptures of the Parthenon are ascribed 
 by some, and the execution is attributed by many. 
 
 Phidias* was the son of Charmidas, the pupil of 
 Eladas of Argos, and of Hippias of Elis. He spared no 
 pains to store his mind with all the treasures of history, 
 poetry, geometry, and optics. Phidias was the first who 
 diffused among his countrymen a true taste for the beau- 
 ties of sculptured forms, detached and in reheff, and 
 taught them the value of a faithful imitation of nature in 
 all her exquisite variety. He is, perhaps, the only artist 
 who united perfect execution with extreme facility. The 
 number of his works is very considerable ; for, indepen- 
 dent of those which are dispersed through the difterent 
 states of Greece J, there were at Athens many of his finest 
 
 * Ante omues tamen Phidias Atheniensis, Jove Olyinpise facto, ex 
 ebore quidem et auro; sed et ajre sigiia fecit. — Plin., lib. 34. 
 
 t PriiULis(iue iirtem torentlcen aperuisse merito judicatur. — Plin., 
 lib. 34. 
 
 % Among- the most remarkable of these are a celestial Venus, and a 
 Minerva of ivory and gold, at Elis ; a Minerva of the same materials at 
 Pellene. At Delphos several statues of godsend heroes in bronze, from 
 
124 
 
 ESSAY ON THE MARBLES 
 
 specimens of sculpture, as well as others which were, per- 
 haps, only finished by his hand, and held a second rank*. 
 Possessed of a vigorous and exalted imagination, and a 
 highly-cultivated mind, Phidias excelled in representing 
 the heathen deities or heroes deified. He was singled 
 out by the discriminating eye of Pericles to superintend 
 the execution of his magnificent designs ; and, as might 
 be expected, impressed upon each the seal of extraor- 
 dinary talents. But, as too often happened in the fickle 
 and jealous commonwealth of Athens, his superior abili- 
 ties and distinction led to his disgrace. He was commis- 
 sioned to form a colossal statue of Minerva, to be placed 
 in the Parthenon at the dedication. It was constructed of 
 ivory and gold, twenty-six cubits high, and was far more 
 precious on account of the excellence of the workmanship 
 than the costliness of its materials f. Phidias was, how- 
 ever, forbidden to put his name upon the statue ; and, by 
 way of evading the letter of the law, he executed the por- 
 traits of Pericles and himself upon the shield of the virgin 
 goddess. This was objected to him as an impious deed: 
 and Menon, one of his pupils, at the same time accused 
 him of having converted to his own profit a part of the 
 forty-four talents of gold which had been appropriated to 
 
 the tenth of the spoils of Marathon ; an Amazon, in brass, in the 
 Temple of the Ephesian Diana: in marble, the Mercury, surnamed 
 Pronaos, at Thebes ; the statue of Minerva at Plataea, of which the 
 face, hands, and feet, were marble, the rest of wood ; an Urania and a 
 RhBa. To these may, perhaps, be added the statue of Nemesis, which 
 was formed out of a block of marble which the Persians brought to Ma- 
 rathon, and which bore the name of Agoracritus. 
 
 * In brass, a Minerva formed of the spoils taken at Marathon, of eo 
 colossal a size that the tops of her spear and helmet were seen from the 
 southernmost point of Attica ; the Lemnian Minerva, and Apollo Par- 
 nopius; in marble, a "celestial" Venus, and most probably the chief 
 figures in the Tympana of the Parthenon. The Venus in the Gardens 
 by Alcamenes, was said to have received the finishing touch from the 
 hand of Phidias. 
 
 Ei'fs 'n.oaitia.m, *s/Jsa Ksxjot/>?;. — Anthol. Grsec. iv. 12. 
 
OP THE PARTHENON. 
 
 125 
 
 the adorning of the image. Fortunately, he had, by the 
 advice of Pericles, so affixed the metal to the statue that 
 it could be taken off without difficulty, and weighed. 
 The investigation terminated to his honour, and the con- 
 fusion of his enemies ; but still he was conscious that 
 neither innocence nor the powerful protection of his 
 patron could shield him from the effects of a deeply- 
 rooted jealousy, and he wisely retired to Elis. There, 
 in security from the ingratitude of his countrymen, he 
 executed his Olympian Jupiter, anciently reputed one of 
 the seven wonders of the world. It was, as well as his 
 Minerva, composed of ivory and gold, sixty feet in height, 
 and in sublimity of character and ideal beauty is said 
 to have excelled his former stupendous work. The o-enius 
 of Homer had inspired his soul, and in this epic poet's 
 descriptions of the Thunderer*' he found his majestic 
 model. On the base of the statue was inscribed, " Phi- 
 dias, the Athenian, son of Charmidas, made me." This, 
 the most renowned, was the last of his productions. He 
 died A.C. 432 ; and the Eleans, in veneration of his me- 
 mory, decreed that his descendants should be intrusted 
 with the care of the famous Jupiter. 
 
 The Parthenon, or chief temple of the virgin goddess 
 Minerva, was one of the great works of this celebrated 
 artist. It stood on an elevated spot, nearly in the centre 
 of the Acropolis, or upper city, now the citadel of Athens, 
 built on the site of the original city, founded by Cecrops, 
 an Egyptian, about 1556 years before Christ, and called 
 Cecropia. The Acropohs is accessible only by one 
 approach, on the western side; and this is rendered 
 extremely intricate by modern traverses and walls. So 
 splendidly was the Acropolis decorated with temples and 
 
 * H Kai xvccvifjiriii iTt' Ip^vfn mde't Kfiovtuv' 
 Kfoiros KIT tfDxvtirm- fiiymv §' sXsA./|£i/"0A:/^!rai'. — Hom. II., i. 528. 
 
126 
 
 ESSAY ON THE MARBLES 
 
 noble edifices, that it was considered the richest spot in 
 the world in works of art. The Parthenon is now reduced 
 to the last stage of ruin and decay. Little remains of 
 what formerly constituted one of the most elegant, if 
 not the most spacious, monuments of heathen supersti- 
 tion ; but this little is venerable for its age and history, 
 and highly interesting for the evidences which it still 
 affords of Grecian skill in architecture. Its beautiful 
 proportions are, indeed, now lost in the surrounding mass 
 of miserable huts, its glittering whiteness dimmed by the 
 corroding hand of time, and its towering columns shat- 
 tered and cast down by the merciless engines of modern 
 warfare; but yet, while a vestige is to be found of such 
 excellence, it will not cease to be inestimable to the scien- 
 tific traveller, and the philosophical inquirer into the state 
 of society in former ages. 
 
 The original temple was called the Hecatompedon, 
 on account of its being a hundred feet square ; it was a 
 very ancient edifice, dedicated to Minerva, and probably 
 not remarkable for its decorations. It was burnt by the 
 Persian troops when they gained possession of the Acro- 
 polis, in the year A.C. 480, under Xerxes. On the site, 
 which had already been rendered sacred to the tutelar 
 deity, Pericles erected the magnificent edifice denomi- 
 nated the Parthenon, and spared no expense in bringing 
 to perfection the immortal work, which employed the 
 united talents of the first sculptors and architects whom 
 the world has ever seen, of Phidias, Ictinus, and Calli- 
 crates. The new temple occupied more than double 
 the space of its predecessor, being 227 feet in length, 
 and 101 in width; from the ground to the summit of the 
 pediment it was 65' 6". It stood upon a pavement ele- 
 vated by three steps, and v>^as surrounded by forty-six 
 columns of the Doric order, fluted, 34' 1" high, eight 
 in the front of each portico, and seventeen on either 
 
OF THE PARTHENON. 
 
 127 
 
 flank, reckoning those of the angles twice. The porticoes 
 v/ere both surmounted with pediments filled with statues; 
 those in the eastern end, or entrance, representing, ac- 
 cording to Pausanias, the mythological story of the 
 nativity of Minerva from the brain of Jupiter ; and those 
 in the rear, or western pediment, representing the contest 
 of Minerva and Neptune for the honour of naming and 
 patronizing the newly-built Cecropia. The metopes were 
 executed in high relief, and each displayed a distinct 
 group of a Centam- and a Lapitha. About twelve feet 
 within the outer range of columns of each portico was 
 another row, of less diameter, the frieze of which was 
 continued round the walls of the cella or inclosed area of 
 the temple. This frieze exhibited, in low relief and conti- 
 nued succession, an amazing number and variety of figures, 
 forming the Panathenaic procession. 
 
 The interior of the building was divided into the cella 
 and opisthodomus. In the middle of the cella was an 
 oblong space, sunk a little more than an inch below the 
 level of the opisthodomus. At the eastern end of the 
 shrine was erected the famous idol mentioned in the life 
 of Phidias, and thus described by Pausanias: " The 
 image itself is of ivory and gold; on the middle of her 
 crest is placed the figure of a sphinx. It is erect, and 
 covered with a garment down to the feet. There is a 
 head of Medusa wrought in ivory on hea' breast, and a 
 Victory four cubits high. In her hand she holds a spear ; 
 at her feet lies her shield ; and at the bottom of the spear 
 is a dragon, which dragon may be Erichthonius ; on the 
 base is carved the nativity of Pandora." The roof of the 
 opisthodomus, or, as Wheler denominates it, the pronaos, 
 is said by him to have been " sustained by six channelled 
 pillars, of the same order and bigness with those of the 
 portico ;" but as no traces whatever of these have been 
 discovered, Mr. Wilkins conceives that the above remark 
 
128 
 
 ESSAY ON THE MARBLES 
 
 refers to the columns of what is, strictly speaking, the 
 posticum. The opisthodomus was used as a depository 
 of the offerings and valuable articles belonging to the 
 temple, and is to be considered as distinct from the 
 state treasury, which was called by the same name, being 
 situated at the back of the Parthenon. In this latter 
 building the treasures of the commonwealth were kept, 
 and the names of the public debtors were registered. 
 This important charge was confided to Jupiter Soter, 
 and the god of riches, Plutus, who, however, were not 
 vigilant enough to prevent the egregious villany of some 
 of their subordinate officers, who, in process of time, 
 burnt the building, to avoid the detection of their dis- 
 honesty. 
 
 The open space between the front wall of the cella and 
 the hinder columns, about twelve feet in depth, was called 
 the pronaos, and that corresponding with it at the other ex- 
 tremity, the posticum, elevated two steps above the portico : 
 from thence there was another step, of an inch only in 
 height, into the opisthodomus. The cella measured 98' 7" 
 in length, and 62' 6" in width ; the opisthodomus, behind 
 the cella, 42' 10" in length. 
 
 The roof is supposed to have been of wood, overlaid with 
 marble slabs, in a regular form, imitating tiles, the joinings 
 of which were covered by narrow pieces of marble, so fitted 
 in as to preserve the interstices from the weather, and ter- 
 minated at the eaves by an upright ornament. 
 
 Such was the Parthenon under its heathen masters. 
 There is no precise mention made of the date of its trans- 
 formation into a Christian church : but it was probably 
 despoiled of its remaining treasures by the ruthless 
 Alaric. At least, w^e know that it retained its idol down 
 to the time of the Uoman emperors, Valentinian and 
 Valens, A. D. 364 ; and Attica, in common with the 
 other states of Greece, suffered about forty years from 
 
OP THE PARTHENON, 
 
 129 
 
 the incursions of the Gothic king. The building, however, 
 was not destroyed; and having passed from a Christian 
 into a Mohammedan place of worship, was found by Sir 
 G. Wheler, in 1676, almost entire, except the roof, which 
 had been constructed of a more modern fashion to suit 
 the rehgious purposes to which the Greek Christians had 
 applied the edifice. " When the Christians," says Whe- 
 ler, " consecrated it to serve God in, they let in the light at 
 the east end, which is all that it yet hath ; and not only 
 that, but made a semicircle for the holy place, according 
 to their rites, which the Turks have not yet much altered. 
 This was separated from the rest by jasper pillars, two of 
 which on each side yet remain. Within this chancel is a 
 canopy, sustained by four porphyry pillars, with beautiful 
 white marble chapiters, of the Corinthian order; but the 
 holy table under it is removed. Beyond the canopy are 
 two or three degrees, one above another, in a semicircle, 
 where the bishops and presbyters used to sit in time of 
 
 communion, upon certain solemn days." " On both 
 
 sides, and towards the door, is a kind of gallery, made 
 with two ranks of pillars, twenty-two below, and twenty- 
 three above. The odd pillar is over the arch of the en- 
 trance, which was left for the passage. It being now 
 turned into a mosque, tlie niche of the Turks' devotion is 
 made in the corner on this side of the altar, on the right 
 hand, by which is their place of prayer; and on the other 
 side a pulpit to read their law in, as is usual in all mosques. 
 The Turks, according to their measure of wit, have v/ashed 
 over the beautiful white marble Avithin with lime. At one 
 side of the quire there are four presses made in the wall, 
 and shut up v/ith doors of marble. They say none dares 
 open them ; and that one undertaking to do it, imme- 
 diately died the first he opened ; and that the plague soon 
 after followed in the town." 
 , About eleven years after this account was written, the 
 
 K 
 
130 
 
 ESSAY ON THE MARBLES 
 
 Venetians besieged the citadel, and threw a shell from 
 the hill of the Museum, which most unfortunately ex- 
 ploded near the middle of the cella of the Parthenon, 
 entirely destroying the walls of that division of the 
 building, and overthrowing nineteen pillars. The eastern 
 pediment, with its sculptured treasures, was nearly de- 
 molished by this accident, and the western has since 
 suffered severely from other causes. Of the ornamental 
 parts of the temple, which have been saved from the 
 worse than Gothic ignorance of the Turks, we are most 
 fortunately enabled to speak with certainty: and if the 
 architectural details of the building, in its most perfect 
 state, were comparable, in point of merit, with some of 
 these, no greater encomium can be paid it, than to say that 
 it was worthy of receiving such exquisite decorations. 
 
 The sculpture which adorned the temple related to 
 the history of the goddess, and to that of the Athenians, 
 her peculiar votaries. The Minerva, worshipped by the 
 Athenians, was allegorically represented as having been 
 produced from the brain of Jupiter, and may be consi- 
 dered as signifying divine wisdom. Agriculture was sup- 
 posed to be favoured with her patronage; and the olive, 
 the most valuable natural production of Attica, was there- 
 fore consecrated to her. In the time of Cecrops, the 
 agricultural part of the community under his govern- 
 ment obtained some civil advantages over the portion of 
 his subjects engaged in navigation and commerce, which 
 event was afterwards commemorated under the allego- 
 rical semblance of a supposed contention between Mi- 
 nerva, the divine patroness of the former party, and Nep- 
 tune, the tutelar deity of the other; and terminated in 
 the preference of the goddess, and devotion of the city to 
 her as its superior divinity. In this dispute it was pre- 
 tended by the poets that Neptune, by a stroke of his 
 trident, caused a spring of sea-water to issue from the 
 
OF THE PARTHENON. 
 
 131 
 
 earth ; and that a blow from the spear of Minerva pro- 
 duced an olive-tree. The mystical birth of the goddess, 
 and this allegory relating to the origin of her Athenian 
 temples, were commemorated in the sculpture which 
 adorned the tympana of the pediments, in which the 
 figures were carefully finished all round, as well where 
 they could not be seen by spectators from below, as in 
 the more obvious parts, except only some small portions 
 by which they were attached to the wall. Various con- 
 jectures have been adduced to account for this apparently 
 superfluous labour; it seems most probable that the 
 artist, conscious of the transcendent excellence of his 
 work, wished to make it independent of the building to 
 which it was originally attached, and capable of the noble 
 destination of forming a school of sculpture, after the 
 destruction of the religion, and ruin of the temple, for 
 which it was intended. 
 
 On the eastern pediment, the central part of the com- 
 position, representing the birth of Minerva, had been 
 destroyed previously to the making of the old drawings 
 before mentioned. This part must have contained the 
 principal figures ; that is to say, those of Jupiter, Vulcan, 
 Minerva, and probably others. 
 
 There is, in the second volume of Stuart's Athens, an 
 attempt at a restoration of this central and principal 
 group. To the left of these, in the angle, was the car 
 of Hyperion, the god of day, rising from the waves; 
 then followed the figure by some called Hercules; and 
 by others Theseus; next Ceres and Proserpine; after- 
 wards a Victory, and a figure of Iris. To the right of the 
 chasm, in the pediment, was a group of the Fates ; and 
 beyond this, in the angle, the chariot of Night. The 
 -fragments of this part of the sculpture, remaining in the 
 British Museum, are numbered as follows: A group of 
 two of the Fates, 63; and a figure supposed to have been 
 
 K2 
 
132 
 
 ESSAY ON THE MARBLES 
 
 the third, 67. The upper part of the figure of Hyperion, 
 rising from the sea, with his arms stretched out in the act 
 of holding the reins of his horses, 65; the heads of two of 
 those horses, 66 ; the statue of Theseus, 7 1 ; a torso of 
 the figure of Victory, 72 ; a statue of Iris, 74 ; Ceres and 
 Proserpine, 77. 
 
 The figures of the western tympanum, representing the 
 contention between Minerva and Neptune, were thus dis- 
 posed, beginning at the angle opposite the left hand of 
 the spectator: the river Ilyssus; Vulcan and Venus; 
 three figures of deities friendly to the cause of Minerva; 
 Victoria Apteros, or Victory, without wings, driving the 
 car of Minerva ; near this a figure, supposed to be Cecrops ; 
 Minerva herself, victorious, about to resume her place in 
 her chariot; Neptune, starting back, astonished at the 
 prodigy effected by the goddess ; several deities friendly 
 to Neptune, as Amphitrite, Palemon, Leucothea, and 
 Latona with her children. The fragments of this pediment, 
 preserved in the Elgin collection, are numbered as fohows; 
 The upper part of the torso of Neptune, 64 ; the torso of 
 Victoria Apteros, 69 ; the recumbent figure of the river 
 Ilyssus, 73 ; a fragment of a group, formerly consisting of 
 Latona with her two children, Apollo and Diana, 73 ; a 
 fragment of the figure of Minerva, 75, and the upper part 
 of the head of the same statue, 118 ; the torso of a male 
 figure, supposed to be that of Cecrops, 76. 
 
 These marbles from the pediments are in the purest 
 style of sculpture ; there is every reason to suppose that 
 they were designed by Phidias, and strong probability 
 that they were executed by him. It seems to have been 
 the intention of the artist to represent the finest forms, as 
 seen in nature, divested of the imperfections of indivi- 
 duals, but not refined by any attempt at scientific im- 
 provements founded on anatomical knowledge and sys- 
 tems of ideal beauty. The Theseus, or Hercules, is con- 
 sidered by the most competent judges as the finest of 
 
OP THE PARTHENON. 
 
 133 
 
 these figures, and the Ilyssus is ranked as the second in 
 excellence : all of them are remarkable for the beauty of 
 the forms, and the unaffected ease and variety of the atti- 
 tudes. The draperies are extremely elegant, and, in gene- 
 ral, have never been excelled in sculptare ; their arrange- 
 ment and folds appear the most natural and unstudied, 
 which proves the consummate art of the sculptor. 
 
 The metopes of the entablature which encircled the 
 Parthenon were ninety-two in number, enriched with 
 sculpture in high relief Fifteen only of these are pre- 
 served in the British Museum : they represent the contest 
 between the Centaurs and Lapithje. The former were 
 a Thessalian people, formidable for the warUke feats of 
 their cavalry, a species of force unknown to their neigh- 
 bours. The Lapitha^ dwelt on the banks of the Peneus, 
 also in Thessaly ; and at the marriage of their king, Piri- 
 thous, several chiefs of the Centaurs were invited, as was 
 the Athenian hero, Theseus, with his followers. Inflamed 
 with wine, the Centaurs offered violence to the females of 
 the company ; the insult was resented by the Lapithae and 
 Athenians ; a sanguinary combat ensued, in which the Cen- 
 taurs were defeated. The tradition of this event was after- 
 wards a favourite subject with Athenian painters and sculp- 
 tors, v/ho represented the Centaurs as monsters composed 
 of the incongruous figures of a man and a horse. 
 
 The metopes preserved in the Museum collection are 
 numbered from 1 to 15. In some of them the Centaurs 
 appear victorious ; in some the Athenians have the ad- 
 vantage; while in others, again, the victory seems doubt- 
 ful with respect to either of the combatants. On some 
 of the metopes we find not a combat, but the carrying 
 off of a female : a young woman, who is supposed to have 
 been of the number of the guests, is ineffectually struggling 
 in the arms of her ravisher. The relief of all these com- 
 positions is very prominent, and several of the parts 
 approach very near to the natural rotundity; one of the 
 
134 
 
 ESSAY ON THE MARBLES 
 
 figures was even attached to the back-ground at otie point 
 only* An enUghtened connoisseur had already remarketd, 
 that inbas-rehefs exposed tathe open air, a strong projec- 
 tion materially contributes to the firmness of the masses, 
 and the harmony of the general effect. 
 
 The execution of these sculptures is worthy of the 
 school of Phidias, and of the whole structure of the Par- 
 thenon. We may, however, distinguish in the metopes 
 the work of different hands; a difference which is not per- 
 ceived in the bas-reliefs of the interior frieze : although 
 the greater part of them bear the stamp of the school, 
 there are some which are not exempt from the charge of a 
 certain degree of meagreness of execution. 
 
 The exterior frieze of the cella of the Parthenon was 
 embellished with an uninterrupted series of sculpture, in 
 low flat relief, continued entirely round the temple. The 
 subject of this sculpture was the sacred procession which 
 took place at the great Panathenaea, a festival to which 
 we have already alluded. 
 
 There were two solemnities of this name : one of which 
 was called MeyaXa TlavaQrivxia, the Great Panathenaea, and 
 was celebrated once in five years ; the other was denomi- 
 nated MjKgct UavaQwaix, the Less Panathenaea, and was 
 observed every third year,— ^or, as some think, every year. 
 
 In the greater festival there was a procession, in 
 which Minerva's sacred 'miiXos, garment, was carried. 
 This '7i£'?r'ko9 was woven by a select number of virgins, who 
 were called ^yff,urUa.l from s/jyov a work ; and who were 
 superintended by two of the ctppn(p6^oi, and commenced 
 their employment at the festival XaXxera, which was the 
 thirteenth of Pyanepsion. It was white, without sleeves, 
 and embroidered with gold. Upon it were described the 
 achievements of Minerva against the giants, of Jupiter, 
 of the heroes, and of men renowned for courage ; and 
 hence men of courage and bravery were said to be ahoi 
 TTsirKov, worthy of being portrayed on the garment of 
 
OF THE PARTHENON. 
 
 135 
 
 Minerva. In the Ceramicus, without the city, v/as an 
 engine, built in the form of a ship, upon which the -TrsTrXoy 
 was hung in the manner of a sail, and which was put 
 in motion by concealed machinery. It was conveyed to 
 the temple of Ceres Eleusinia, and from thence to the 
 citadel, where it was put upon Minerva's statue, which 
 was laid on a bed strewed with flowers, and called TrXanU. 
 This procession was composed of persons of all ages, and 
 both sexes. It was led up by old men, with old women, 
 carrying olive branches in their hands ; and hence they 
 were called ^aX'ko(p6qoi, bearers of green boughs. After 
 these came middle-aged men, who, armed with lancet and 
 bucklers, seemed only to respire war, and who were ac- 
 companied by the (/.eroikoi, sojourners, carrying little boats, 
 as an emblem of their being foreigners, and therefore called 
 GKa<pY)(popoi, boat-bearers. Then followed the women, at- 
 tended by the sojourners' wives, who were called z5^gja(po§o{, 
 from carrying water-pots, in token of servitude. Then 
 followed young men, who sang hymns in honour of the 
 goddess, and who were crowned with millet. Next pro- 
 ceeded select virgins, of high rank, whose features, shape, 
 and deportment, attracted every eye, and who were called 
 xxvYi(p6qQi, from their carrying baskets, which contained 
 sacred utensils, cakes, and all things necessary for the sa- 
 crifices. These utensils were in the custody of one, who, 
 because he was chief manager of public processions, was 
 called dpxi^eco^o^. The virgins were attended by the so- 
 journers' daughters, who carried umbrellas and folding 
 chairs, and who were thence denominated h(p^'n<p6poi, seat- 
 carriers. Lastly, followed the boys, who walked in a sort 
 of coats used at processions, and called itavlaixiy-oi. The 
 necessaries were prepared in a pubUc hall set apart for that 
 purpose : and the management of the whole business be- 
 longed to the voiU-o(pyX«)tss-, who were appointed to see that 
 the laws and ancient customs were observed. At this 
 solemnity, it was usual to have a gaol delivery, to present 
 
136 
 
 ESSAY ON THE MARBLES 
 
 golden crowns to those who had rendered any remarkable 
 service to the commonwealth, and to appoint rhapsodists 
 to sing the poems of Homer. Lastly, in these and other 
 quinquennial solemnities, it was customary to pray for the 
 prosperity of the Plataeans, on account of the services they 
 rendered the Athenians at the battle of Marathon, in which 
 they behaved with extraordinary courage and resolution. 
 
 The bas-reliefs on this subject, which compose the above- 
 mentioned frieze, are arranged, in the British Museum, as 
 nearly as was compatible with the construction of the pre- 
 sent room, in the order in which they were originally 
 placed on the Parthenon. Those on the principal front of 
 the temple, namely, the east, are placed first ; then follow 
 those of the north ; and lastly, those of the west and 
 south : they are arranged, in short, in the same manner in 
 which they would be seen by the spectator who approached 
 the temple by the east, and walked round it by the north, 
 west, and south. 
 
 On two of the slabs of this frieze are represented divi- 
 nities and deified heroes, seated; namely, Castor and Pol- 
 lux, Ceres and Triptolemus, Jupiter and Juno, and ^scu- 
 lapius and Hygeia. There was originally a third slab, 
 which represented four other divinities, also seated ; but it 
 has disappeared for many years. On the right and left of 
 these sacred characters are traips of females, with their 
 faces directed to the gods, to whom they are carrying gifts : 
 we see also directors or regulators of the procession, 
 among whom are the ofiicers whose duty it was to receive 
 the presents that were offered. These females appear to 
 have headed the procession, and to have been followed by 
 the victims, charioteers, horsemen, ^c, both on the north 
 and south sides of the temple ; forming together a proces- 
 sion, in two separate columns, up to the same point. 
 
 With respect to the peculiar flat broad style of this 
 frieze, Barry has the following judicious observations: — 
 " When sculpture is only an agent, as it is in the frieze, 
 
OF THE PARTHENON. 
 
 137 
 
 and other parts of architecture, its effects of chiar-oscuro 
 should become subordinate, and, Hke every other member, 
 appear only as a co-operating part in the general effect of 
 the whole building. This, I beheve, will be found to be 
 the true reason for what may be thought the imperfect, in- 
 artificial mode of execution, which, it appears by the frag- 
 ments in the Academy, was adopted in the bas-reliefs of 
 the frieze on the Temple of Minerva, at Athens. The 
 figures which were intended to appear nearest the eye, are 
 inclining to the flat : they have comparatively the least 
 convexity, and come off from their ground in a bold, 
 square, and detached way, with a rehevo similar to that of 
 the triglyphs and pateras ordinarily used in those situa- 
 tions. Thus, the lights being larger, and less broken, the 
 whole appearance of those advanced objects is compara- 
 tively more preserved and distinct than the others ; and 
 the effect proper to the occasion is, perhaps, better obtained 
 than it could have been in any other way. 
 
 " If these works were, from architectonic and optical 
 considerations, solely calculated to produce their effect in 
 a certain given situation, distant from the sight, it can be 
 no wonder, nor is it any imputation of want of skill in 
 Phidias, or his workmen, that they should appear very 
 differently, and much wanting, when brought near the eye, 
 into a situation the reverse of that for which they were in- 
 tended. Had they been calculated for the panels of an 
 arched way, almost on a level with the spectator, like those 
 beautiful bas-reliefs in the Arch of Titus, there can be no 
 d(/ubt, but that a style of execution, directly the reverse, 
 ought necessarily to have been adopted ; for the knowledge 
 which influenced the conduct of the artist in the one mode, 
 does actually imply the cognizance of the other*." 
 
 * A portion of this Essay appeared, orig'inally, in a publication de- 
 voted to the Fine Arts ; the ability with which it was written, added to 
 the necessity of some introduction to the Marbles, suggested the pro- 
 priety of adopting it here. 
 
138 
 
 BRITISH MUSEUM. 
 
 THE ELGIN 
 
 COLLECTION OF GREEK SCULPTURES 
 
 COMMENCE WITH 
 
 No. 41. An Egyptian scarabseus, or beetle, brought from 
 Constantinople. 
 
 No. 42. An architectural statue ; it was one of the Ca- 
 ryatides which supported the roof under which the oliv^ 
 tree of Minerva was sheltered, in the temple of Pandrosus, 
 at Athens. 
 
 No. 43. A piece of the shaft of an Ionic column. 
 
 No. 44. The capital of an Ionic column belonging to 
 the temple of Diana, at Daphne, on the Road from Athens 
 to Eleusis. 
 
 No. 45. A piece of the shaft of an Ionic column, be- 
 longing to the same temple. 
 
 No. 46. The base of an Ionic column, likewise belong* 
 ing to the same temple. 
 
 No. 47. The capital of an Ionic column, from the por- 
 tico of the Erechtheium, at Athens. The building to 
 which this singularly beautiful piece of architecture be- 
 longed, was a double temple dedicated to Minerva Polias 
 and Pandrosus. 
 
 Nos. 48, 49. A portion of the shaft, and the base, of the 
 same column. 
 
 No. 50. A soHd monumental urn, or cenotaph, with a 
 bas-relief in front, not inscribed. 
 
 No. 51. Another monumental urn, of the same kind, 
 inscribed with the name of Pheedimus of Naucratis. 
 
 No. 52 — 54, Casts in plaster, of three of the metopes 
 of the north side of the temple of Theseus, at Athens, 
 
BRITISH MUSEUM. 
 
 139 
 
 The first represents Theseus kilUng Creon, king of Thebes ; 
 the second, Theseus overcoming Cercyon, king of Eleusis, 
 in a wrestUng match ; and the third, Theseus kiUing the 
 Crommian sow. 
 
 No. 55 — 68. Casts in plaster, from the frieze of the 
 Pronaos of the temple of Theseus. The subject of this 
 frieze is a battle fought in the presence of six divinities, 
 who are represented sitting in the midst of the com- 
 batants. 
 
 No. 69 — 73. Casts in plaster, from the frieze of the 
 Posticus of the same temple. The subject of these sculp- 
 tures is the battle of the Centaurs and Lapithze. 
 
 No. 74 — 88. Casts in plaster of the whole of the frieze 
 at the w^est end of the Parthenon ; these casts are arranged 
 in the order in which the original marbles were placed in 
 the temple. 
 
 No. 89 — 97. Casts in plaster of the frieze of the Cho- 
 ragic monument of Lysicrates, commonly called the Lan- 
 tern of Demosthenes. The subject of this frieze is the 
 story of Bacchus and the Tyrrhenian pirates. 
 
 No. 98, 99. Casts in plaster, from one of the ends of 
 the celebrated sarcophagus in the cathedral church at 
 Agrigentum, which represents the story of Phsedra and 
 Hippolytus. 
 
 No. 100. A cast in plaster, of a portion of the frieze 
 from the east front of the Parthenon. The original is iri 
 the French collection. 
 
 No. 101. A torso of Venus, of very fine sculpture. 
 Purchased in 1821. 
 
 The fragments of Mosaic pavement ('placed, for the 
 'present, in this room,) were found at Withington, in 
 Gloucestershire. 
 
140 
 
 BRITISH MUSEUM. 
 
 FIFTEENTH ROOM. 
 
 All the Articles in this Room, except a few, which are particularly 
 specified, belonged to the Earl of Elgin. 
 
 No. 1 — 15. Fifteen of the metopes belonging to the Par- 
 thenon, which, alternately with the triglyphs, ornamented 
 the frieze of the entablature surmounting the colonnade : 
 they represent the battle between the Centaurs and 
 Lapithse, or rather between the Centaurs and Athenians, 
 who, under Theseus, joined the Lapithse (a people of Thes- 
 saly) in this contest. These magnificent specimens of an- 
 cient art, are executed with great spirit, in alto relievo : 
 they were seen at a height of nearly forty-four feet from 
 the ground. 
 
 No. 16. A plaster cast of the metope. No. 7. 
 
 No. 15* — 62. The exterior frieze of the Cella of the 
 Parthenon, which embeiUshed the upper part of the walls, 
 within the colonnade, at the height of the frieze of the 
 Pronaos, and v/hich was continued in an uninterrupted 
 series of sculpture entirely round the temple. It is in very- 
 low relief. The subject represents the sacred procession 
 which took place at the great Panathenaea, a festival which 
 was celebrated every fifth year, at Athens, in honour of 
 Minerva, the patroness of the city. The bas-reliefs which 
 compose this frieze, are arranged as nearly as it could be 
 ascertained, and was compatible with the construction of 
 the present room, in the same order as they were originally 
 placed in the Parthenon. Those on the principal front of 
 the temple, namely, the east, are placed first, then follow 
 those of the north, and lastly, those of the west and south : 
 they are arranged, in short, in the same manner in which 
 they would be seen by the spectator who approached the 
 the temple by the east, and walked round it by the north, 
 west, and south. 
 
BRITISH MUSEUM. 
 
 141 
 
 No. 15 — 21. That portion of the above-mentioned frieze 
 wiiich occupied the east end of the temple. On two of 
 the slabs, which compose this part of the frieze, are repre- 
 sented divinities and deified heroes, seated ; namely. Cas- 
 tor and Pollux, Ceres and Triptolemus, Jupiter and Juno, 
 and ^sculapius and Hygeia. There was, originally, a third 
 slab, which represented four other divinities, also seated, 
 but it has disappeared for many years. 
 
 No. 22—33. A portion of the same frieze, taken from 
 the north side of the temple. No. 22, is a fragment of a 
 much larger slab; it represents two of the Metaci, or 
 strangers, who settled at Athens, and were allowed to take 
 part in the procession. 
 
 No. 34 38. Five slabs of the frieze, from the north side 
 
 of the temple ; they ought to have been introduced, if the 
 room would have permitted it, between Nos. 24 and 25. 
 Three of these slabs represent charioteers, and two of them 
 horsemen. 
 
 No. 38*. A single slab of the north frieze, which serves 
 to fill up a chasm between Nos. 31 and 32, and to com- 
 plete the series from No. 25 to 33, inclusive. 
 
 Nos. 38**, 38***. Two slabs of the south frieze. 
 
 No. 39. A single slab of the frieze, from the west end of 
 the temple. It represents two horsemen, one of whom is 
 riding before the other, and seems to be in the act of 
 urging his companion to quicken his pace. 
 
 The frieze, at the west end of the temple, originally con- 
 sisted of fifteen slabs, of which there is a perfect set of 
 plaster casts preserved in this collection. In Room XIV. 
 (Nos. 74—88.) 
 
 No. 40—62. A portion of the same frieze, namely, that 
 portion which enriched the south side of the temple. It 
 represents a procession of victims, charioteers, and horse- 
 men, and is very similar in general character and ap- 
 pearance to the frieze on the opposite or north side. 
 
142 
 
 BRITISH MUSEUM. 
 
 No. 63. A group of two of the Fates, from the east pe- 
 diment of the Parthenon, on which was represented the 
 birth of Minerva. Another figure, in this collection, 
 (No. 67,) is supposed to have been one of the Fates, and 
 to have formed a part of the same group. 
 
 No. 64. The upper part of the torso of Neptune, one of 
 the principal figures in the west pediment of the Parthe- 
 non. The subject of the sculptures represented on this 
 pediment, was the contest between Minerva and Neptune, 
 for the honour of giving name to the city of Athens. 
 
 No. 65. The upper part of the figure of Hyperion rising 
 out of the sea. This figure, which represents the approach 
 of day, is from the east pediment of the Parthenon, where 
 it occupied the angle on the left of the spectator. 
 
 No. 66. The heads of two of the horses belonging to 
 the car of Hyperion. From the east pediment of the 
 Parthenon. 
 
 No. 67. A female figure, in a sitting posture, also from 
 the east pediment of the Parthenon. Supposed to be one 
 of the sister Fates, and to have formed part of the group 
 already described under No. 63. 
 
 No. 68. The head of one of the horses belonging to the 
 chariot of Night, which was represented plunging into the 
 ocean, on the right angle of the east pediment of the Par- 
 thenon, that is to say, the right angle in reference to the 
 spectator. 
 
 No. 69. The Torso of Victoria Apteros, or Victory with- 
 out wings, who was represented in this manner by the 
 Athenians, to intimate that they held her gifts in perpe- 
 tuity, and that she could not desert them. 
 
 No. 70 A recumbent statue, supposed to be of the river- 
 god Ilissus. The Ilissus was a small stream that ran alono- 
 the south side of the plain of Athens . This figure, which, with 
 the exception of the Theseus, is the finest in the collection, 
 occupied the left angle of the west pediment of the Parthenon. 
 
BRITISH MUSEUM. 
 
 14S 
 
 No. 71. A statue of Theseus, the Athenian hero ; he is 
 represented half rechned on a rock, which is covered with 
 the skin of a lion. Theseus, it is well known, professedly- 
 imitated the character of Hercules ; and it is worthy of 
 remark, that the attitude here given to Theseus, is very 
 similar to that of Hercules on some of the coins of Cro- 
 tona. This wonderfully fine statue, originally, occupied a 
 place in the east pediment of the Parthenon, next to the 
 horses of Hyperion. 
 
 No. 72. A torso of Victory, from the east pediment of 
 the Parthenon. 
 
 No. 73. A fragment of a group, which originally con- 
 sisted of Latona, with her two children, Apollo and Diana. 
 This group was placed on the right side of the west pedi- 
 ment of the Parthenon. 
 
 No. 74. A statue of Iris, one of the daughters of Ocea- 
 nus, and the messenger of the celestial deities, particularly 
 of Juno. It is from the east pediment of the Parthenon. 
 
 No. 75. A fragment of the statue of Minerva, one of the 
 principal figures in the west pediment of the Parthenon, 
 and of nearly the same proportions as the torso of Nep- 
 tune, from the same pediment. (See No. 118.) 
 
 No. 76. The torso of a male figure, supposed to be that 
 of Cecrops, the founder of Athens, It is from the west 
 pediment of the Parthenon. 
 
 No. 77. A group of two goddesses, probably intended 
 to represent Ceres and her daughter Proserpine. This 
 group was in the east pediment of the Parthenon. 
 
 No. 78. A small figure of Telesphorus, completely en- 
 veloped in a cloak ; it wants the head. 
 
 No. 79. The chest of a female figure, covered with dra- 
 pery ; it has probably belonged to one of the metopes of 
 the Parthenon. 
 
 No. 80. The capital of an Ionic column, from the temple 
 of Diana, at Daphne. 
 
144 
 
 BRITJSH MUSEUM. 
 
 No. 81. A fragment of a boy, holding a bird under bis 
 arm, and feeding it. 
 
 No. 81*. A small fragment of a very ancient Greek in- 
 scription, written in the bustrophedon manner. 
 
 No. 82. A bas-relief, representing a young man standing 
 between two goddesses, Vesta and Minerva, who are 
 crowning him. 
 
 No. 83. A Greek inscription in the Doric dialect; it is a de- 
 dication to Bacchus, by Alexas, the son of Nicon, and Cephiso- 
 dorus, the son of Aglaopheedas, who had both been victorious 
 in the chorusses of men. 
 
 No. 84. A fragment of a bas-relief, representing an elderly 
 man before one of the gods, probably Bacchus, who appears to 
 hold a vase in his right hand. 
 
 No. 85. A piece of the architrave of the Erechtheium at 
 Athens. 
 
 No. 86. A votive Greek inscription of Antisthenes, the priest 
 of Pandion : he was the son of Antiphates, and belonged to the 
 tribe of Pandionis. 
 
 No. 87. An imperfect Greek inscription, engraved on three 
 sides of a piece of marble, in very ancient letters. 
 
 No. 88. A Greek i.^scription from Athens, signifying that 
 certain gifts, which are specified, had been consecrated to some 
 goddess, probably Venus, by a female, who held the office of 
 lighter of the lamps, and interpreter of dreams,- in the temple of 
 the goddess. The name of this female, which was, no doubt, 
 inserted at the beginning of the inscription, is now lost. 
 
 No. 89. A fragment of a bas-relief, representing Minerva 
 placing a crown upon a person's head. 
 
 No. 90. A small female figure, covered with drapery ; it is 
 without a head. 
 
 No, 91. A circular votive altar. The inscription, in Greek, 
 near the bottom, is a prayer for the prosperity and health of a 
 person named Casiniax. 
 
 No. 92. A Greek inscription, written in two columns; it con- 
 
BRITISH MUSEUM. 
 
 US 
 
 tains a list of names, arranged in the order of the tribes to which 
 they respectively belonged. 
 
 No. 93. An agonistic inscription, in Greek, consisting of the 
 names of those who had conquered in the foot race of the sta- 
 dium, and double stadium; in wrestling; in boxing; in the 
 pancratium ; diXid pentathlum. 
 
 No. 94. A bas-relief, imperfect, representing a goddess seated 
 on a chair or throne, behind whom are seven figures, four of which 
 are children ; one of the latter is leading a ram to an altar, the 
 rest are in the attitude of devotion. 
 
 No. 95. A fragment of the upper part of a sepulchral stele. 
 
 No. 96. A fragment of a bas-relief ; belonging to the frieze 
 of the Parthenon. 
 
 No. 97. A bas-relief, representing a votive figure of Cybele, 
 seated in a kind of small temple. 
 
 No. 98. A fragment of a bas-relief ; belonging to the frieze 
 on the north side of the Parthenon ; it is a part of the slab, 
 No. 35. 
 
 No. 99. An oblong shallow vessel for containing holy water. 
 From Cape Sigeum, near the plain of Troy. 
 No. 100. An unknown bust. 
 
 No. 101. A fragment of a bas-relief, representing three figures 
 sacrificing before an altar. 
 
 No. 102. A fragment of the capital of a Corinthian column: 
 it is ornamented with the leaves of the laurel and acanthus. 
 
 No. 103. A fragment of a bas-relief, representing two of the 
 goddesses, Latona and Diana, in procession. Similar bas- 
 reliefs, in a more perfect state, are preserved in the Albani col- 
 lection. The temple, which is here introduced, is probably that 
 of Apollo, which stood in the street at Athens, called " the 
 tripods." 
 
 No. 103*. A small bas-relief, imperfect, representing Cybele 
 seated. 
 
 No. 104. A fragment of a cinerary urn, on which are repre- 
 sented four figures in bas-relief. 
 
 No. 105. The upper part of the head of an Egyptian idol, in 
 granite ; the head is that of a lion, and is remarkable for being- 
 
 L 
 
146 
 
 BRITISH MUSEUM. 
 
 ornamented with a crown of serpents, similar to that which is 
 spoken of in the Rosetta inscription. 
 
 No. 106, A circular altar, from the island of Delos ; it is or- 
 namented with the heads of bulls and festoons, in very bold 
 relief. 
 
 No. 106*. A Greek inscription relating to Oropus. 
 
 No. 107. A fragment of a bas-relief, representing a figure 
 standing upright in a dignified attitude; probably intended for 
 Bacchus. 
 
 No. 107 *. The feet of a male statue, on the plinth. 
 
 No. 108. A bas-relief, imperfect; it represents three god- 
 desses, one of whom is seated on a throne. 
 
 No. 109. A fragment of a bas-relief, representing part of the 
 body and legs of a boy. 
 
 No. 110. A solid urn, or cenotaph, in the front of which 
 two figures, a man and woman, are represented joining hands. 
 
 No. 111. A sepulchral column of Mysta : the Greek inscrip- 
 tion informs us that she was a native of Miletus, daughter of 
 Dionysius, and wife of Rhaton, who was a native of Thria, a 
 town belonging to the tribe of (Eneis, 
 
 No. 112. A fragment of a square altar, which has probably 
 been dedicated to Bacchus. 
 
 No. 113. A small tile, in terracotta, which has been used to 
 cover the joints of the larger tiles. The front is enriched with a 
 fleuron, and is also inscribed with the name of the maker, 
 Athenseus. 
 
 No. 114. An unknown female head, the hair of which is con- 
 fined within a close elegantly formed cap. The same style of 
 head-dress is observable on some of the silver coins of Corinth. 
 
 No. 115. The head of a laughing figure, executed in the early 
 hard style of Greek sculpture. 
 
 No. 116. The head of a middle-aged man, with a conical 
 bonnet; most probably the head of a mariner. 
 
 No. 117. A head of the bearded Hercules. 
 
 No. 118. The upper part of the head of Minerva: the statu 
 to which it belonged, formed one of the principal figures in the 
 west pediment of the Parthenon. This head was originally 
 
BRITISH MUSEUM. 
 
 14T 
 
 covered with a bronze helmet, as appears from the holes by 
 which it was fastened to the marble : and the sockets of the 
 eyes, which were originally filled with metal or coloured stones* 
 are now hollow. This fragment of a head, and the portion of a 
 female chest, already described, (No. 75,) have both belonged 
 to the same statue of Minerva. 
 
 No. 119. An unknown bearded head, very much mutilated: 
 it is larger than life, and is crowned with a very thick cord- 
 shaped diadem. 
 
 No. 120. A head of the bearded Hercules, similar to No. 117, 
 but of smaller dimensions. 
 
 No. 121. A fragment of a head, crowned with vine leaves ; 
 it appears to have been executed at a declining period of the arts. 
 
 No. 122. An unknown female head, the hair of which is 
 concealed within a close head-dress. 
 
 No. 123. A fragment of a bas-relief, representing an un- 
 known female head: from the style of the hair, which is cu- 
 riously plaited, we may fix the sculpture to about the time of 
 Antoninus Pius. 
 
 No. 124. Part of the stem of a candelabrum, ornamented 
 with four female figures, one of which is playing on the lyre, 
 and the others, with joined hands, are leading the dance. 
 
 No. 125. A fragment of a statue of Hygeia. 
 
 No. 126. A fragment of a bas-relief, with part of an inscription. 
 
 No. 127 — 130. Four pieces of the frieze from the temple of 
 Erectheus, at Athens ; they are enriched with fllowers and other 
 ornaments, which are designed with the most perfect taste, and 
 are chiselled with a degree of sharpness and precision truly ad- 
 mirable. 
 
 No. 131 — 147. Fragments of figures, many of which have 
 belonged to the metopes of the Parthenon. 
 
 No. 148. A cinerary urn, ornamented in front with four stand- 
 ing figures ; the first name is not legible ; the others are Philia, 
 Metrodora, and Meles. 
 
 No. 149. A sepulchral column of Thalia, the daughter of 
 Callistratus, of Aexone. 
 
 L 2 
 
148 
 
 BRITISH MUSEUM. 
 
 No. 150. A fragment of a sepulchral stMe; the inscription is 
 very imperfect, but records the name of Musonia. 
 
 No. 151. A fragment of a statue covered with drapery. 
 
 No. 152. A sepulchral Greek inscription, in ten verses, in 
 memory of a young lady of extraordinary beauty, named Try- 
 phera, who died at the early age of 25 years. 
 : No. 153. A sepulchral Greek inscription, engraved on a piece 
 of entablature. It consists of two lines in prose, and sixteen in 
 pentameter verse. The name of the deceased was Publius 
 Phsedrus, a native of Sunium, son of Theophilus and Cecropia, 
 and grandson of Pistoteles. The inscription states that he was 
 of noble family, and that his death was followed by the univer- 
 sal regret of the Athenians, on account of his youth, learning, 
 wisdom, and personal accomplishments. 
 
 No. 154. A piece of Doric entablature, originally painted. 
 
 No. 155. The upper part of a sepulchral stele, inscribed with 
 the name of Euphrosynus. 
 
 No. 156. A fragment of a colossal female statue, from one of 
 the pediments of the Parthenon. 
 
 No. 157. A fragment of a decree; the beginning is wanting, 
 and what remains is much mutilated. At the conclusion of the 
 decree, it is ordained that the people of Hierapytna, in Crete, 
 shall affix to it the public seal. 
 
 No, 158. A fragment of a bas-relief, on which iare represented 
 part of the skin of an animal, and the branch of a tree. 
 
 No. 159. A fragment of a very ancient Greek inscription from 
 the Acropolis : it contains an account of certain expenses de- 
 frayed by those to whom the care of the public games was con- 
 fided. The name of the Archon, under whom the stone was 
 engraved, is effaced. 
 
 No. 160. A fragment of a bas-relief, representing the fore 
 legs and part of the body of a bull. 
 
 No. 161. A fragment of a decree made by a society which is 
 distinguished by a number of epithets, among which are two de- 
 rived from the names of Hadrian and Antoninus. The society 
 appears to have been formed of musicians, and the decree to 
 
BRITISH MUSEUM. 
 
 149 
 
 have been passed in honour of Bacchus and the Emperor Anto- 
 ninus Pius. A patera is represented on the upper part of this 
 marble. 
 
 No. 162. A fragment of a bas-relief, representing a female 
 figure seated in a chair, with a child standing by her side; the 
 upper part of the woman is wanting. This fragment is probably 
 part of a sepulchral monument. 
 
 No. 163. A sepulchral solid urn, ornamented with reeds, and 
 inscribed with the name of Timophon, the son of Timostratus, 
 and a native of Anagyrus, whose inhabitants were of the tribe of 
 Erechtheis. 
 
 No. 164. A sepulchral column, inscribed with the name of 
 Socrates, son of Socrates, and a native of Ancyra, a city of Galatia. 
 
 No. 165. A portion of the cornice from the portico of the 
 Erectheum, at Athens. 
 
 No. 166. A fragment of a bas-relief, of large dimensions ; it 
 represents Hercules preparing to strike Diomede, king of 
 Thrace, whom he has already knocked down, and is holding by 
 the hair of his head. 
 
 No. 167. A sepulchral solid urn, having three figures in bas- 
 relief on the front. The inscription, underneath these figures, 
 probably contained the names of the parties, but is too mutilated 
 to admit of being deciphered. 
 
 No. 168. A sepulchral column of Menestratus, the son of 
 Thoracides, and a native of Corinth. 
 
 No. 169. The upper part of a sepulchral st^le, having the in- 
 scription, as well as the arabesque ornament on the summit, 
 perfect. The inscription is to the memory of Asclepiodorus 
 the son of Thraco, and Epicydes the son of Asclepiodorus ; 
 both the deceased were natives of Olynthus, a city in Macedonia. 
 
 No. 170. A fragment of a Greek* mscription ; it is too imperfect 
 to admit of a full explanation, but it seems to have been in 
 honour of a person who had distinguished himself on some oc- 
 casion, by great humanity. 
 
 No. 171. An amphora. 
 
 No. 172. A sepulchral stele with a Greek inscription, con- 
 sisting of four lines and a half, part of which is written in prose, 
 
150 
 
 BRITISH MUSEUM. 
 
 and part in verse. The inscription informs us that the monu- 
 ment was erected by a mother to the memory of her two sons, 
 Diitrephas and Pericles, the former of whom was a soldier of 
 Psrium ; and also to the memory of her daughter, whose name 
 was Agnes, and that of her brother Demophoon, who was a 
 soldier of Pariura. 
 
 No. 173. A fleuron, from the temple of Ceres, at Eleusis. 
 
 No. 174. A capital of a pilaster. 
 
 No. 175. A sepulchral stele, with an ornament of flowers on 
 the summit. It is inscribed with the names of Hippocrates and 
 Baucis. 
 
 No. 176. An amphora. 
 
 No. 177. A Greek inscription, imperfect, but of which fifty- 
 five lines remain. It is written in the Boeotian, iEolic dialect, 
 and is a treaty between the cities of Orchomenus, in Boeotia, 
 and Elatsea, in Phocis, representing some payments due from 
 the Orchomenians to the Elatseans. These payments were for 
 the rent of certain pastures, which the people of Elaa-ta had let 
 out to the Orchomenians. The treaty confirms the payment of 
 the stipulated sums, and renews the treaty of pasturage for four 
 years. 
 
 No. 177*, 178*. Two fragments of the north frieze of the 
 Parthenon ; the former is a part of the slab marked No. 35. 
 
 Nos. 178 — 193. Twenty-one fragments of Greek inscriptions, 
 so imperfect as not to admit of particular description. 
 
 No. 199. The celebrated Sigean inscription, first published 
 by Chishull, in his " Antiquitates Asiaticse," and afterwards, 
 more correctly, by Chandler, in his " Inscriptiones Antiqua;." 
 It is written in the most ancient Greek characters, and in the 
 bustropkedon manner, that is to say, the lines follow each other 
 in the same direction as the ox passes from one furrow to an- 
 other in ploughing. The purport of the inscription is to record 
 the presentation of three vessels, namely, a cup, a saucer or 
 stand, and a strainer, for the use of the Prytaneum, or hall of 
 justice, of the Sigeans. The name of the donor was Phanodicus, 
 the son of Hermocrates, and a native of Proconnesus. 
 
 No. 200. A Greek inscription, imperfect, engraved in very 
 
BRITISH MUSEUM. 
 
 151 
 
 ancient characters ; it seems to be an inventory of some trea- 
 sures, probably those contained in the Parthenon, and -which the 
 Quaestors acknowledge to have received from their predecessors 
 in the same office. The inscription not only fills one side of the 
 marble, but also the right edge. 
 
 No. 201. The base on which a statue has stood; the feet, 
 which still remain, are very wide apart, and show that the figure 
 must have been in powerful action. 
 
 No. 202. A torso of a male figure, probably that of JEscu- 
 lapius. 
 
 No. 203. A sepulchral column, to the memory of Callis, who 
 was the daughter of Strato, and a native of the city of Gar- 
 gettus. 
 
 No. 204. A base of a column, brought from the plains of Troy. 
 
 No. 205. A colossal statue of Bacchus, from the choragic 
 monument of Thrasyllus, at Athens, It was originally placed 
 on the summit of the edifice, at a height rather exceeding 
 twenty-seven feet. 
 
 No. 206. A capital of a Doric column, from the Propyleea, 
 at Athens. 
 
 No. 207. A piece of the shaft of one of the Doric columns of 
 the Parthenon. 
 
 No. 208. A small statue of a Muse, without a head; it was 
 probably intended to represent Polyhymnia. 
 
 No. 209. A sepulchral column, inscribed with the name of 
 Callimachus, who was a native of the city of Axeone, and the 
 son of Callistratus. 
 
 No. 210. A base of a column brought from the plains of 
 Troy. 
 
 No. 211. An amphora. 
 
 No. 212. A sepulchral stele, with abas-relief, representing a 
 man clothed in a tunic. The inscription over this figure, re- 
 cords the name of Erasippus, who was the son of Callinicus, 
 and a native of Oeum, in Attica. 
 
 No. 213. A sepulchral stele, in which an equestrian gure, 
 with an attendant on foot, is represented in bas-relief. Above 
 the figures is an inscription, consisting of three verses, of which 
 
152 
 
 BRITISH MUSEUM. 
 
 the second is a pentameter, and the two others, hexameters ; 
 they record the name of the deceased, Aristocles, who was the 
 son of Menon, and a native of Piraeus. 
 
 No. 214. A sepulchral stele, with a very ancient inscription, 
 to the memory of Aristophosa, and others. A peculiarity oc- 
 curs in this inscription, namely, that the letters vo are twice iised 
 for viov. 
 
 No. 215. An amphora. 
 
 No. 216. A Greek inscription, imperfect, containing an ac- 
 count of the treasures of some temple, probably those of the 
 Parthenon. The characters are of a much more modern form 
 than in the inscription of the same kind (No. 200). 
 
 No, 217. The upper part of a sepulchral column, with an in- 
 scription to the memory of a person named Simon, who was the 
 son of Aristus, and a native of Halee, in Attica. 
 
 No. 218. A fragment of a sepulchral stele, from which the 
 bas-relief has been almost entirely broken away ; the inscrip- 
 tion is to the memory of Hieroclea, the daughter of Leucius. 
 
 No. 219. A votive monument with two Greek verses, signify- 
 ing that Honorarius had dedicated some lamps, which he won 
 hi the games, to Mercury and Hercules. 
 
 No. 220. A piece of a frieze, or architectural ornament, from 
 the tomb of Agamemnon, at Mycense. The sculpture exceed - 
 ngly ancient. The stone is of a brilliant green colour. 
 
 No. 221. Another piece of frieze, or architectural ornament, 
 from the same place as the last. The colour of the stone is 
 bright red. 
 
 No. 222, A fragment of a Greek inscription, containing a list 
 of Athenians, with the Townships to which they respectively 
 belonged. We read the names of no less than twelve different 
 townships in this small fragment ; namely, according to the 
 order in which they occur, Sunium, lonidre, Alopece, Pallene, 
 Halse, Ericea, Colonus, Sphettus, Ceriadse, Thoricus, He- 
 phcEStia, and Bate. 
 
 No, 223, A votive Greek inscription, dedicated by some 
 sailors, as a mark of their gratitude, to Apollo of Tarsus. 
 
 No. 224. Ditto, dedicated by Georgias, the Gyranasiarch, 
 
BRITISH MUSEUM. 
 
 153 
 
 No. 225. A sepulchral column with an inscription to the 
 memory of Theodotus, who was the son of Diodorus, and a 
 native of Antioch. 
 
 No. 226. The upper part of a sepulchral stele, ornamented 
 with leaves and flowers ; the inscription is to the memory of 
 Chabrias. 
 
 No. 227. A bas-relief, representing two divinities, namely, 
 Jupiter seated on a throne, and Juno standing before him ; the 
 latter is removing the veil from her face, as if to address the 
 king of the gods. 
 
 No. 228. A very large funeral urn, solid, and without any 
 inscription. It has three figures in bas-relief. 
 
 No. 229. A sepulchral stele. The bas-relief in front, the 
 lower part of which is broken away, represents two females 
 joining hands, one of whom is seated and veiled, the other 
 standing. Between these appears an old man, clothed in a 
 tunic, and standing in a pensive attitude. 
 
 No. 230. A fragment of a Greek inscription; it is the latter 
 part of a decree in honour of a person who had deserved well of 
 some particular city. It is directed, that the decree shall be 
 eno-raved on marble, and placed in the temple of Neptune and 
 Amphitrite. It appears, from the inscription immediately fol- 
 lowing, that the city here alluded to was that of the island of 
 Tenos. Strabo and Tacitus mention a celebrated temple that 
 was dedicated to Neptune in this island, and it is highly pro- 
 bable that the same temple was dedicated to Amphitrite, as 
 well as to Neptune. Neptune and his symbols frequently occur 
 on the medals of Tenos. 
 
 No. 231. A decree of the people of Tenos, in honour of Am- 
 inonius, their benefactor : this decree, like the last, is directed 
 to be engraved on marble, and affixed in the temple of Nep- 
 tune and Amphitrite. 
 
 ■No. 232. A fragment of a decree of the people of Tenos, in 
 honour of some benefactor, whose name is not preserved on the 
 marble. 
 
 No. 233. A fragment of a public act of the Athenians ; it 
 consists of twenty-one imperfect lines, and seems to relate to 
 
154 
 
 BRITISH MUSEUM. 
 
 the repair of the pavements and roads in the neighbourhood of 
 Athens. 
 
 No. 234. A fragment of a public act relating to the people of 
 Athens and Myrina. 
 
 No. 235. A bas-relief, representing a Bacchanalian group, 
 found among the ruins of the theatre of Bacchus, on the south 
 west of the Acropolis. 
 
 No. 236. A bas-relief, imperfect, representing a charioteer 
 driving four horses at full speed ; a figure of Victory is flying 
 towards him with a crown. 
 
 No. 236*. A bas-relief, imperfect, insciibed with the names 
 of Aristodice, Aristarchus, and Athenais, natives of Sestus. 
 Presented, in 1785, by the Dilettanti Society. 
 
 No, 237. A solid funeral urn, of large dimensions. It has 
 a bas-relief in front, representing two figures joining hands ; 
 these figures consist of a female who is seated, and a man who 
 is standing before her. The Greek inscription gives us the 
 names of both persons : one is Pamphilus, the son of Mixiades, 
 and a native of Aegilia ; and the other is Archippe, the daugh- 
 ter of Mixiades. 
 
 No. 238. A bas-relief, representing Hygeia feeding a serpent 
 out of a patera. She is seated on a throne which is covered 
 with a cushion, and her feet are placed upon a footstool. She 
 wears a high ornament, or tutulus, on her head, and she has a 
 fan, in the shape of an ivy leaf, in her left hand. 
 
 No. 239. A solid sepulchral urn, with a bas-relief represent- 
 ing five figures, executed in a singularly rude style. Over the 
 warrior is the name of Sosippus, in Greek letters. 
 
 No. 240. A sepulchral column, inscribed with the name of 
 Anaxicrates, an Athenian, the son of Dexiochus; beneath the 
 inscription is the representation of a sepulchral urn, executed 
 in very low relief. 
 
 No. 241. A Greek inscription: it is a prayer in behalf of 
 Euphrosynus. 
 
 No. 242. A sepulchral inscription, in six elegiac verses, to a 
 young man of the name of Plutarchus, who died in Ausonia, at 
 a distance from his native country. , 
 
BRITISH MUSEUM. 
 
 155 
 
 No. 243. An architectural fragment, which has formed one 
 of the ornaments of a roof. 
 
 No. 244. A part of a colossal foot, probably belonging to a 
 figure in one of the pediments of the Parthenon. 
 
 Nos. 245 — 251. Seven bas-reliefs, of small dimensions; 
 they represent various parts of the human body, and have been 
 offered up as vows to Jupiter Hypsistos, praying for the cure of 
 diseases in those parts. Some of these bas-reliefs appear to 
 have been presented by the parties in gratitude for cures al- 
 ready received. 
 
 No. 252. A fragment of a bas-relief, similar to those just de- 
 scribed. The part of the body which had received a cure has 
 been broken off: but the inscription implies, that Syntrophus 
 presents it as a mark of his gratitude to Jupiter Hypsistos. 
 
 No, 253. A fragment of a similar bas-relief ; the inscription 
 has been broken off, but the part represented is a foot. 
 
 No. 254. An architectural fragment, similar to No. 243. 
 
 No. 255. A fragment of an unknown female head. 
 
 No. 256. The left knee of a colossal statue of very fine 
 work : it has probably belonged to a figure in one of the pedi- 
 ments of the Parthenon. 
 
 Nos. 257, 258. Two bas-reliefs, which formed part of the 
 frieze of a temple of the Ionic order (near the Propylaea at 
 Athens), and dedicated to Aglauros. The subject represented 
 on them is a combat between the Greeks and Persians. 
 
 Nos. 259, 260. Two bas-reliefs, from the same temple : the 
 combatants appear to be all Greeks. 
 
 Nos. 261—272. Fragments of colossal statues, some of 
 which have probably belonged to figures which stood in the pe- 
 diments of the Parthenon. 
 
 No. 273. A colossal head, much mutilated. It was found in 
 the temple of Nemesis, at Rhamnus, in Attica, and is supposed 
 to be the head of Nemesis. 
 
 No. 274. A sepulchral solid urn, with a bas-relief represent- 
 ing three figures, one of which is seated. The inscription pre- 
 sents us with the following names : Archagoras, Pythyllis, and 
 Polystratus. 
 
156 
 
 BRITISH MUSEUM. 
 
 No. 275. A sepulchral column, with an inscription to the 
 memory of Biottus, who was the son of Philoxenus, and a native 
 of Diradium. 
 
 No. 276. A bas-relief, representing a narrow upright vase 
 with one handle; the form of this vase very much resembles 
 that of the solid urns, so often used by the Greeks as sepul- 
 chral monuments. 
 
 No. 277. A Greek inscription, imperfect and very much de- 
 faced. It seems to be an inventory of valuable articles con- 
 tained in some temple. 
 
 No. 278. A sepulchral column, inscribed with the name of 
 Botrychus, son of Euphanus, and a native of Heraclea. 
 
 No. 279. A fragment of a bas-relief, representing a female 
 sitting. 
 
 No. 280. A fragment of a Greek inscription ; it is a decree 
 of the people of Athens in honour of Hosacharas, a Macedo- 
 nian. This decree was passed in the Archonship of Nicodorus, 
 in the 3d year of the 116th Olympiad. 
 
 No. 281. A fragment of a decree of the Athenians, engraved 
 on a very large piece of marble. So much has been broken 
 away from this inscription that the precise object of it is not 
 easily collected; it is ordained, however, that the decree shall 
 be fixed up in the Acropolis. 
 
 No. 282. A fragment of a Greek inscription, engraved in 
 very ancient characters. It seems to be a treaty between the 
 Athenians and the people of Rhegium, a town of the Bruttii, 
 in Italy. 
 
 No. 283. A Greek inscription, imperfect, engraved in very 
 small characters; it is an enumeration of the sacred dresses 
 which belonged to some temple. 
 
 No. 284. A fragment of a bas-relief, representing a proces- 
 sion of three figures, the last of which carries a large basket on 
 his head ; they are accompanied by two children. 
 
 No. 285. A sun-dial, with four different dials represented 
 on as many faces. The inscription imports that it is the work 
 of Phfedras, the son of Zoilus, a native of Pseania. From the 
 form of the letters of this inscription, the sun-dial cannot have 
 
BRITISH MUSEUM. 
 
 157 
 
 been made much earlier than the time of the Emperor Severus ; 
 it was found at Athens. 
 
 No. 286. A fragment of a Greek inscription ; it consists of 
 twenty lines of very ancient characters, and seems to be apart 
 of a treaty. 
 
 No. 287. A Greek inscription, imperfect. 
 
 No. 288. Ditto, relating to the Erythreeans; the characters 
 are very ancient. 
 
 No. 289. A Greek inscription, imperfect at the end, being a 
 contract respecting the letting of some lands and salt-pits by 
 the people of Pirteus. 
 
 No. 290. A very ancient Greek inscription, which has served 
 as an epitaph on the tomb of the Athenian warriors killed at 
 Potidsea. This inscription, which originally consisted of twelve 
 elegiac verses, has suffered from the injuries of time. 
 
 No. 291. A piece of the architrave belonging to the temple of 
 Erectheus, at Athens. 
 
 No. 292. A funeral inscription to the memory of Polyllus ; it 
 consists of one line in prose, and two in verse. The line in 
 prose gives us only the name and titles of Polyllus, and the 
 verses intimate that Polystratus had erected a statue to the 
 deceased, and had placed it under the protection of Minerva. 
 The marble on which this inscription is cut formed a part of the 
 base on which the statue stood. 
 
 No. 292*. The upper part of a sepulchral stele, inscribed with 
 the name of Eumachus, who was the son of Euraachus, and of 
 the city of Alopece. 
 
 No. 293. A small statue of a boy, imperfect; he is in the 
 attitude of looking up. 
 
 No. 294. A fragment of a metope of the Parthenon; it is the 
 torso of one of the Lapithse. 
 
 No. 295. The capital of an Ionic column belonging to a 
 temple of Diana, at Daphne, in the road to Eleusis. 
 
 No. 296. A female torso, covered with drapery. 
 
 No. 297. A piece of the shaft of a small Ionic column, the 
 lower part of which is fluted and reeded. 
 
 No. 298. A Greek inscription, engraved on two sides of a 
 
158 
 
 BRITISH MUSEUM. 
 
 large piece of marble. It is an inventory of the sacred trea- 
 sures belonging to tbe Parthenon. 
 
 No. 299. A piece of the ceiling of the temple of Erectheus, 
 at Athens. 
 
 No. 299*. The lower part of a female statue, covered with 
 drapery. 
 
 No. 300. A bronze urn,^very richly wrought. It was found 
 enclosed within the marble vase in which it now stands, in a 
 tumulus on the road that leads from Port Piraeus to the Salami- 
 nian ferry and Eleusis. At the time of its discovery, this beau- 
 tiful urn contained a quantity of burnt bones, a small vase of 
 alabaster, and a wreath of myrtle in gold. 
 
 No. 301. A large marble vase; it is of an oval form, and 
 within it was found the bronze urn described in the preceding 
 number. 
 
 No. 302. A Greek inscription, engraved on two sides of a 
 tablet of marble. It is a decree of the council of the Boeotians, 
 ordaining the election of three extraordinary magistrates, who, 
 in concert with the ordinary magistrates, were to take charge of 
 the recasting some articles of gold and silver, belonging to the 
 temple of Amphiaraus, and which had been injured by the 
 effects of time. 
 
 No. 303. A piece of the shaft of a column belonging to the 
 temple of Erectheus, at Athens. 
 
 No. 304. A piece of the shaft of a column, also belonging to 
 the temple of Erectheus. ' 
 
 No. 305. A Greek inscription, engraved on tv.'o sides of a 
 thick slab of marble. It is an inventory of the valuable articles 
 which were kept in the Opisthodomos of the Parthenon, at 
 Athens. 
 
 No. 305*. A sepulchral column of large dimensions; it is 
 inscribed with the name of Aristides, who was the son of Lysi- 
 machus, and a native of Estitea, 
 
 No. 306. An imperfect statue of a youth; it is of the size of 
 life, and of the most exquisite workmanship. 
 
 No. 306*. Part of the capital of an Ionic column. 
 
 No. 307. A circular altar, brought from the island of DeloSi 
 
BRITISH MUSEUM. 
 
 159 
 
 It is ornamented with the heads of bulls, from which festoons of 
 fruit and flowers are suspended; 
 
 No. 307 *. A female statue without head and arms, found in 
 the temple of Themis, at Rhamnus, in Attica. 
 
 No. 308. A part of a Doric entablature, from the Propylaea, 
 at Athens. 
 
 No. 308*. The capital of a Corinthian column. 
 
 No. 309. A Greek inscription, engraved on three sides of a 
 
 piece of marble. The characters are extremely ancient ; but 
 
 unfortunately the marble has been very much mutilated, and 
 
 the letters defaced. 
 
 No. 310. The upper part of the shaft of a small Ionic 
 
 column. 
 
 No. 311. A Greek inscription, engraved on two surfaces of a 
 tablet of marble. It is an inventory of articles of gold and silver 
 belonging to the Parthenon, and which the quasstors of the 
 temple acknowledge that they have received from their prede- 
 cessors. 
 
 No. 312. A piece of the shaft of an Ionic column, belonging 
 to the temple of Erectheus, at Athens. 
 
FrotU } ietv of Somerset-House. 
 
 THE ROYAL ACx\DEMY OF ARTS, 
 SOMERSET-HOUSE. ' 
 
 Jirief Sketch of the Origin and Progress of the Arts of Painting 
 and Sculpture in England, up to the Foundation of the Royal 
 Academy, with an Account of that Institution, and a Catalogue 
 of the Works presented by the Academicians on their Election, 
 with the dates to each. 
 
 The Arts of Painting and Sculpture were so little 
 cultivated in England until the middle of the last century, 
 that foreigners questioned our qualifications to arrive at 
 perfection in the productions of Art ; happily, since that 
 period, we have witnessed the most splendid eftbrts towards 
 superiority, and abound in examples, which must testify to 
 future ages, that Englishmen labour under no defect, either 
 of climate or constitution, which can prevent them from 
 equalling (if not exceUing) their European neighbours, 
 and eventually of rivalling the most splendid monuments 
 of antiquity. 
 
 It may not be uninstructive, after glancing at the pro- 
 lyl 
 
162 
 
 SOMERSET- HOUSE. 
 
 gress we have made to perfection, to trace, briefly, the 
 steps by which we have attained our present elevation. In 
 the reign of George the First, the Arts were at the lowest 
 ebb, and the progress, from that period to the middle of 
 the succeeding reign, was by very slow and weak advances. 
 At this time, our English artists were chiefly employed in 
 the painting of ceilings and staircases, or the decorating the 
 panels and compartments over chimneys and doors, chiefly 
 from the designs of some eminent foreigner. This fashion 
 continued for about half a century, but declined rapidly at 
 the period when Exhibitions were first established, and was 
 shortly after wholly discontinued. In the early part of the 
 last century, the booksellers began to decorate their pub- 
 lications in a style of superior elegance, and by this means 
 called into action the united services of the painter and 
 engraver, who were then literally struggling for existence. 
 After the peace of Aix-la-Chapelle, the nation became 
 roused to a spirit of exertion and improvement in the Arts, 
 and several institutions or societies were formed for the 
 avowed purpose of encouraging native talent. Among the 
 earliest were the Antigallican and Dilettanti societies ; but 
 the most effective was the Society for the Encourage- 
 ment of Arts, Manufactures, and Commerce. The Anti- 
 gallican was composed of a number of persons of rank and 
 consequence, who entered into a resolution of employing 
 British productions in preference to French importations, 
 with which the country at that time abounded ; and it must 
 be confessed, that although their attentions were not solely 
 directed to the promotion of the Fine Arts, yet their pa- 
 triotic example produced the first great stimulus to exertion 
 in their countrymen. The Dilettanti Society was origi- 
 nally commenced upon political principles, but soon 
 changed entirely the object of their meetings, and devoted 
 their funds and attentions to the encouragement of the 
 Arts. It was to this Society we owe the first attempt to 
 
SOMERSET-HOUSE. 
 
 163 
 
 establish a public Academy for the study of Painting and 
 Sculpture, for which purpose, they deputed General Grey, 
 one of their members, to attend a meeting of artists held 
 with that view ; but the event was not concluded, on ac- 
 count of some disagreement respecting the intended go- 
 vernment of the institution. From the accumulated funds 
 of this Society, the Arts, in their infancy, derived great 
 benefits. In the year 1775, they sent a student to Rome, 
 upon their pension, to complete his studies in painting ; 
 Stuarfs Antiquities of Athens, left unfinished at his death, 
 was, by their liberal assistance, completed. The Society 
 of Arts, Manufactures, and Commerce, was originally 
 founded in 1754, by a very select number of noblemen and 
 gentlemen, and one of their first propositions was the 
 giving rewards to young artists, male and female, under 
 the age of 14, and between 14 and 17, according to their 
 degrees of merit, the highest sums awarded being 15/. 
 The first of these incitements to genius was given on the 
 29th of January, 1755 ; Lord Folkestone and Lord Rom- 
 NEY, were the chief patrons. From the great success of 
 their scheme, their attention was soon extended to the 
 mature artist, and premiums offered for original designs in 
 historical painting, sculpture, and architecture. 
 
 These patriotic and noble exertions were continued 
 during a space of twenty-two years, during which period, 
 they expended the sum of 7,926/. 5s. besides 100 me- 
 dals of gold and silver, in the patronage of the arts of 
 painting, sculpture, and architecture. Under their auspices, 
 the advancement was rapid and successful, nor did the 
 Society discontinue their laudable efforts to this favourite 
 subject, until his late Majesty, George the Third, by found- 
 ing the Royal Academy, rendered their exertions, in favour 
 of the poUte arts, less necessary. They then prudently turned 
 their attention to the encouragement of agriculture and 
 chemistry, in which they have been equally successful. 
 
 M 2 
 
164 
 
 SOMERSET-HOUSE. 
 
 The exertions of these Societies received very essential 
 aid from the UberaUty and patriotic ardour of an individual 
 nobleman, the then Duke of Richmond, who, soon after 
 his return from his travels, opened an admirable school for 
 the study of painting and sculpture, at his own house, in 
 Privy-Garden, Whitehall : here a gallery was fitted up, 
 with every convenience requisite for the accommodation 
 of students, and furnished with upwards of 50 casts m 
 plaster, from the most approved antique and modern 
 figures, at that time at Rome and Florence. Messrs. 
 Cipriani and Wilton had the direction and arrangement, 
 and the only introduction necessary for the student, was a 
 note to the porter of the statue rooms at Richmond-House, 
 from either of those artists. It was in this school, that 
 the first perceptions of that purity of taste, which is the 
 distinguishing feature of the Enghsh artist, were perceived 
 and cultivated, and an anatomical knowledge of the human 
 form perfected. When it is considered that this was the 
 first gallery opened in this country for the study of the 
 antique, it will be readily conceived, that the advantages 
 to the rising artist were in proportion to the unexampled 
 munificence of the founder. On the foundation of the 
 Royal Academy, this gallery was nearly neglected, except 
 by a few of the chartered Society of Artists, who were 
 opposed to the Academicians, and obtained his Grace's 
 permission to continue the school for the advantage 
 of their pupils : it, however, soon afterwards sunk into 
 oblivion. 
 
 Previous to the foundation of the Royal Academy there 
 existed several select societies of Artists, not regularly 
 formed or governed by any specific regulations, but meet- 
 ing at the private houses of different artists of eminence 
 (who had each his particular friends), for the purpose of 
 prosecuting their studies. Vertue, the Engraver, it is 
 stated by Walpole, drew in an academy, formed by 
 
SOMERSET-HOUSE. 
 
 165 
 
 several artists, with Sir Godfrey Kneller at their 
 head, in the year 1711. Sir James Thornhill, we find, 
 by the same authority, formed an academy in his house, 
 in the Piazza, Covent Garden, 1724, hut it did not con- 
 tinue long, on account of his death, which took place in 
 the year 1734. After this a few Artists, feeling the neces- 
 sity of a living model, established themselves in a large 
 room, in Grey-hound Court, Arundel Street ; the prin- 
 cipal conductor of this party was Mr. G. Micheal 
 MosER, afterwards first keeper of the Royal Academy ; 
 in this situation the study of the human figure was 
 carried on till the year 1739, when they removed to 
 Peter's Court, St. Martin's Lane ; and, in 1767, they 
 again removed to a more extensive and eligible room in 
 Pall Mall, rendered necessary by their increasing mem- 
 bers. But a permanent and more conspicuous establish- 
 ment, comprehending other advantages, was still want- 
 ing. On this account the principal Artists met, and, 
 by a circular, invited their brethren to meet them, and 
 unite in forming a Public Academy. It appears, how- 
 ever, no good resulted from this meeting, which took 
 place at the time appointed, and they remained in 
 St. Martin's Lane for above fourteen years afterwards, 
 with no other support than the individual subscriptions 
 of the Members. On the incorporation of the Found- 
 ling Hospital, in 1739, many of the principal Artists 
 voluntarily exerted their talents, for the purpose of orna- 
 menting several of the apartments ; the pictures thus pro- 
 duced were permitted to be seen by any visitor, upon 
 proper application ; the spectacle was perfectly new in this 
 country, and made a considerable impression, and the 
 favourable reception the works of these generous Artists 
 experienced, impressed the majority with the idea of form- 
 ing a public exhibition ; which scheme they carried into 
 effect in the following year, in the large room of the 
 
166 
 
 SOMERSETHOUSE. 
 
 Society for the Encouragement of Arts, <^c., which was 
 liberally granted for the occasion. Here the first public 
 exhibition opened, April 21, 1760; to this the public were 
 admitted gratis. Sixpence was charged for catalogues to 
 those who required them. The success was more than 
 equal to expectation; and, in consequence, they, next 
 year, engaged the great room, Spring Gardens, and opened 
 on the 9th of May; here the catalogue was the ticket of 
 admission, for which one shilling was charged; conse- 
 quently one catalogue would admit a whole family, and 
 this gave rise to great confusion, which was altered on 
 their opening the next year. May 17, when the price of 
 admission was fixed at one shiUing each person. The con- 
 ciUatory preface issued on that occasion was remarkably 
 well written ; and there is one part in particular which, for 
 the benefit of the present Academicians, we shall here 
 transcribe*. — " The purpose of this Exhibition is not to 
 enrich the Artist, but to advance the Art ; the eminent are 
 not flattered with preference, nor the obscure insulted with 
 contempt ; whoever hopes to deserve pubUc favour is here 
 invited to display his merit." We trust this hint of Dr. 
 Johnson's will not be lost upon the present R. A.'s. A 
 few young Artists continued the exhibition in the Strand, 
 until 1764, when they engaged a large room in Maiden 
 Lane, Covent Garden, where' they exhibited for two seasons 
 (namely, 1765 and 1766,) when they agreed with Mr. 
 Christie for the use of his new rooms in Pall Mall, then 
 just built; here they lingered for eight years, till 1774, 
 and then removed to St. Alban's Street, where, after one 
 exhibition, they never more encountered pubhc notice. 
 At this time there were annually three exhibitions of Eng- 
 lish Artists, namely, the Royal Academy, the Chartered So- 
 ciety, and the last-named, who styled themselves the Free 
 
 * This curious document will be found at length in Edwards's Anec- 
 dotes of Painters. 
 
SOMERSET-HOUSE. 
 
 167 
 
 Society of Artists. The Artists who formed the Spring 
 Garden Society, having been very successful in their 
 exhibitions, solicited and obtained a charter from his late 
 Majesty, which legalized and confirmed them under the 
 King's signature, on the 26th day of January, 1765. The 
 charter, thus granted, was composed in so loose and un- 
 guarded a manner that dissensions soon arose, which, in 
 the end, produced the dissolution of the Society. Hay- 
 MAN was excluded from the chair by a cabal, and Mr. 
 KiRBY elected in his place ; this revolution in the order of 
 the Society induced the eight following, who had been in 
 the directory, to resign their offices, and retire from the 
 Society; this they formally signified in a letter (dated 
 November 10, 1768) to the new President, subscribed 
 Joseph Wilton, Edward Penny, Richard Wilson, 
 Benjamin West, William Chambers, G. M. Moser, 
 Paul Sanby, and F. M. Newton. This event caused a 
 great sensation with the lovers of the Arts, and spread 
 dismay and consternation among the refractory Members 
 when they discovered that the Establishment of a Royal 
 Academy would be the consequence of their folly. A 
 petition was presented to His Majesty on behalf of a 
 numerous body of Artists of great respectability, soliciting 
 his patronage and protection to such an Institution, 
 signed by F. Cotes, G. M. Moser, Benjamin West, 
 and William Chambers, the Architect, who had the 
 honour of receiving His Majesty's ready assent. Thus, 
 after many fruitless attempts and persevering efforts, made 
 by the most considerable Artists of the kingdom for up- 
 wards of sixty years, a Royal Academy was founded 
 under the immediate patronage and protection of the 
 King of England. Although thus established, the So- 
 ciety was under the necessity of remaining, for some 
 time, in places very unsuitable to its importance ; it was 
 first held, pro tempore, in some large auction-rooms oppo- 
 
168 
 
 SOMERSET-HOUSE. 
 
 site to Market Lane, Pall Mall, and here the first lecture 
 was delivered, October 6, 1769, by Dr. William Hun- 
 ter, who was the first professor of anatomy ; there they 
 remained till 1771, when His Majesty was pleased to 
 grant them the use of the royal apartments in Old Somer- 
 set Palace. The library was opened for the use of stu- 
 dents, the lectures regularly delivered, the estabfishment 
 fixed to its full extent, and, in 1773, the keeper was 
 also accommodated in the building : but they were still 
 obliged to continue their exhibitions at their old rooms in 
 Pall Mall. In 1774, an act passed for embanking the 
 Thames before Somerset House, and to enable His Ma- 
 jesty to direct the building of certain oflSces, when he was 
 pleased to order that the Royal Society, the Antiquaries 
 Society, and the Royal Academy, should all be united 
 under one roof. The Royal Academy opened their first 
 exhibition at Somerset House, May 1, 1780, and the lec- 
 tures coinmenced October 23, of the same year. The 
 keeper and secretary had both suitable apartments assigned 
 them, and the establishment was completely effected in a 
 manner suitable to the dignity of the royal Founder, and 
 in the highest degree honourable to the country. 
 
 It may possibly excite surprise in the reader, that I 
 have not indulged in any remarks, or given critical de- 
 scriptions of the Presentation Works of the Royal Acade- 
 micians, as of other collections. Now althouoh I can sa- 
 tisfy the Public in this particular, and free myself from all 
 charge of neglect, I am doubtful if I shall not excite ano- 
 ther a,n(l a very different feeling in every liberal mind, 
 when I state, that I applied by letter to the keeper for per- 
 mission to vi€w the Council Room of the Academy, wherein 
 these works are deposited, and therein distinctly stated my 
 object and intentions ; but up to the time of this work being- 
 printed I have never received any reply : of course I did not 
 repeat the apphcation. My recollection of some of these 
 
SOMERSET-HOUSE. 
 
 169 
 
 works would have enabled me to have hazarded remarks, 
 but as I could not do justice to the whole, I have thought 
 it better to give a correct catalogue, abstaining alike from 
 criticism or description. Of the motives for such pro- 
 hibition in a public body I am at a loss to conjecture; but 
 as the Academicians annually print a list of these works, 
 with their catalogue, and as regularly cover over the greater 
 part with baize and other material to hide them from the 
 view of the visitors, I must suppose they are determined 
 that the sacredness of their Academical Depository shall 
 not be violated by the public eye, or subjected to the liberal 
 and independent remarks of honest criticism. 
 
 COUNCIL ROOM 
 
 OF THE ROYAL ACADEMY OF ARTS, 
 
 IN WHICH ARE DEPOSITED THE WORKS PRESENTED BY THE 
 ACADEMICIANS ON THEIR ELECTION. 
 
 Description. Name. 
 
 1. Bacchanalian, - - - - J, Ward, R. A. - 
 
 2. Thor battering the Serpent of Mid- 
 
 gard, in the Boat of Hymer the 
 
 Giant. — Edda of Saemundus, - H. Fuseli, R. A., 
 
 3. Tuning, A. E. Chalone, R. A., : 
 
 4. Venus and Cupid, - - - H. Bone, R, A., - 
 
 5. Boys digging for a Rat, - - D, Wilkie, R. A., 
 
 6. Bust of Lord Thurlow, - - C. Rossi, R. A., 
 
 7. A Bacchanalian Group, in bronze, - W. Theed, R. A., 
 
 8. Gipsy Girl, T. Lawrence, R, A., • 
 
 9. Equestrian Statue of His late Ma- 
 
 jesty, - - - - - A. Carlini, R. A., 
 
 10. Ganymede: alto-relievo, in marble, R. Westmacott, R. A. 
 
 11. Marble Head — Sickness, J. Bacon, R. A., 
 
 Date. 
 1812. 
 
 1792. 
 1816. 
 1812. 
 1812. 
 1801. 
 1813. 
 1794. 
 
 17G9. 
 1812. 
 1778. 
 
170 
 
 SOMERSET-HOUSE. 
 
 Description. 
 
 12. Peasant Boy, - 
 
 13. Landscape, - - - 
 
 14. An Eagle and Vulture disputing 
 
 with a Hyaena, - 
 
 15. Landscape, - - - - 
 
 16. Age and Infancy, - - _ 
 
 17. Don Quixote and Sancho, 
 
 18. Morning, 
 
 19. Venus and Adonis, . - . 
 
 20. Death of Virginia, - - 
 
 21. Landscape, - - . » 
 
 22. Portrait of Sir W. Chambers, 
 
 23. Flowers, 
 
 24. Boy and Kitten, - - - - 
 
 25. Prospero and Miranda, 
 
 26. A Coast Scene, - 
 
 27. Landscape, - - . . 
 
 28. Samson and Delilah . . - 
 
 29. The Tribute Money, - 
 
 30. Portrait of His Royal Highness the 
 
 Prince of Wales, - - _ 
 
 31. Dorinda wounded by Silvio, Pastor 
 
 Fido, 
 
 32. Venus and Cupid, - - _ 
 
 33. Hindoo Temples at Bindrabund, on 
 
 the Jumna, - - _ . 
 
 34. Portrait of J. Hoppner, R. A., 
 
 35. The Village Buffoon, - 
 
 36. Portrait of Sir J. Reynolds, 
 
 37. Jael and Sisera. — Judges, iv. 21. - 
 
 38. Sir Trevisan fleeing from Despair. — 
 
 Spencer's Faerie Queen, 
 
 39. Young Anglers. - 
 
 40. Horses, - - . - _ 
 
 41. Proclaiming the Young King Joash. 
 
 2 Chron. xxiii. 11. - . _ 
 
 42. Jewish Rabbi, - .> - - 
 
 Name. 
 
 Date. 
 
 R. Westall, R. A., 
 
 1794. 
 
 Sir F. Bourgeois, R. A., 
 
 1792. 
 
 P. Reinagle, R. A., 
 
 1813. 
 
 T. Gainsborough, R. A,, 
 
 1769. 
 
 J. Opie, R. A., - 
 
 1786. 
 
 R. Smirke, R. A., 
 
 1792. 
 
 A. W. Callcott, R. A., 
 
 1810. 
 
 T. Phillips, R. A., 
 
 180S. 
 
 H. Tresham, R. A., 
 
 1799. 
 
 E. Garvey, R. A., 
 
 1782. 
 
 Sir J. Reynolds, R. A., 
 
 1770. 
 
 Mary Moser, (late Mrs. 
 liloydjj K. A., 
 
 X 1 /yj. 
 
 W. Owen, R. A., 
 
 1805. 
 
 xl. 1 homson, K. A., 
 
 
 J. Farington, R. A., 
 
 1785. 
 
 P. J. De Loutherbourg, 
 R.A., - - - 
 
 1780. 
 
 J. F. Rigaud, R. A., - 
 
 1783. 
 
 J. S. Copley, R. A., - 
 
 1786. 
 
 Sir. W. Beechey, R. A., 
 
 1798. 
 
 O. TT UUtllUl CIL, XV. Xft.., 
 
 
 R. Cosway, R. A., 
 
 
 T. Daniell. R. A., 
 
 1799. 
 
 J. Hoppner, R. A., 
 
 1809. 
 
 W. Mulready, R. A., - 
 
 1816. 
 
 Sir J. Reynolds, P.R.A. 
 
 1770. 
 
 J. Northcote, R. A., 
 
 1787. 
 
 A. Cooper, R. A., 
 
 1821. 
 
 W. Collins, R. A., 
 
 1821. 
 
 S. Gilpin, R. A., 
 
 1797. 
 
 E. Bird, R. A., - 
 
 1816. 
 
 J. Jackson, R. A., 
 
 1817. 
 
SOMERSET-HOUSE. 
 
 171 
 
 Description. Name. Date. 
 
 43. View of Dolbaddern Castle, North 
 
 Wales, J. M. W. Turner, R. A., 1801. 
 
 44. Vertumnus and Pomona, - - W. Hamilton, R. A., - 1789. 
 
 45. Belisarius, M. A. Shee, R. A., - 1808. 
 
 46. Children, W. Peters, R. A., - 1777. 
 
 47. Ganymede, - - - - W. Hilton, R. A., - 1830. 
 
 48. Apollo and Marpessa: marble bas- 
 
 relief, J. Flaxman, R. A., - 1800. 
 
 49. Marble Bust of B. West, Esq., 
 
 P. R. A., F. L. Chantrey, R. A., 1818. 
 
 50. Charity, T. Stothard, R. A., - 1794. 
 
 51. The Four Angels loosed from the 
 
 River Euphrates. — Rev. chap. ix. 
 
 ver. 15. H. Howard, R. A., - 1808. 
 
 52. Christ blessing little Children. — 
 
 Matthew, chap. xxii. ver. 21. - B. West, Esq., R. A., - 1769. 
 
 53. A Falling Giant, marble statue, - T. Banks, R. A. - 1786. 
 
 54. A Scene in Otaheite, - - - J. Webber, R. A., - 1791. 
 
 55. Portrait of M. Bromfield, Surgeon, F. Cotes, R. A., - 
 
 56. Boy and Rabbit, - - - - H. Raeburn, R. A., - 1816. 
 
 57. Peasant Boy, - - - - F. Wheatley, R. A., - 1791. 
 
 58. Portrait of N. Hone, R. A., - N. Hone, R, A., 
 
 59. Portrait of T. Gainsborough, - T. Gainsborough, R. A., 
 
 60. Architectural Elevation, - - J. Yenn, R. A., - - 1791. 
 
 61. Design for a New House of Lords, 
 
 &c., - - - - - J. Soane, R. A., - 1802. 
 
 62. Shipping, D. Serres, R. A., - 1769. 
 
 63. View of the Ghauts at Benares, - W. Hodges, R. A., - 1787. 
 
 64. Demoniac, G. Dawe, R. A., - - 1814. 
 
 65. Restoration of the Acropolis of 
 
 Athens, R. Sinirke, jun., R. A., 1812. 
 
 66. Design for a Mausoleum, - - J, Wyatt, R. A., - 1785. 
 
 67. Portrait of his Father, - - F. Cotes, R. A., - - 1817. 
 
 68. Flowers, MaryMoser, (late Mrs. 
 
 Lloyd,) R. A., - 1769. 
 
 69. Portrait of W. Hunter, M.D., - M. Chamberlin, R. A., 17C9. 
 
 70. Naomi and Ruth, - - - J. Russell, R. A., - 1788. 
 
 71. Cottagers, W. R. Bigg, R. A., - 1814. 
 
 72. Eve, a figure in marble, - - E. H. Baily, R. A., - 1831. 
 
172 
 
 SOMERSET-HOUSE. 
 
 Description. Name. Date. 
 
 73. Ceres, disconsolate for the Loss of 
 
 Proserpine, rejects the soh'citation 
 
 of Iris, sent to her by Jupiter, - R. Cook, R. A,, - - 1832, 
 
 74, Portrait of Guiseppe Marchi, - Sir J, Reynolds, P. R. A. 
 
 The paintings in the centre compartments of the ceiling are by 
 B. West, late P. R. A. 
 
 The circular picture represents the Graces unveiling Nature ; 
 those surrounding it, the Four Elements. 
 
 The four large oval paintings at the extremities of the ceiling 
 represent Composition, Invention, Design, and Colouring; and 
 are executed by Angelica Kauffman, R, A. 
 
 In the angles of the ceiling are four heads, by Biaggio Re- 
 becca, A. R. A, 
 
 The portraits of the late King and Queen at the head of the 
 room, painted by Sir J. Reynolds, P. R, A,, were presented to 
 the Royal Academy by its Most Gracious Founder, 
 
 The casts in this room are a part of the collection presented 
 to the Royal Academy by His present Majesty when Prince 
 Regent, 
 
 Entrance Hull, Royal Academy. 
 
A CRITICAL AND DESCRIPTIVE 
 
 CATALOGUE 
 
 OF THE 
 
 SPLENDID COLLECTION OF PAINTINGS 
 
 IN THE 
 
 ITALIAN, FLEMISH, AND ENGLISH, SCHOOLS; 
 
 BELONGING TO THE 
 
 MARQUESS OF STAFFORD, 
 
 IN TUB 
 
 GALLERIES OF CLEVELAND-HOUSE, 
 
CLEVELAND-HOUSE. 
 
 Wealth has its charms ; Heav'n sheds the bouoteous claim ; 
 
 Yet poor the treasures, if unknown to fame. 
 
 Who knows not Pelia's sage, or Lycia's chief, 
 
 Of Glory's structure each the proud relief.— Pindar, P. O. iii. 
 
 The spirit lighted up by the patronage and influence 
 of Pericles, spread with patriotic ardour through every 
 rank, and was universally diffused throughout Greece. 
 Much of this glorious feeling, no doubt, was assisted by 
 the elevated dignity of character in the State, directing the 
 application of arts, so lovely in themselves, and so 
 powerful in their operations on the minds of the people. 
 The liberal patronage bestowed on artists, by the Grecian 
 princes and nobles, was not in the cultivation of a post- 
 humous fame for themselves or their immediate connex- 
 ions; virtue and genius of every order and science was 
 consecrated to the glory of the state throughout all the 
 various pursuits of civic life, and every one who had be- 
 
176 
 
 CLEVELAND-HOUSE, 
 
 nefited their country, became a part of the pubUc lame. It 
 was this imposing combination, this splendid appropriation 
 of all that was great and noble, whether of genius, strength, 
 heroism, or mental intellect, that has surrounded the clas- 
 sic city, even in ruins, with such a variegated crown of 
 everlasting fame, such an eternal halo of resplendant glory. 
 The noble owner of this splendid collection, was the first 
 great patron of the arts in the metropolis who opened 
 his valuable paintings to the public view, and, like Peri- 
 cles, gave a new epoch to the arts of his country ; an ex- 
 ample which has since been laudably followed by many 
 others, who are equally emulous in improving the taste of 
 society, and cultivating the fine arts. This event, which 
 reflects so much honour on the noble Marquess, took 
 place in May, 1806, since which time, the public have 
 been, for four months in the year, regularly admitted, by 
 tickets, to view these superlative specimens of the great 
 masters, under the following 
 
 REGULATIONS: 
 
 The visitors are admitted on the Wednesday in each week, 
 during the months of May, June, and July, between the 
 hours of twelve and five o'clock. Apphcations for tickets, 
 are inserted in a book, kept by the porter, at the door of 
 Cleveland-house, any day, (except Tuesday,) when the 
 tickets are issued for admission on the following day. The 
 applicants should be known to some member of the family, 
 or otherwise produce a recommendation from some distin- 
 guished person, either of noble family or of known taste in 
 the arts. Artists desirous of tickets for the season, will 
 obtain them on the recommendation of any member of the 
 Royal Academy. In wet weather, it is suggested, that all 
 visitors will proceed thither in carriages. 
 
CLEVELAND-HOUSE. 
 
 177 
 
 PLAN OF THE CLEVELAND-HOUSE GALLERY. 
 
 Thk extent and arrangement of the suite of rooms which 
 contain the pictures usually exhibited, will be better un- 
 derstood by the annexed engraving, than by any verbal 
 description. All that part of the house west of the Old 
 Gallery, with the stairs, have been erected by the Marquis, 
 from designs by C. H. Tatham, Esq. The Old and New 
 Galleries, marked B and H in the Plan, are lighted from 
 the top ; but the other apartments, being fitted up and 
 appropriated for domestic purposes, are lighted from the 
 sides. The western end, facing the Green-Park, pre- 
 sents a plain, chaste, and simple elevation : it is built of 
 stone : the windows from the drawing and dining-rooms, 
 project in two bows. 
 
 ARRANGEMENT OF THE PAINTINGS. 
 
 'The Pictures are all numbered with ivory labels, but are 
 not hung in numerical order, from being arranged in their 
 different schools. 
 
 The Italian masters occupy the New Gallery, Drawing- 
 Room, Ante-Room, and Dining-Room. 
 
 The Flemish school are in the Old Gallery and Ante- 
 Roora adjoining. 
 
 The few pictures of the English school are in a small 
 Ante-Room on the right-hand, 
 
 N 
 
178 
 
 CLEVELAND-HOUSE. 
 
 The Galleries contain, among other treasures of art, two- 
 thirds of the celebrated Orleans collection, the remaining 
 portion being principally the property of the Earl of Car- 
 lisle. 
 
 As the pictures are often changed, from various motives, 
 but the numbers invariably preserved, I have thought it 
 better to proceed numerically. 
 
 1. CHRIST with his Disciples at Emmaus. Scarzel- 
 lino D. Ferrara. From the Orleans Gallery ; Luke,ch,xxiv. 
 The subject is happily delineated, and the figures well 
 grouped, with a masterly firm pencil; combining great 
 power of expression, with a corresponding force of effect ; 
 the countenance of our Saviour is particularly serene and 
 heavenly, and the astonishment of the disciples finely 
 depicted. 
 
 2. A Madonna. Sasso Ferrato. A small head, with 
 the hands folded, and resting against her breast. A divine 
 little gem, full of fine feeling, and breathing celestial 
 expression. 
 
 3. The Wise Men's Offering. Baldassare Peruzzi. 
 From the Orleans Gallery; Matthew, ch. ii. v. 2. The 
 cabinet pictures by Peruzzi are'very rare ; his frescoes, 
 according to Fuseli, approach the style of RafFaelle. Lo- 
 mazzo styles him " Architetto Universale. " He was cer- 
 tainly more distinguished as an architect than a painter. 
 In the picture before us there is an unaffected simplicity of 
 style, united with great variety of expression and choice 
 colouring. 
 
 4. The Good Shepherd, by Grimoux, (after Murillio); 
 St. John, ch. X. V. 11. The original picture by MuriUio, 
 
CLEVELAND-HOUSE. 
 
 in the possession of Sir Simon Clarke, has been much 
 celebrated; the present was imported into England, and 
 sold to the Duchess of Bridgewater as an original by 
 Major, the engraver. This has been called a trick by 
 those who have preceded us ; but when I remember, in 
 the work of criticism, how many of the great masters have 
 multiplied their favourite subjects, I am disposed to con- 
 tend for the originality of this painting. If it is to be 
 judged by its intrinsic merits, (which I take to be the fair 
 course of criticism,) it has all the fascinating characteris- 
 tics of the great hand of whom it is modestly called a 
 copy. There is a sublimity of expression, a soft round- 
 ness of style, an accuracy of drawing and firmness of 
 pencil, tjiat if not by the admirable MuriUio, yet bears a 
 strong affinity to him, mellowed as it is by the hand of 
 time. 
 
 5. The Entombing of Christ. Danlello Ricoiarrelli, 
 called Da Volterra; Matthew, ch. xxvii. v. 60; John, 
 eh. xix. V. 38; Mark, ch. xv. v. 43. A singularly dever 
 little specimen of a very rare master, the pupil of Michel 
 Angelo, whose works were celebrated in the V atican and 
 and Farnesina. There is a sublimity of style and exquisite 
 finish in this painting that clearly proves the distinguished 
 talent of the master. 
 
 6. St. Gregory with Angels. Annibal Caracci. This 
 magnificent specimen of the Caracci's pencil was formerly 
 the altar-piece in the church of St. Gregorio at Rome. 
 The full-length figure of a saint kneeling is supposed to be 
 a portrait of Gregory the Thirteenth. Du Fresnoy speaking 
 of Annibal Caracci, the founder of the Bolognese school, 
 says. 
 
 From all tbeu* charms combin'd with happy toil, 
 
 Did Annibal compose his wondrous style.-— of Painting. 
 
 7. Dan'de on a Couch, with a Cupid. Annibal Caracci; 
 
 N 2 
 
180 
 
 CLEVELAND-HOUSE. 
 
 from the Orleans Gallery. A noble gallery picture, drawn 
 and coloured in the first style of art. The daughter of 
 Acrisius, King of Argos, is represented rechning on a 
 couch with white drapery; a loose veil is neghgently 
 thrown across her right arm and thighs. The disposition 
 of the figure is admirably illustrative of the well known 
 fable. The Cupid in the fore-ground, with his quiver and 
 arrows, is arch and playful, with a mellowness of colour 
 that is true to the fleshy tint of nature. 
 
 8. The Virgin, with the Infant Jesus, and St. John, in 
 a Landscape. Raffaelle Sanzio Di Urbino. This little 
 cabinet gem formerly adorned the collection of Sir Joshua 
 Reynolds, and is every way worthy the highest admira- 
 tion. The Infant Jesus is represented asleep or> a dark 
 blue mantle, which is spread on a bank; his mother is 
 kneeling by him, and, with an expression of maternal affec- 
 tion united with placid devotion, is cautiously lifting up a 
 veil which had covered the Infant. Her left arm embraces 
 the youthful St. John, who is contemplating with a 
 peculiar mildness of countenance the sacred innocent. 
 The painting is equally distinguished as a superlative 
 work of art, and a composition displaying a pure con- 
 ception of affection, meekness, and benignity. In the na- 
 tional gallery of Paris is another picture by Raffaelle of 
 the same subject, and these have been repeatedly 
 copied. 
 
 . 9.. The Holy Family, in a circular landscape. Raf- 
 faelle. From the Orleans Gallery. An early specimen of 
 the master, with a portion of that hardness of style which 
 distinguishes the early artists after the revival of painting; 
 it is supposed to have been executed soon after Raffaelle 
 returned from Florence in 1504. The virgin is seated on 
 the right-hand side of the picture with the infant in her lap. 
 Joseph is kneeling before them, and presenting Jesus with 
 
CLEVELAND-HOUSE. 
 
 181 
 
 a bunch of wild flowers; the; distance displays some palm- 
 trees and a cheerful landscape*. This picture was pur- 
 chased by the Duke of Orleans from the collection of M. 
 Tamboneau. 
 
 10. The Holy Family, in a landscape. Raffaelle. 
 From the Orleans Gallery. A master-piece of art, brilliant, 
 chaste, and dignified ; the child worship of the infant John, 
 the celestial expression of Jesus, and the serene meekness 
 of the mother, are finely contrasted with the more forcible 
 but complacent Joseph. It is a work of the most exqui- 
 site skill in composition, colouring, and drawing ; by way 
 of pre-eminence, this piece was styled by the French La 
 Selle Vierge. 
 
 11. Dead Christ, with the three Marys and St. John. 
 Ludovico Caracci. From the Orleans Gallery; John, 
 chap. xix. A singularly fine specimen of the expression and 
 colouring of L. Caracci. There is a solemn feeling in the 
 composition both in tone and subject that is highly im- 
 pressive. It belonged to the Duke of Modena. 
 
 12. Jacob tending his Flock, in an upright landscape. 
 Salvator Rosa; Genesis, chap. xxx. A vigorous ani- 
 mated picture, distinguished by the powerful but eccentric 
 character of the master; it is an evening scene, deficient 
 in pastoral feeling, but rich in the delineation of the wild- 
 ness of convulsive nature. The picture was bought by the 
 late Sir Paul Methuen for the first Duke of Bridgewater. 
 
 13. St. John Preaching in the Wilderness, Francesco 
 Molde. From the Orleans Gallery; Matthew, chap. iii. A 
 picture replete with merit, painted with a free spirited 
 pencil, and a powerful eye to nature. The handling of his 
 fohage is particularly crisp and characteristic, and the 
 grouping of the figures in fine drawing. It formerly be- 
 longed to the Baron de Breteuil. 
 
 1 4. The Inf %nt Hercules, with Juno and other Figures. 
 
182 
 
 CL EVELAND- HOU SE. 
 
 GuiUo Romano. From the Orleans Gallery. A sin 
 gularly fine specimen of the style of the master, but very 
 deficient in composition and arrangement. 
 
 15. The Infant St. John sleeping, in a landscape. 
 Annibal Caracci. From the Orleans Gallery. A little 
 gem displaying fine colouring and youthful expression. 
 
 16. Cupid making his Bow. Francesco Mazzuoli 
 Partnigiano. From the Orleans Gallery* A most exqui- 
 site picture, rich in the choicest materials of art. The 
 figure, which is of a larger size than is usually considered 
 emblematical of the God of Love, is admirably drawn, and 
 rounded frotti the canvass. This picture was formerly 
 attributed to Correggio; and before it graced the Orleans 
 collfection Was in the gallery of the Queen of Sweden. 
 Henry Hope, Esfj., has a small study of it. The same figure 
 is represented ort an ancient gem, from which perhaps the 
 painter obtained his subject. Bartolozzi has engraved it; 
 atid it is also published among the prints fi*om the Orleans 
 Gallery. 
 
 Hi The Virgin dnd Child, tbith St. John and Elizabeth. 
 ParriiigianO. This artist is known to have been the 
 imitator of the divine RafFaelle; his works are, however, 
 free from servility of style. In the specimen before us 
 thefe is both dignity and conception united with skill and 
 taste. 
 
 is. The Death of Adonis. Luca Cambiassi. From 
 the Ojfleans Gallery. The painter haa chosen the crisis 
 for his picture when the Goddess of Love is affectionately 
 clasping and attempting to enliven her dying swain. The 
 figufes are finely drawn; but, from being painted with 
 evanescent tints, they have lost much of their roundness 
 and sweetness. Enough, however, remains to pix)ve the 
 great capabilities of the master. The picture formerly 
 belonged to the Comte de Melfort. 
 
CLEVELAND-HOUSE, 
 
 183 
 
 19. The Repose in Egypt. Annibal CaraccL From 
 the Orleans Gallery; Matthew, chap. ii. A work of distin- 
 guished merit in the Bolognese style of the artist before 
 he had acquired that dignity of manner and accuracy of 
 taste which are displayed in his later productions. 
 
 20. St.Jerom6,withthe Virgin, Christ, Mari/ Magdalen, 
 St. John, &G. Ludovico Caracci, after Correggio. From 
 the Orleans Gallery. Beautifully drawn and grouped; 
 the colouring rich and powerful in effect, with most admi- 
 rable expression. There is an anachronism in this picture 
 by bringing in the portrait of St. Jerome, who lived in the 
 fourth century. It was related in Parma, where Correggio 
 lived, that the artist painted it for a lady devotee, who, 
 claiming the patronage of certain saints, requested the 
 artist to bring them together in one painting, her own 
 portrait, according to the custom of the time, probably 
 making one of the group. The original picture was taken 
 from Parma by the French, and was for some time in the 
 gallery of the Louvre. 
 
 21. The Holy Family and St. John, in a landscape. 
 Giorcione. From the Orleans Gallery. A choice spe- 
 cimen of the Venetian school of painting, vivid in colour, 
 and displaying great breadth of effect. By a strange 
 anachronism the painter has portrayed St. John as a full 
 sized man, and Jesus as a child, although they were born 
 within seven months of each other. 
 
 22. David and Abigail. G. V. Barbieri Guercino. 
 From the Orleans Gallery; 1 Samuel, chap. xxv. v. 23. A 
 noble gallery picture, representing the meeting of David 
 and Abigail ; the group of warriors are admirably drawn, 
 and coloured with great breadth of ffect. The figure of 
 David is too juvenile, and not sufficiently expressive. The 
 whole are painted in Roman costume, with helmets, coats 
 of mail, shields, 8^c. It was formerly in the collection of 
 the Cardinal Mazarin. 
 
184 
 
 CLEVELAND-HOUSE. 
 
 23. The Entombing of Christ. II Tintoretto. From 
 the Orleans Gallery. Rich and powerful in colour and 
 effect, but deficient in dignity of expression. It was pur- 
 chased at Madrid. 
 
 24. The Three Ages. Tiziano Veccelli. From the Or- 
 leans Gallery. An oblong picture, replete with general 
 harmony and breadth of effect, the infant particularly 
 round and natural. It was purchased of the Queen of 
 Sweden, and is called in the catalogue of the Palais Royal 
 La Vie Humaine, from its representing infancy, manhood, 
 and old age. It was, according to Vasari, painted by 
 Titian, after he had studied the works of Gio Bellini, for 
 the sister-in-law of Gio di Castel, who resided at Frenza, 
 and afterwards came into the possession of the Cardinal of 
 Augsburgh. 
 
 25. The Dream of St, Catherine, Ludovico Caracci. 
 From the Orleans Gallery. A singularly fine picture; the 
 calm repose expressed in the female saint is admirable. It 
 has been justly described as one of the best of L. Carracci's 
 performances for graceful composition, beauty of colour- 
 ing, and a peculiar delicacy and softness of execution. 
 This picture was transferred from the cabinet of M. de 
 Nanere to the Orleans collection. 
 
 26. Christ bearing the Cross. Domenico Zampieri, 
 called Domenichino. From the Orleans Gallery. A bril- 
 liant cabinet specimen, in which the expression of humility 
 suffering under oppression, contrasted with the ferocity of 
 the unfeeling soldiers is powerfully depicted. This picture 
 formerly belonged to the Marquis de Seignlay. 
 
 27. The Entombing of Christ. Sebastiano Del Piombo. 
 From the Orleans Gallery. This is certainly one of the 
 choicest specimens of Piombo, whose pictures are said to 
 have been occasionally indebted for correction and assist- 
 ance to the hand of Michael Angelo. In the present work, 
 there is a purity of design and truth of expression that is 
 
CLEVELAND-HOUSE. 
 
 185 
 
 truly admirable, joined with a most harmonious effect of 
 colour. It formerly belonged to M. de Bretonvilliers. 
 
 28. Head of a Magdalen. Guido Rheni. A very 
 fine study, supposed to be a sketch for a large work ; from 
 the cabinet of Mr. Rolfe. 
 
 29. Joseph and Potiphafs Wife, Genesis, chap, xxxix. 
 V. 12. Alessandro Veronese. From the Orleans Gallery. 
 A highly-finished cabinet gem, beautifully drawn and co- 
 loured ; it is painted on touchstone, and belonged to the 
 Due de Bourbon. 
 
 30. Infant Jesus sleeping on a Cross. Guido Rheni. 
 From the Orleans Gallery. A small cabinet picture, full 
 of unaffected simplicity and grace ; painted with a smooth- 
 ness and freshness of style that is both natural and exqui- 
 site, on copper. 
 
 31. St. Elizabeth teaching the Virgin to read. Carlo 
 Maratti, from the collection of the Hon. T. H. Brand. 
 
 32. Landscape with Water, Building, ^c. H. Bour- 
 guignone. A clear fprcible picture, partaking strongly of 
 the pencilling of Salvator Rosa, with a silvery tone, and 
 breadth of effect, that displays the artist's studies to have 
 been from nature. 
 
 33. An Old Clothesman, with other Figures. M. A. 
 Dele Battaglia. A small cabinet picture, from the collec- 
 tion of Sir George Yonge. 
 
 34. The Baptism of Christ, Luke chap. iii. v. 22. 
 G. B. Mola. A work of considerable merit, but deficient 
 in dignity of conception, and propriety of arrangement. 
 
 35. Landscape, with Figures. Guercino. A pleasing, 
 freely pencilled work, from the collection of the Hon. 
 T. H. Brand. 
 
 36. Madonna, and the Infant Christ. Giro Ferri. A 
 cabinet picture, in a fine rich tone of colour, and full of 
 expression, from the collection of the Hon. T. H. Brand. 
 
 37. Portrait of Clement the Seventh. Tiziano Veccclli, 
 
186 
 
 CLEVELAND-HOUSE. 
 
 Giuliano d' Medici, natural son of Giuliana, Ijrother to 
 Lorenzo d' Medici, and cousin of Leo X., to whom he 
 succeeded as Pope, after the short pontificate of Adrian 
 VL, in 1523. This portrait was probably painted at Bo- 
 logna, in 1530, with some others of persons who were as- 
 sembled there during the meeting of the Emperor Charles 
 v. and Clement VII. He was Bishop of Worcester for 
 one year. 
 
 38. The Wise Men's Offering. Pietro Da Cortona. 
 A small oval picture, in which the subject is not happily 
 treated. - 
 
 39. A Landscape f with Cattle ^ 8^c. Claude De Lor- 
 raine. A beautiful cabinet picture, of a view near Tivoli, 
 -distinguished for simplicity of style and natural colour ; 
 the cattle in the foreground are very animated and well 
 drawn. No. 101, in the Liber Veritatis. 
 
 40. A Landscape, with Figures, Monuments^ Temples, 
 S^c. F. Mille. A freely painted picture, approximating 
 to the style of Poussin, and coloured with strong natural 
 effect. 
 
 41. Landscape, with Figures, called the Soothsayers or 
 Augurs. Salvator Hosa. A charming tranquil scene, 
 displaying great depth of perspective, and variety of ob- 
 jects ; it has all the beautiful finish, tone, and colour of a 
 Claude, with the breadth and power of the mighty hand 
 who painted it; there are very few such examples of the 
 master to be seen. In the gallery of Mr. T. Hope is a 
 duplicate. This picture belonged to the collection of the 
 Due de Praslin. It has been engraved by Le Bas. 
 
 42. Landscape, with Figures. Fran9ois Mille. Si- 
 milar in subject and colouring to No. 40. 
 
 43. Landscape, with Figures. Claude de Lorraine. 
 From the story of the Apulean Shepherd turned into an 
 oUve-tree. Ovid's Met. Book iv. Painted for M. de la 
 Garde, in 1607. INo 142, in the Liber Veritatis, A ina- 
 
CLEVELAND-HOUSE. 
 
 187 
 
 gical effort of this child of nature, in the most fascinating 
 style of his art, exhibiting the most brilliant colouring, with 
 a correct eye to nature. It was bought for the Duke of 
 Bridgewater, by Sir Paul Methuen. 
 
 44# Salmacis and HeTmaphroditus. Francesco Al- 
 bano. From the Orleans Gallery. A clever picture, emble- 
 matical of the well-known fable. It formerly belonged to 
 the Abbe des Camps. 
 
 45. An Upright Landscape and Figures. Gaspar 
 Poussin. A most interesting picture, representing a view 
 of the villa Frescati, in the vicinity of Rome. Part of the 
 Campagna is shown stretching across the middle distance, 
 and in the back is seen the adjacent parts of Tivoli, and 
 the Soracte Mountains. It is painted with a rich florid 
 pencil, and with great fidelity to nature. 
 
 46. Virgin and Child. Raffaelle. From the Orleans 
 Gallery. A captivating gem, in the purest style of art, 
 graceful feeling, and impressive. Purchased by the Duke 
 of Orleans from M. Konde, a jeweller, to whom it had 
 been transferred by M. de Montarsis, who had it from the 
 collection of the Marquis de Seignelay. It was originally 
 painted on panel, but has been transferred to canvass, and 
 has been several times engraved. 
 
 47. Head of a Young Female. Leonardo da Vinci. 
 From the Orleans collection. An interesting and singular 
 specimen of this early master. 
 
 48. A Wreath of Flowers, by Maria de Fieri, enclosing 
 three naked Boys^ by Filippo Lauri. A brilliant little gem, 
 beautifully coloured, and exquisitely finished. The group 
 of infants in the centre are amazingly clever. 
 
 49. A half length Portrait of an elderly Man with a 
 Book in his Hand. H. Tintoretto. From the Orleans 
 Gallery. A grand head, in the most imposing style of the 
 master, and displaying great breadth of pencil, and effect, 
 
 50. .4 Landscape^ with Figures. 
 
188 
 
 CLEVELAND-HOUSE. 
 
 51. A Noble fine Picture. Claude De Lorraine. Ex- 
 odus, ch. iii. V. 1, 2, 3; breathing the serenity of nature, 
 calm and dignified, with a grand perspective effect. Be- 
 longed in 1664 to M. De Bourlemont, afterwards to Mr. 
 Clarke, and to the Hon. Edward Bouverie, from whom it 
 was purchased by the Duke of Bridgewater. No. 161 of 
 the Liber Veritatis. 
 
 51*. Repose in Egypt. Flippo Lauri. 
 
 52. Marriage of St. Catherine. L. Caracci, after 
 Correggio. From the Orleans Gallery ; a choice little gem 
 of the first class, brilliant in colour and finely drawn ; pro- 
 bably copied by L. Caracci when he was studying the 
 works of Correggio. It belonged to the Comtesse de 
 Foix. 
 
 53. A small Landscape. Gaspar Poussin. A true pic- 
 ture of the master, but not in his most felicitous style. 
 
 54. St. John pointing to the Messiah, by Annibal Car- 
 racci. Belonoed to M. Pailliot. 
 
 55. The Holy Family. Antonio Correggio. From 
 the Orleans Gallery. Called in the description of the Pa- 
 lais Royal La Vierge au Panier, in the " Catalogue de la 
 Galerie du Palais Royal J" It is affirmed to be by Cor- 
 reggio, though some connoisseurs attribute it to Schidone, 
 with whom we should agree. Lord Radstock possesses 
 another of the same subject ; and in the Dulwich Gallery 
 is a third. 
 
 56. A Landscape. Gaspar Poussin. A very exquisite 
 little picture, the companion to No. 53, but very superior 
 in execution and natural effect. 
 
 57. Portrait of a Doge of Venice. Palma Vecchio. 
 
 58. Sea Piece, with ruined Portico. Claude de Lor- 
 raine. The setting sun with a fragment of a rich portico 
 on the left hand, a group of trees on the right ; two vessels, 
 a boat, a single figure in the fore-ground, a few cattle, and 
 an expanse of water, the Bay of Naples. It is full of the 
 
CLEVELAND-HOUSE. 
 
 189 
 
 charming truth and rich natural effect of the master. This 
 picture and No. 50, with two others, by Claude, was be- 
 queathed by the late Mr. Bouverie to Lord Radnor and 
 his brother, from the latter of whom they were purchased 
 by the Duke of Bridgewater ; the remaining two are in the 
 possession of the present Earl at Longford Castle, Wilt- 
 shire. Belonged in 1664 to M. de Bourlemont, and 
 brought to this country by Mr. Clarke. See 161 of The 
 Liber Veritatis. 
 
 59. Christ on the Cross. Annibal Caracci. From the 
 Orleans Gallery. 
 
 60. Christ in the Garden. Carlo Cignani. From the 
 Orleans Gallery. 
 
 61. The Virgin with Infant Jesus. Bar. Schidone. 
 From the Orleans Gallery. Engraved in the " Galerie du 
 Palais Royal." A fine pure specimen of the master ; be- 
 longed to M. Coypee. 
 
 62. Landscape with figures. Domenichino. From the 
 Orleans Gallery. Belonged to M. de Hautefeuille. 
 
 63. The Death of the Virgin, Albert Durer. It is 
 engraved by the master, from the collection of Mr. Pur- 
 ling. A sweet little specimen of the early school of 
 painting. 
 
 64. The Vision of St. Francis. Domenichino. From, 
 the Orleans Gallery. Belonged to M. Fallot. 
 
 - 65. Diana and Calisto, in a Landscape. Annibal 
 Caracci. The figures are small and subordinate to the 
 landscape, which is painted in a grand free style. From 
 the Orleans Gallery. Ovid's Met. Book 2. Belonged to 
 M. Tamboneau. 
 
 06. The Holy Family. Alessandrino Tiarini. 
 
 67. The Vision of St. Francis, Annibal Caracci. 
 From the Orleans Gallery. Belonged to M. Le Launay, 
 directeur de la Mounoye das Medailles. A favourite 
 
190 
 
 CLEVELAND HOUSE. 
 
 subject of Caracci, treated with his accustomed force and 
 breadth of pencilUng. 
 
 THE EIQHT FOLLOWING PICTURES 4BE ALL 
 BY NICHOLAS POUSSIN. 
 
 68. Sacrament of Penance, Nicoli Poussin. From the 
 Orleans Gallery, This picture, with six others of the 
 same size, were painted at Rome for M. de Chantelou. The 
 subject of the Sacrament of Penance is taken from St. 
 Luke, chap. vii. ver, 36. The subject is illustrative of the 
 remission of sins, the Saviour remitting the sins of the pe- 
 nitent Mary Magdalen, in the house of Simon the Pha- 
 risee. 
 
 69. Sacrament of Extreme Unction. Illustrative of the 
 Catholic Ceremony of Absolution. 
 
 70. Sacrament of Holy Orders, or Ordination. The 
 subject of the picture is the ceremony of delivering the 
 keys to Peter. Matthew, chap. xv. ver. 19. 
 
 71. Moses striking the Rock. From the Orleans Gal- 
 lery. — Exodus, chap. xvii. ver. 6. — Was painted for M. 
 Gillier at Rome, and afterwards belonged to M. de L. de 
 L'Isle Sourdiere, to the President de Beli^vre, to M. de 
 Dreux, and to the Marquis de Seignelay. The subject is 
 the miracle performed for the Israehtes during their abode 
 at Kadish, while journeying through the wilderness of 
 Zin, representing Moses striking the rock, and the flowing 
 of the water. 
 
 72. Sacrament of Baptism. St. Mark, chap. i. ver, 9. 
 The baptism of Christ in the river Jordan, the miraculous 
 opening of the heavens, with the descent of the Holy 
 Ghost, and the Father's voice confirmative of the divine 
 filiation of Christ. 
 
 73. Sacrament of Confirmation. Acts of the Apostles, 
 chap. viii. ver, 17. The subject is the ceremony of con- 
 firmation. 
 
CLEVELAND-HOUSE. 
 
 191 
 
 74. Sacrament of Marriage. St. Luke, chap. i. ver. 27, 
 representing the ceremony of marriage as practised by the 
 church of Rome. 
 
 75. Sacrament of the Eucharist, St. John, chap, xiii., 
 displaying the Last Supper of our Saviour with his Dis- 
 ciples previous to crucifixion, in the upper chamber, 
 when he instituted the ordinance of the Eucharist or sacra- 
 ment of the Lord's Supper. Seven out of these eight much 
 esteemed works of N. Poussin constitute a series illus- 
 trative of as many sacraments in the ritual of the Catholic 
 Church. Poussin is said to have painted two series of 
 these, both of which are in high estimation and both in 
 this country, the other set being at Belvoir Castle. The 
 last of the series is said to have been finished in 1648, 
 when the artist was fifty-four years of age ; they are all on 
 canvass, and nearly of the same size, {i. /?.), about 3 ft. 9 
 in. high by 5 ft. 8 in. wide. They are certainly in the first 
 rank of art, and in the best time and style of the master* 
 
 76. The Ascension. Taddeo Zucchero. From the col- 
 lection of the Hon. T. H. Brand. 
 
 77. Portrait of Robert Wood, author of " Ruins of 
 Palmyra," Raphael Mengs. The present portrait was 
 painted during Mr. Wood's stay at Rome ; he was ap- 
 pointed Under Secretary of State on his return, and died 
 in 1771. 
 
 78. Landscape with Figures. Francois Mille. 
 
 79. Bacchanals. Filippo Lauri, 
 
 80. Jacob Journeying. CastigUone. A landscape and 
 figures freely painted , From the collection of the Hon. 
 T. H. Brand. 
 
 81. Alexander and Philip his Physician. Benjamin 
 West. 
 
 82. Head of St. John in the Charger. Dominico Feti. 
 From the collection of the Hon. T. Brand. 
 
192 
 
 CLEVELAND-HOUSE. 
 
 83. Soldiers playing in a Wood. Pietro Delia Vecchio. 
 From the collection of the Hon. T. H. Brand. 
 
 84. Diana and Actccon. Titian; thought to be the 
 finest Titian in the world. The crouching nymphs are 
 exquisite, and the picture is in a pure state. From the 
 Orleans Gallery. Mentioned by Vasari to have been 
 (with its companion Diana and Calisto) painted for Philip 
 II. of Spain. 
 
 85. Landscape a?id Figures. Zuccarelli. 
 
 86. The Last Judgment. Leandro Bassano. From 
 the Orleans Gallery 5 an extraordinary little picture, full of 
 figures, most elaborately finished, and highly emblematical. 
 
 87. Virgin and Child, with Angels, in an upright land- 
 scape. Albano. 
 
 88. Landscape and Figures, with a Waterfall and a 
 Bridge. II. Bolognese. From the collection of the Hon. 
 T. H. Brand. 
 
 89. The Fall of the Angels. G. C. D. Arpino. From 
 the collection of the Hon. T. H. Brand. A veiy highly 
 finished picture, representing several naked figures thrown 
 into a great variety of attitudes, with St. Michael, clad in 
 armour, and driving them before him. The whole are well 
 drawn, and finely foreshortened, with great breadth of ex- 
 pression. 
 
 90. Landscape and Figures. Londonis. 
 
 91. A Landscape, with Figures, a Waterfall, &c 
 Domenichino. 
 
 92. St. Francis. Ludovico Caracci. The Saint is re- 
 presented expiring in the arms of two angels, while a 
 third above is sounding his praises upon a violin. 
 
 93. The Passage of the Red Sea. P. Caravaggio. 
 
 94. Venus rising from the Sea. Titian. From the 
 Orleans Gallery. Representing an elegantly-formed female 
 just emerging from the sea, and pressing the water from 
 her hair ; on the surface of the ocean is a ^mall shell, 
 
CLEVELAND HOUSE. 
 
 193 
 
 which occasioned this picture to be called " Venus a la 
 Coquille." The expression, elegance, and unaffected de- 
 sign of the figure is only equalled by the colouring of the 
 flesh and delightful harmony of the whole. It formerly 
 belonged to the Queen of Sweden. 
 
 95. The Circumcision. Giacomo Bassano. From the 
 Orleans Gallery. Distinguished as a work of art by great 
 felicity of execution ; it is painted with a rich, but delicate 
 glow of colour, and is altogether in fine keeping. 
 
 96. Christ before Pontius Pilate. A. Schiavone. 
 From the Orleans Gallery ; belonged to the Queen of 
 Sweden. This picture is described by De Fontenai as the 
 finest specimen of the master ; excellent in expression, 
 composition, and colouring, like most of the Venetian 
 school, it has, however, many defects in the former 
 essentials. 
 
 97. Christ disputing with the Doctors. Spagnaletto. 
 From the Orleans Gallery ; formerly belonging to the col- 
 lection of the Archdukes Leopold and John of Austria. 
 The subject is admirably treated, the colouring rich, firm, 
 and harmonious ; altogether a bold masterly picture in 
 the best style of the artist, replete with interest and fine 
 effect. 
 
 98. The Holy Family, in a landscape. Palma Vecchio. 
 
 99. The Woman taken in Adultery. H. Pardenone, 
 From the collection of Sir George Yonge; a most im- 
 pressive fine picture, full of grand effect, and superior in 
 composition to the celebrated Titian on the same subject 
 in the possession of the Earl of Grosvenor. 
 
 100. The Mule. Correggio. From the Orleans 
 Gallery. Said by Mengs and others to have been painted 
 and given by Correggio as the payment of a debt, which 
 he could not otherwise discharge, to the proprietor of an 
 inn on a road where he frequently travelled. It belonged 
 to the Queen of Sweden. It is valuable and curious from 
 
 9 
 
194 
 
 CLEVELAND HOUSE. 
 
 the great rarity of the master, and although shght and 
 sketchy, every tint manifests taste and genius. 
 
 101. The Holy Family with St John. Palma Vec- 
 chia. A fine rich landscape, with a mass of ruins in the 
 back ground . The Holy Family is represented by a group 
 of four persons, the colouring of whom, and of the whole, 
 is in the florid style of the Venetian school. 
 
 102. The Supper, at Emmaus. Paul Veronese. From 
 the Orleans Gallery. Belonged to Sig. Muselli, at Ve- 
 rona, and to the Marquis de Seignelay and M. Crozat. 
 
 103. Marriage of St. Catharine. A. Schiavone. A 
 very beautiful picture; brilliant in colour, and full of 
 choice effect. 
 
 104. Diana and Calisio. Tiziano Veccelli. From the 
 Orleans Gallery, Companion to No. 81. Vide Ovid's Me- 
 tamorphosis, Book 11. A magnificently grand composi- 
 tion. The artist has chosen that period of the story when 
 the females are all naked, and the Princess's crime is 
 just discovered. The picture is exquisitely painted. 
 
 105. Lady E. M. Leveson Gower. Sir Thomas Law- 
 rence, P.R. A. One of those fascinating pictures with 
 which every eye must be dehghted. It is a simple head ; 
 yet so full of natural expression and real life, that I much 
 doubt if the great artist himself has ever exceeded it. 
 
 106. Sea Piece, with Dutch Fishing-boats. J. W. M. 
 Turner, R.A. A grand expansive scene, painted with 
 great truth to nature, and breadth of effect. 
 
 107. A Landscape, with Figures. Richard Wilson. 
 1()8. A Landscape, with Figures, called Niobe. R. 
 
 Wilson, engraved by Woollet, the figures by Placido Cos- 
 tanza. One of the finest specimens of the artist, who has 
 not unaptly been designated as the English Claude. No- 
 thing can more clearly shew the comparative improvement 
 of the present age in works of art, than the estimation in 
 which the works of Wilson are now held, who, while 
 
CLEVELAND HOUSE. 
 
 195 
 
 living, could scarcely exist by his pencil, and died in ex- 
 treme poverty. 
 
 109. Virgin and the Infants Christ and St. John. 
 Andrea Del Sarto. From the collection of the Hon. T. H. 
 Brand. 
 
 no. Virgin, Child, and St. John. Andrea Del Sarto. 
 From the collection of the Hon. T. H. Brand. 
 
 111. ^ profile Head of King Charles I., a study, 
 W. Dobson. Clever and freely painted, but with more 
 age than is usually depicted in the portraits of this mo- 
 narch. I have my doubts whether it was intended for 
 a likeness of Charles the First, although it certainly bears 
 some siraihtude. 
 
 112. A Portrait of a Gentleman with a Ruff . II. Tin- 
 toretto. From the Orleans Gallery. Inscribed anno 
 1580. 
 
 1 13. The Breakfast Table. David Wilkie. A beau- 
 tiful httle cabinet picture, every way worthy of the society 
 we find it incorporated with ; a simple domestic scene, 
 true to nature, and rich in all the most fascinating mate 
 rials of art. Clear, free, and silvery in effect, with harmony 
 of colour, fine drawing, and great expression. It was 
 painted in the most vigorous time of the artist, when every 
 admirer of native talent was loud in his praise. It 
 contains portraits of Callcot the artist, Wilkie, and his 
 sister. 
 
 114. A Naval Engagement. William VanDeVelde. 
 Representing the memorable engagement between the 
 Enghsh and Dutch fleets in June 1666, when the battle 
 lasted four days. Sir George Ascough, who com- 
 manded the Royal Prince, 92 guns, had the misfortune to 
 strike on the Galloper Sands, and was in that situation 
 boarded by the crew of the Gouder, of 64 guns. 
 
 This subject is again represented on a larger scale, with 
 very little variation, in No. 242, of this collection. 
 
 02 
 
196 
 
 CLEVELAND HOUSE. 
 
 n5. A Landscape, with Cattle and Figures. Nicho- 
 las Berchem. From the collection of M. Parting. 
 116 ALandscape, with Cattle. John Hendrick Roos. 
 
 117. ^ Sea Piece. Ludolph Backhuysen. A choice, 
 clear specimen of the master, rich and nMural in effect. 
 
 118. ^ Landscape and Figures, called the Bridge. 
 Nicholas Berghem. From the Calonne collection. 
 
 119. A Sea Piece. William Van de Velde. 
 
 120. Ducks in Water. David Teniers, jun. From Sir 
 William Hamilton's Collection. 
 
 121. An Upright Landscape, with Figures. Joos Mom- 
 pert. Purchased from M . Byres, at Rome . 
 
 122. A Landscape, with Figures. CorneUus Polem- 
 burg. A highly finished little cabinet gem, finely drawn, 
 and charmly coloured. No. 27.5, in this collection, is a 
 companion picture. 
 
 123. Group of Naked Boys, dancing, in a landscape. 
 John Rothenonner. This picture should be called the 
 Descent of Cupid. It is a singularly beautiful work of 
 art; the group of urchins round, arch, and playfully ex- 
 pressive. From the collection of Greffier Fagel. 
 
 124. A Landscape, with a Bridge and Cattle. John 
 Asselyn, or Crabbeje. 
 
 125 A full-length Portrait of the Princess Palatine, 
 Elizabeth, Daughter- of James the First. Giovanni 
 Giaschietti Gonzales Coques. This lady was married to 
 Frederick, Elector Palatine, called king of Bohemia. 
 
 126. A Landscape, with Figures. Cornelius Huyss- 
 
 mann 
 
 127 The Village Musician. Le Nain. From the 
 collection of the Earl of Besborough. A sparkling pic- 
 ture full of character and expression. The group of 
 ragged urchins are in the most felicitous truth to na- 
 
 ture. 1 , 
 
 128. A Portrait of the Artist, in a loose gown, edged 
 
CLEVELAND HOUSE. 
 
 197 
 
 with fur. Franz Porbus. From the eoUection of the 
 Earl of Besborough; a bold fine head, painted with a spi- 
 rited touch, and great breadth of effect. 
 
 129. Interior of a Dutch Cottage. Gilles Schagen. 
 
 130. Interior of a Kitchen. John Peter Van Slinge- 
 landt. 
 
 131. il Lady, with a Lap-dog. Gabriel Metzu. 
 
 132. A Landscape, and Figures. Nicholas Berg- 
 hem. 
 
 133. A Sea View, with Vessels. William Van De 
 Velde. A noble large picture, exhibiting vessels bearing 
 up against a stiff breeze ; grand, natural, and free. 
 
 134. A Portrait of Rembrandt, by himself. 
 
 135. A Landscape, with Figures. Hobbima. 
 
 136. A Sea View. William Van de Velde. 
 
 137. Peace and War. Rubens. An allegory. Pre- 
 sented by Rubens to Charles the First. It is mentioned 
 in the Catalogue of the Royal Collection, March 26, 1649, 
 as being placed in the Bear Gallery at Whitehall, by the 
 description of " Peace and Plenty, with many figures as 
 big as life, by Rubens." It is also described in another 
 part of the same Catalogue as an Emblem of Peace and 
 War, " which Sir Peter Paul Rubens, when he was here in 
 " England, did paint, and presented it himself to the 
 
 King, containing some nine figures." 
 
 It was carried to Genoa, where it was known in the 
 Doria Palace by the name of the family of Rubens, his 
 own portrait, and those of his wife and children being 
 introduced in it ; and was brought from thence by Mr. 
 Irwine and Mr. Buchannan. 
 
 A splendid performance, rich in all the materials of art. 
 The panther is particularly fine ; and the satyrs ini- 
 mitable. 
 
 138. Portrait of a Lady. Rembrandt. An oval pic- 
 ture, elaborately finished. 
 
198 
 
 CLEVELAND HOUSE. 
 
 139. A Landscape. Hobbima. 
 
 140. The Alchemist. David Teniers, jun. Date of 
 1639, engraved by Le Bas. 
 
 141. A Landscape. Wynants. Sparkling, fresh, and 
 natural. 
 
 142. The Landing of Prince Maurice at Dort. Al- 
 bert Cuyp. Transparent and glowing. The group in the 
 boat is admirable ; and the effect of sunshine wonderful. 
 
 143. Portrait of the Marquis de Lieguelay. Philip 
 de Champagne. A singularly fine head, exquisitely 
 finished, purchased at the sale of Mr. Turnbull. 
 
 144. A Woman scouring a Kettle. Abraham Jan- 
 sens. 
 
 145. A Woman frying Pancakes. G. Schagers. 
 
 V 146. A Man reading a Ballad. Purchased at the sale 
 of Mr. Benfield. 
 
 147. An Interview with Dutchmen playing at Cards- 
 Cornelius Dusart. 
 
 148. Interior of a Cottage, with a Woman and Child. 
 Francis Mieris, jun. 
 
 149. A young Fidler and a Female. Wm. Mieris. 
 A rich forcible specimen of this esteemed master. 
 
 150. ^ Lady at her Toilette. Francis Mieris, the el- 
 der. A choice little gem, beautifully coloured, and elabo- 
 rately finished. 
 
 151 A Portrait, * * * * 
 
 152. A Winter Scene. D. Teniers jun. 
 
 153. A Sea Piece. Wm. Van De Velde. 
 
 154. The Assumption. Jane De Reyn, or Rheni, cal- 
 led Langhan Jan. A briUiant composition. 
 
 1.55. A Battle. John Van Hurtenburgh. 
 156. A Landscape, with a Convent, and Figures, 3)C. 
 John Van Goyen. 
 
 1 51. A Landscape, with Ruins and Cattle. A. Cuyp. 
 Evidently a portrait of some place carefully drawn a clear 
 
CLEVELAND HOUSE. 
 
 199 
 
 rich transcript ot nature under the effect of summer sun, 
 painted with great skill and unity of colour. 
 
 158. Madonna and Infant Christ- Sir Anthony Van- 
 dyke. Full of heavenly expression; a captivating perform- 
 ance, in the most fascinating style of art. 
 A Battle. P. Wouvirmans. 
 
 1^0. A Landscape with figures. A. Cuyp. Formerly 
 belonged to M. de Calonne. 
 
 161. An Abbey in Ruins, with figures and cattle. A. 
 Cuyp. 
 
 162. St. Theresa. Sir P. P. Rubens. A sketch for a 
 larger picture, very free and grand. 
 
 163. A Landscape, a woody scene. Jaques Ruysdaal. 
 A fine clear specimen of the master. 
 
 164. ^ large Landscape, with Cows, S^c. A. Cuyp. 
 
 165. Head of a Student. Arry De Voys. A singu- 
 larly beautiful specimen of a very scarce master. 
 
 166. Mercury and Psyche. Sir P. P. Rubens. Proba- 
 bly painted by Rubens, when he studied at Rome, from the 
 works of Raphael ; as part of it appears to be copied from 
 the Apotheosis of Psyche in the part of the palace called 
 Little Farnese at Rome. 
 
 167. ^ Woman with Fish and Fruit. Gabriel Metzu. 
 A little gem, highly finished, and painted with great truth 
 to nature. 
 
 168. A Pilgrim, with a Cottage, and Landscape. Da- 
 vid Tenters (the elder.) 
 
 169. View of a Town, Drawbridge, S^c. Jan Van 
 Der Heyden. 
 
 170. Dutch Boors regaling ; interior of a Cottage. C. 
 Dusart. 
 
 171. A Sleeping Musician. Van Toll. 
 
 172. Interior of a Cottage ; Dutch Boors regaling. 
 Adrian Ostade. 
 
 1 73 . An old Lawyer, with a Peasant bringirig himGame; 
 
200 
 
 CLEVELAND HOUSE. 
 
 inscribed " A. Ostade, 1671.'' Adrian Ostade. A highly 
 finished cabinet picture, of the first class ; full of choice 
 expression, and rich in colour. 
 
 174. A Dutch Festival. Cornelius Molinaer. 
 
 175. Moors playing at Skittles; with a Cottage and 
 Landscape. A Ostade. 
 
 176. Dutchman playing at Trictac. " A. Ostade, 1674." 
 A. Ostade. 
 
 177. Boors playing at Cards. Tuniers. 
 
 178. A Peasant with a Glass of Liquor in his hand A. 
 Ostade. From the Collection of the Due de Rohan Ara- 
 bot. 
 
 179. Dutch Courtship; a Woman leaning on a hatch. 
 " A. Ostade, 1667." A. Ostade. From the Due de Ro- 
 han's collection. 
 
 180. A Portrait. Michael Mireveldt. 
 
 181. A Music Party; interior of a Cottage. Van 
 Harp. A very humorous scene, finely painted ; the mis- 
 chievous boy exciting the dog to bark, and shewing him 
 the entrails of a sheep hung on a beam above, is admirably 
 conceived and executed. 
 
 182. A Dutch Kermis, or Fair. D. Teniers, jun. A 
 multitude of figures disposed with great humour and truth 
 of natural effect. The culinary articles are perticularly 
 fine, and the whole subject rich and captivating. Engraved 
 by Le Bas. 
 
 183. A Landscape. John Wildens. 
 
 184. A Landscape and Cattle, with a single Figure. A. 
 Couyp. 
 
 185. The Interior of a Study. Solomon Kooninck. In- 
 scribed S. Kooninck, 1630. 
 
 186. Portrait of a Young Warrior playing on a Violin : 
 interior of a study, with a whole length portrait of the 
 artist ; who is represented in the dress of a cavalier, with 
 
CLEVELAND HOUSE. 
 
 201 
 
 boots, spurs, 8tc. and playing on a violin. Inscribed " G. 
 Douw, 1637 " by Gerard Douw. 
 
 187. A woman selling Fish. Jan. Steen. 
 
 188. An old Woman and Girl, with herrings and vege- 
 tables. G. Douw. 
 
 189. Portrait of Thomas Howard, Earl of Arundel. 
 Sir A. Vandyke. A fine portrait of one of the earliest 
 protectors of the arts in England. 
 
 190. Dogs with Fruit. Francis Snyders. 
 
 191. ^ Landscape, with a River and Boats. John 
 Van Capelle. 
 
 192. Lady giving Refreshments to a Traveller. G. 
 G. Metzu. Engraved in the gallery of M. Le Brun. 
 
 193. Samuel and Eli, with Interior of a Hebrew Temple. 
 Rembrandt. By some called Samuel and Hannah. 
 
 194. Duchess of Mazarin and St. Evremond, in the 
 characters of Vertumnus and Pomond. Gaspard Netscher. 
 Engraved for and published by Boydell ; a singularly fine 
 and highly-finished picture, replete with great beauty of 
 expression and masterly pencilling. 
 
 195. An old Woman and Dog within an arch. Van 
 Toll. 
 
 196. A Portrait of a Burgomaster. Rembrandt. One 
 of the finest heads in the world. — A grand specimen of the 
 master. 
 
 197. Men and Women regaling. Van Harp. Rich in 
 colour and highly finished. 
 
 198. Dutch merry-making. D. Teniers, Jun. Silvery 
 and brilliant in effect, and full of character. 
 
 199. A Sea View, with Vessels; and a Castle on the 
 Shore. John Teunisz Blankoff. 
 
 200. Peasants playing at Mne-pins. D. Teniers, jun. 
 
 201. Dutch Drummer-boy. Egton Hendrick Von- 
 Derneer. 
 
 202. Interior of a Cottage, with a Woman nursing a 
 
202 
 
 CLEVELAND-HOUSE. 
 
 Child. Cornelius Bega. From the collection of the Gref- 
 fier Fagel. 
 
 203. J Landscape, Q. study from n&ture. Waterloo. 
 
 204. Interior of a Cottage ; a blind Man, Boy, and an 
 old Woman, with a Flax-wheel Victor. There is great 
 contrast of expression in this picture ; the old heads are 
 particularly fine ; it is altogether a very interesting per- 
 formance. 
 
 205. A Landscape, with Figures. Stoop. 
 
 206. Portrait of the Elector Palatine. G. G. Gon- 
 zales. Portrait of Frederick, Elector Palatine, called king 
 of Bohemia ; companion to No. 125, the ancestor of the 
 present Royal Family of Great Britain. 
 
 207. A Landscape and Figures. C. Huyasman. 
 
 208. A Landscape and Figures. John Both. Ex- 
 ceedingly rich and natural, painted with most elaborate 
 care. 
 
 209. A Peasant dressing a Wound. Joseph Craes- 
 bake. 
 
 210. An Interior, with '* still life." William Kalf. 
 
 211. An old Woman, with inside of a Cottage. Breck- 
 lencamp. 
 
 212. A Landscape and Figures. Nicolas Berghem. 
 From M. de Calonne's collection. ' 
 
 213. A Landscape and Figures. John Wynants. 
 
 214. A Landscape and Figures. Isaac Van Ostade. 
 
 215. A Landscape and Figures. J. Wynants. 
 
 216. A Dog chained. John Fyt. This picture was 
 ascribed to Velasquez, when in the possession of M. Des- 
 enfans. 
 
 217. A Landscape, with Ruins and Figures. J. Wy- 
 nants. 
 
 218. A Landscape and Figures. J. Van Ostade. 
 
 219. A Landscape and Figures. J. Wynants, 1695.' 
 
CLEVELAND-HOUSE. 
 
 203 
 
 220- A Landscape, with Figures bathing, John 
 Both. The figures by Polemberg. 
 
 221. A Landscape. J. Kuisdaal. 
 
 222. A Landscape, and Cattle. Vander Lewue. 
 
 223. A Landscape, with Cattle. Paul Potter. 
 
 224. A View by Moonlight. Adrian Van der-neer. 
 
 225. View of the Old Gate at Amsterdam, with the Ca- 
 nal, Bridge, Windmill, S^c. J. Ruysdaal. 
 
 226. A Landscape, with Figures Hawking. Philip 
 Wouwermans. A rich, clear, and beautiful picture, the 
 horses are particularly spirited. 
 
 227. A Landscape, with Figures, and a Hay-cart going 
 over a Bridge. P. Wouwermans. 
 
 228. A Hay-field, with Figures loading a Cart P. 
 Wouwermans. 
 
 229. The Interior of an Alehouse. Hendrick Mar- 
 teusze Rokes, (called Zorg.) A very spirited, clever picture. 
 
 230. A Landscape and Figures. Adam Pynaker. 
 
 231. A Lawyer writing in his Study. A. Van Ostade. 
 The portrait of the person represented in No. 173, appears 
 to be copied here. 
 
 232. Interior of a Church at Antwerp. Henry Steen- 
 wyck. A singularly fine specimen of perspective effect. 
 
 233. A Sea View with Dutch Boats. De Vleiger. 
 
 234. Boors singing. Adrian Brawer. The singers 
 chanting with all the true feeling of nature. A spirited 
 rich composition, finely coloured, and full of choice effect. 
 
 235. A Landscape and Cattle. Adrian Van de Velde. 
 A choice cabinet picture, highly finished, and brilhant in 
 effect. 
 
 236. A Group of Flowers. Jan Van Huysum A lit- 
 tle gem of the first class, brilliant and natural, and finely 
 coloured. 
 
 237. Fruit and Flowers. Cornelius De Heem. 
 
 238. Fruit and Flowers, Van. Os. 
 
204 
 
 CLEVELAND HOUSE. 
 
 239. A Landscape and Cattle. W. Romeyn. 
 
 240. Travellers crossing a Stream. Karel du Jardin. 
 
 241. A Landscape and Figures. Alexander Keirings. 
 
 242. A Naval Engagement. W. Van der Velde. The 
 subject of this picture, which is also represented in No. 
 114 on a smaller scale, is " the taking of Sir George As- 
 " cough, Admiral of the White, in the Royal Prince, of 
 " 92 guns, in the engagement between the English and 
 " Dutch Fleets in June, 1666. The Enghsh having borne 
 
 away to join Prince Rupert, Sir G.Ascough's ship struck 
 " on the Galopper sands, and being left by his own fleet, he 
 was compelled to strike to the Gouda, of 64 guns, com- 
 manded by Admiral Sweers, to which ship Admiral Van 
 " Tromp had shifted his flag during the engagement ; a 
 " fire ship is seen bearing down with the Gouda, and the 
 " boat, commanded by Jacques Phihp Sweers, Captain, is 
 " going to take possession of the Royal Prince. Many of 
 " the crew, after they were taken out, crept in again at the 
 " port-holes, till they were ordered to be shut. The Royal 
 " Prince was afterwards got afloat ; but the Dutch, appre- 
 " hensive she might be re-taken, or prove an embarrass- 
 ment to them in the engagement, which would be imme- 
 diately renewed, thought it most expedient to burn her." 
 
 243. A Portico with Ruins. John Baptist Weeninx. 
 2'^4:. A Landscape and Figures. N. Berghem. Painted 
 
 with uncommon richness of effect, and great freedom of 
 pencil. 
 
 245. Village Festival. Gilles Tilborgh. 
 
 246. Landscape with Figures, John Singleback. Ex- 
 ceedingly well drawn, but coloured in the grey neutral tints 
 of the master. 
 
 241, A Musical Party. Peter Van Lint. Animated rich 
 in colour, with great force of expression. 
 
 248. A Battle Piece. J. Wycke, jun. 
 
 249. A Gentleman paying his addresses to a Lady. 
 
CLEVELAND HOUSE, 
 
 205 
 
 Gerard Terburgh. From the collection of Mr. Crawford, 
 of Rotterdam. 
 
 250. A Lady washing her hands. G. Netscher. 
 
 251. Monks giving Charity at the gate of a Convent. 
 Jan Miel. From the collection of the Countess Holder- 
 ness. It formerly belonged to the Duke de Choiseul, and 
 is painted with more breadth than generally distinguishes 
 this master. 
 
 252. Fauns and Nymphs, in a Landscape. Paul Brill. 
 
 253. Birds. Hondekoeter. 
 
 254. Portrait of a Jesuit. Giovanni Battista Moroni, 
 (called 11 Morone). From the Borghese Palace at Rome, 
 where it was known by the description of Titian's School- 
 master, so called from the tradition that he used particu- 
 larly to notice that portrait. He is also reported to have 
 said, on being asked who he then thought the best painter 
 of portraits, that in his opinion those of Morone d' Albino 
 were incomparable. A singularly fine head, very ques- 
 tionable if it is not by Titian himself. 
 
 255. The Virgin and Child, St. Anthony of Padua, and 
 St. Francis at Rome. Pelegrino Da Madona. From the 
 collection of Prince Giusiniani, at Rome. 
 
 256. Entrance of Conway Castle. Sir G^o. Beaumont. 
 
 257. Death of Eli. Bird. A noble fine specimen of this 
 lamented artist, whose early death robbed the Enghsh 
 school of one of its brightest ornaments. 
 
 258. Landscape. VanderNeer. 
 
 259. Portrait of a Lady. Sir Peter Lely. 
 
 260. Boors regaling. Teniers. 
 
 261. Countess of Middlesex. Sir Peter Lely. 
 263. Conversation. Tilborgh. 
 
 263. Cattle. Gainsborough. 
 
 264. Landscape. Reinagle. 
 265 King James the First. 
 
206 
 
 CLEVELAND HOUSE. 
 
 266. Lord Chancellor Ellsmere, in his robes, a very fine 
 portrait. 
 
 267. A Ruin. 
 
 268. A Castle and Shipping. 
 
 269. Landscape and Figures. 
 
 270. Landscape and Cattle. 
 
 271. The Wise Men. A pictore of very considerable 
 merit. 
 
 272. Virgin Child and Saints, Lorenzo Lotto. 
 
 273. Trictrac. Eckhout. A very expressive, clever 
 picture ; the game appears like to chess. 
 
 274. La7idscape, Figures, and a Boat. H. Swanefeld. 
 
 275. Landscape, with Figures bathing. Poelemburg. 
 
 276. An old Woman reading. Van Toll. 
 
 277. A Holy Family. Salvator Rosa. 
 
 278. An old Man reading. Van Toll. 
 
 279. Portrait of an old Lady. Francois Hals.— 
 Highly finished, and very fine. 
 
 280. Sea-piece, with Fishermen. Willian Van der 
 Velde. A very fine specimen of the master, true to nature. 
 
 '2U. The Nativity. Rottenhamer. A very rich gem ; 
 the angels are indeed heavenly, and the whole composition 
 highly finished. 
 
 282. Age and Infancy. Moreelze. 
 
 283. Death of Adonis. Paul Veronese. 
 
 284. A Concert. Valentin. 
 
 285. JepthatKs Daughter going to the Mount. Dario 
 V arotari. 
 
 286. Presentation in the Templd. Tintaret. 
 
 287. Story ofCephalus and Procris. 
 
 288. A Storm. Vernet. 
 
 289. A Calm. Vernet. A pair of true pictures of 
 the master, cleverly painted and in his best style. 
 
 290. Saint John. Vargas. 
 
CLEVELAND HOUSE. 
 
 207 
 
 291. Battle Piece. Bourgignone. 
 
 292. Battle Piece. Bourgignone. 
 
 293. Judgment of Solomon. Paul Veronese. 
 
 294. Copy from a Picture in Spain after Titian. 
 
 295. Virgin. Onorio Marinari. 
 
 296. Christ. Onorio Marinari. 
 
 297. Martyrdom of St. Bartholomew. Ag. Carracci. 
 
 298. Sea Peace, Wm. Vandervelde. 
 
 299. A Storm. G. Poussin. 
 
A CRITICAL AND DESCRIPTIVE 
 
 CATALOGUE 
 
 OP THE 
 
 ANTIQUE SCULPTURES, BASSI RELIEVI, STATUES, 
 VASES, AND PAINTINGS, 
 
 WHICH FORM 
 
 THE SPLENDID COLLECTION 
 
 OP 
 
 THOMAS HOPE, Esa., 
 
 IJV HIS EXTENSIVE GALLERIES, DUCHESS-STREET, 
 PORTLAND-PLACE. 
 
 Yet should the worthy from the public tongue. 
 
 Receive their recompense of virtuous praise: 
 By every zealous patriot sung, 
 
 Anddeck'd with ev'ry flower of heavenly lays.— N. O. XI. Pindar. 
 
 P 
 
Mil. HOPE'S COLLECTION. 
 
 O Greece ! tliou sapient nurse of finer arts, 
 
 Which to bright Science blooming- Fancy bore, 
 
 Be this thy praise, that thou and thou alone. 
 
 In these hast led the way, in these excell'd 
 
 Crown'd with the laurel of assenting time. — Thomson. 
 
 There are few names in English history which will 
 better deserve the honours of posterity than the exalted 
 individual, of whose gallery I am about to speak. In the 
 very dawn of science, while yet the arts of England trem- 
 bled in helpless infancy, this enlightened scholar stretched 
 forth his fostering hand to raise the sinking child of Ge- 
 nius ; and, not alone content with affording his own muni- 
 ficent support, he liberally employed his great talents and 
 fortune in exciting a similar feeling in the minds of others. 
 Proudly may he wear the ever-budding wreath a nation's 
 gratitude cheerfully awards him. It is an evergreen, the 
 gift of every voice, that must bind his brows while living, 
 and will perpetuate his fame, shedding a fragrant odour 
 over his memory, to the latest period of time. 
 
 P 2 
 
212 
 
 Mr. hope s collection. 
 
 In forming this collection, and in fitting up his splendid 
 mansion, the object of this highly-gifted benefactor of the 
 arts has neither been to produce an idle parade of articles 
 of virtu, nor an ostentatious display of decorative finery. 
 The classic taste and purity of mind which is known to 
 distinguish the individual Hves in every object that sur- 
 rounds the spectator, and displays the perfection that 
 may be produced by a combination of elegance and har- 
 mony, joined with quiet repose and the most unaffected 
 simplicity of design. The furniture is in perfect accord- 
 ance with the noble specimens of Greek and Roman art, 
 which everywhere strike the eye, and shew a refined atten- 
 tion to the decorative art to be as essential in producing a 
 classic effect in a cornice or an article of furniture as it is 
 in a statue or a picture. A graceful outline and an appro- 
 priate elegance of form, derived from the choicest Greek 
 and Roman models distinguish every thing in these apart- 
 ments, from the building to the furniture, and from that to 
 the meanest domestic article. 
 
 It is with some regret I have learned that the fine col- 
 lection of antique sculptures, which now adorn this gallery, 
 are shortly to be removed to the liberal proprietor's beau- 
 tiful seat at Deepdene, near Dorking, in Surrey, where a 
 new gallery and amphitheatre have been erected on pur- 
 pose to receive them. The pictures and unique collection of 
 vases will remain as at present, as will also the Canova 
 Venus. With a liberality worthy of his enhghtened mind, 
 Mr. Hope admits the public to view his collection, under 
 similar restrictions to those adopted by the Marquis of 
 Stafford, Earl Grosvenor, and Sir John F. Leicester; 
 namely, an application signed by some persons of known 
 character and taste, or the personal introduction of any 
 friend of the family. Visitors are admitted on the Mon- 
 days during the season of the nobility being in town, 
 between the hours of eleven and three. 
 
Mr. hope s collection. 
 
 213 
 
 ANTE-ROOM. 
 
 Bacchante playing with a Faun. A production of the 
 modern French school. The Bacchante is ill drawn, ex- 
 cept her head, which is in better taste, with an arch and 
 playful expression. 
 
 Paris and Helen, by Westall. These pictures are 
 painted with the usual taste and elegance of the artist ; 
 but they also exhibit that powerful siniihtude of style and 
 manner which distinguishes all his productions. The 
 figure of Paris is very expressive, and well drawn. 
 
 The Expiation of Orestes, by Westall. There is a ma- 
 jesty of thought and breadth of effect in this picture that 
 rises superior to many of the same artist's works ; the pros- 
 trate figure of Orestes is admirably conceived and spi- 
 ritedly drawn. 
 
 Portrait of the Archbishop of Tuam, by Shee. An early 
 production of this esteemed artist; said to be a fine likeness, 
 and the face certainly well coloured. 
 
 STATUES AND ANTIQUITIES. 
 
 Four Statues from the Antique, in Carrara marble. The 
 originals have long been admired for their purity of design 
 and appropriate expression. The works before us do 
 honour to the age in which we live, and reflect a halo of 
 brightness on the past. 
 
 Belvidere Apollo, by Flaxman. A beautiful specimen 
 of imitative art, very closely approaching the original. 
 The sculptor has been most unfortunate in his marble, 
 which is full of black veins. 
 
 Belvidere Mercury, by Devaere. 
 
 Medici Venus, by Pisani. Round, delicate, and chaste, 
 with all the anatomical beauty and witchery of expression 
 that distinguishes the original. 
 
Mn. HOPE S COLLECTION. 
 
 Medici Apollino, by Pisani. 
 
 Votive Foot, in red porphyry, antique ; 2 ft. 11 in. 
 in length. A singularly fine specimen of colossal sculp- 
 ture, displayuig great anatomical perfection in the artist. 
 
 Bust of Nero, in red porphyry, antique ; according to 
 Pliny it was not until the reign of the Emperor Claudius 
 that statuaries began to work in red porphyry : the gilt 
 bronze drapery attached is modern, but cast from models 
 of the antique. 
 
 EaglCf in Carrara marble, by D'Este. The head is 
 very majestic, and the breast feathery ; but there is a 
 formal arrangement of the plumage, and an unnatural 
 thickness about the eye that is very exceptionable. 
 
 Two Vases, antique ; both fine examples of the superior 
 elegance and beauty of ancient taste. 
 
 EGYPTIAN OR BLACK ROOM. 
 
 The ornaments that adorn the walls of this little Cano- 
 pus are taken from Egyptian scrolls of papyrus, and those 
 of the ceiling from various mummy-cases, and the prevail- 
 ing colours both of the furniture and ornaments are that 
 pale yellow and bluish green which hold so conspicuous 
 a rank among the Egyptian pigments, skilfully relieved by 
 the occasional introduction of masses of black and gold. 
 
Mr. HOPE'S COLLECTION. 
 
 215 
 
 PICTURES. 
 
 Enamel Portrait of Mr. H. Hope, by Bone, taken in 
 Persian costume ; a miniature copy of the large painting 
 on the staircase. An elaborate specimen of this branch 
 of art. 
 
 Repose in Egypt, by Gauffier. Gauffier was a promis- 
 ing artist of the French school, who died very young, in 
 1789, at Florence, from excessive grief for the loss of his 
 wife, who was also eminent as a painter. This and the 
 companion picture, the subject of which is from the Roman 
 history, are both fine specimens of the modern French 
 school ; but particularly the former, which is finely drawn 
 and sweetly coloured. ♦ 
 
 Ruins and Figures, an Italian scene, by Sablet. A clear 
 effective picture, in good keeping. 
 
 SCULPTURE AND ANTIQUITIES. 
 
 A small Egyptian Mummy, supposed from its smallness 
 to be one of the mementos of death which Herodotus men- 
 tions to have been carried round at festivals. 
 
 Egyptian Lion, in grey basalt, antique ; found among 
 the ruins of the Emperor Tiberius's Palace in the Island of 
 Caprea. It is of the iron-coloured basalt, the hardest spe- 
 cies known. 
 
 Cinerary Urn, in Oriental alabaster, antique. 
 
 Ditto, in onyx alabaster, antique. According to Pliny, 
 the quarries of this species of marble are found near 
 Thebes, in Upper Egypt, 
 
 Egyptian Urn, in dark Oriental granite, mounted in 
 bronze, antique. Found in the Villa Hadriana, among the 
 ruins of the Canopus. 
 
Mr. HOPE'S COLLECTION. 
 
 Four Canopuses, in Oriental alabaster, antique, viz.. 
 
 One with Human head. 
 
 One with Fox's head. 
 
 One with Hawk's head. 
 
 One with Cynocephalus's head. 
 
 Three of these very singular relics of antiquity have 
 hieroglyphics on their bodies. 
 
 Two Canopuses, hung round with ex bolos in nero an- 
 tico.* Singularly beautiful specimens, very richly sculp- 
 tured. 
 
 Egyptian Pastophora, holding the God Horus, in green 
 basalt ; antique hieroglyphics. The Pastophora were 
 initiated women, who, in the religious processions of the 
 Egyptians, carried the God Horus in a box before them, 
 and at stated intervals fell on flieir knees, and offered the 
 idol to the admiration of the multitude. 
 
 Egyptian Priest, holding the God Horus ^ in black ba- 
 salt, antique. A fine specimen of the old Egyptian style, 
 and one of the very few that remain entire. The head, 
 conformable to Herodotus's account, is entirely bare and 
 shaven close. 
 
 Egyptian Isis, in green basalt, antique. 
 
 Two Egyptian Priests, in nero antico. 
 
 Egyptian Priest, in rosso antico. 
 
 Two Egyptian Lions, in bronze. 
 
 Egyptian Vase, in red granite, with hieroglyphics, an- 
 tique. A very fine specimen. 
 
 Vases, in green basalt, rosso antico, serpentino verde 
 porphyry, &c. 
 
 Bas-relief, in red marble. A sacrifice, priests leading 
 an ox to the altar, very fine. 
 Antique Greek Vase. A singularly beautiful specimen, 
 
 of the most elegant design. 
 
Mr. HOPE'S COLLECTION. 
 
 217 
 
 BLUE OR INDIAN ROOM. 
 
 The decorations of this apartment are in the most costly 
 style of Oriental splendour; the curtains, ottomans, (^-c, 
 are all of rich damask silk. 
 
 Three Pictures, by Daniel. Taye Mahel, at Agra ; the 
 Ganges, at Benares ; and a Mosque, in Hindostan ; — very 
 correct portraits no doubt, but not otherwise worthy the 
 society we find them in. 
 
 Campo Vaccino, at Rome, ruins and figures, by P. Pa- 
 nini. A clever masterly picture, with great breadth of 
 effect ; the figures well grouped. 
 
 STAR-ROOM. 
 
 The whole surrounding decoration of this apartment is 
 in unison with the classic subject by Flaxman, which 
 forms the centre object of attraction. Aurora visiting 
 Cephalus on Mount Ida ; the design has been rendered, 
 in some degree, analogous to these personages, and to the 
 face of nature, at the moment when the first of the two, the 
 goddess of the Morn, is supposed to announce the break of 
 day. Round the bottom of the room still reign the em- 
 blems of night. In the rail of a black marble table are 
 introduced medallions of the God of Sleep and the God- 
 dess of Night. The bird consecrated to the latter deity 
 is seen perched on the pillars of a black marble chimney- 
 piece, whose broad frieze is studded with the emblems of 
 night. Figures of the youthful hours, adorned with 
 wreaths of foliage, form the chief decorations of the furni- 
 ture, which is mostly gilt to give relief to the azure, black, 
 and orange compartments of the draperies. 
 
218 
 
 Mr. hope s collection. 
 
 The Young Musician, by Sharp. There is great bril- 
 liancy of tone and grandeur of effect in this picture ; but 
 the expression in the female figure does not clearly convey 
 the natural impression of the scene. 
 
 The Importunate Author, by Newton. A masterly fine 
 cabinet gem, in the richest style of art, and abounding in 
 choice conceit, good drawing, and elaborate finish. It 
 has been recently engraved. 
 
 A small architectural subject. View of an English Vil- 
 lage. 
 
 A ditto. 
 
 Sketch, by Salvator Rosa, on Panel. The subject, ap- 
 pears to be the tale of the Dying Father and his Sons, 
 with the allegory of the Bundle of Sticks, from ^Esop's 
 Fables. 
 
 A Flower Piece. There are several beautiful Urns dis- 
 posed in various situations in this apartment : and two 
 enamel vases of the most exquisite fashion and taste. 
 
 ANTIQUITIES, Sfc. 
 
 Arm, in penthelic marble, by Phidias. A small frag- 
 ment, formerly belonging to a figure of a Lapithea in the 
 frieze of the Parthenon, at Athens ; it is preserved in a 
 glass case upon a velvet cushion, with all the care of a 
 costly jewel. 
 
 Stalactite, from the grotto at Antiparos. A choice na- 
 tural curiosity, preserved in a corresponding manner to 
 the fragment by Phidias. 
 
 Ivory Cup. Nereids supporting a festoon of shells, by 
 Fiamingo. A most exquisite work of art, beautifully carved, 
 and of elegant design. It is a gem of the first order, 
 wrought in ivory. 
 
Mr. HOPE'S COLLECTION. 
 
 210 
 
 Aurora visiting Cephalus on Mount Ida, by Flaxman. 
 A singularly fine group by this classic sculptor ; the Ce- 
 phalus is particularly round and fleshy, and the grace of 
 the design unique. 
 
 Minutely perfect all ! each dimple sunk. 
 And every muscle swell'd, as nature taught. 
 
 Thomson. 
 
 THE CLOSET. 
 
 The Closet, or Boudoir, is fitted up for the reception of a 
 few Egyptian, Hindoo, and Chinese Idols, and Curiosities. 
 The sides of this Lararium are formed of pillars, and the 
 top of laths of bamboo, from which is suspended a cotton 
 drapery, in the manner of a tent. The mantel-piece is de- 
 signed in imitation of an Egyptian Portico, which being 
 placed against a back ground of looking-glass, appears 
 insulated. On the steps of this architectural ornament are 
 placed Idols, and in the niches, bas-reliefs. 
 
 On the top of the Egyptian Portico is a fine ANTiauE 
 Bronze of Marcus Aurelius, on horseback. Two casts 
 from the antique, of Idols, representing Nature, and 
 Bacchus and Ariadne, in alto relievo, finely carved in 
 wood. A singularly-curious antique Bronze ChimjERa, 
 used as a drinking-vessel ; and a splendid carving, in ivory, 
 of a Crucifix, the figure admirably wrought, and of an 
 extraordinary size, being nearly two feet in length. 
 
220 
 
 Mr. hope s collection. 
 
 PICTURES. 
 
 Men on Horseback, Night, hy Wouverman. This is rather 
 a dull picture for this captivating artist, but it exhibits, in 
 the horses, convincing proofs of his pencil. 
 
 Fortune-telling, by De Moni. An animated clever little 
 gem, on panel, brilliant in colour, and full of expression. 
 The cunning of the sibyl, with the unsuspecting innocence 
 of the young female, are admirably contrasted with the 
 arch cunning and ridicule of the boy in the back ground. 
 
 Landscape, Boats in foreground, by Vosterman. A 
 clear, transparent picture, elaborately finished, and full of 
 figures, finely grouped. 
 
 Sea-piece, by Storck. A clever painted picture, but de- 
 ficient in perspective. 
 
 Interior of a Room, two Figures, by Van der Neer. 
 Painted with great breadth of effect, and brilliancy of co- 
 lour, but deficient in drawing. 
 
 Marriage of Neptune and Amphitrite, by Breugel and 
 Rottenhamer. Sea deities, tritons, females, and genii, 
 grouped in every fanciful situation ; the latter are particu- 
 larly round and clever, and the composition is altogether 
 classical and pleasing. 
 
 Landscape, with Figures, by Wynants. A very beauti- 
 ful scene, rich and sparkUng, with strong natural effect. 
 
 Sea-piece, by Storck. A companion picture to the last, 
 named by the same artist. 
 
Mr. hope S collection. 
 
 221 
 
 STATUE GALLERY. 
 
 Amid the hoary ruins, Sculpture first, 
 Deep digging-, from the cavern dark and damp, 
 Their grave for ages ; bid her marble race 
 Spring to new light. Joy sparkled in her eye, 
 And old remembrance thrill'd in every thought, 
 As she the pleasing resurrection saw. — Thomson. 
 
 STATUES, LARGE LIFE. 
 
 Venus, in Parian Marble, antique. Found at Baia ; 
 it is one of the most entire statues known. 
 
 Bacchus and Hope, antique. Formerly in the Aldo- 
 brandini Palace. 
 
 Apollo and Hyacinth, antique. A group found in the 
 villa Hadriana, and formerly belonging to the villa D'Este, 
 at TivoU; thought to be the only one existing of this 
 subject. 
 
 Antinous, antique. Antinous appears in the character 
 of Adrian's cup-bearer. Found in the villa Hadriana. 
 
 Esculapius, antique. Found in the villa Hadriana. 
 
 Hygeia, antique. Found at Ostia, in 1797, among the 
 ruins of a magnificent building, situated at the mouth of 
 the Tiber. 
 
 Minerva, antique. Found at Ostia, among the same 
 ruins with the former. Like many other ancient statues, it 
 is wrought out of separate blocks of marble, similar in 
 every respect to that of the Albani villa, but in higher pre- 
 servation, which Winckelman mentions in his Histoiy of 
 Arts and Cities, 1. iv. ch. iv., as the most exalted female 
 form at Rome. It was found with the remains of bronze 
 eye-lashes, the eyes were probably of gems, like the Mi- 
 nerva of Phidias. 
 
 Young Apollo, antique. 
 
222 
 
 Mr. hope s collection. 
 
 STATUES, SMALL LIFE. 
 
 Hermaphrodite, antique. 
 Ganymede, antique. 
 A terrific Pan. 
 Bacchus. 
 
 Silenus in the attitude of the Farnese Hercules. 
 
 Cupid and Psyche, antique. 
 
 Seated Silenus, antique. 
 
 Apollo with Bow and Quiver, antique. 
 
 Draped Venus, antique. 
 
 A Faun, with Cootals, antique. 
 
 Small Marble Group, Satyr and Woman. 
 
 Small Marble Torso, antique. 
 
 Indian Bacchus. 
 
 Roman Isis. 
 
 B USTS. 
 
 Antoninus Pius, and of his Wife Faustina, antique. 
 The finest and most entire sculptures of that august pair 
 known. 
 
 Lucius Verus, antique. The top of the nose has been 
 restored, found at Ostia in 1797, with the Minerva and 
 Theseus. 
 
 Septimius Severus, antique. Also found at Ostia, and 
 entire. 
 Six Roman Busts. 
 
 Antinous, in the character of an Egyptian Priest, 
 antique. 
 
 Fame, antique. 
 Four very small Busts. 
 Three Busts, Ladies. 
 Bust, a Child. 
 
Mr. hope S collection. 
 
 223 
 
 Three antique Feet. 
 Antique Tripod. 
 
 Three Candelabra, antique. 
 Column with Vase, antique. 
 Five Cinerary Urns, antique. 
 
 Heads, in bas-relief, of dying Alexander and VitelliuSy 
 porphyry. 
 
 Two fine Greek Vases, on cippi, decorated with foliage. 
 Three sepulchral altars. 
 
 Dog and Bitch, antique. Found by Prince Chigi, in 
 his cave at Torre Paterno, among the rains of Antoninus's 
 Laurentine Villa ; it is singularly fine. 
 
 Antique Tripod. 
 
 PICTURE GALLERY*. 
 
 Painting felt the fire 
 
 Burn inward. Then ecstatic she difFus'd 
 
 The canvass, seized the pallet with quick hand, 
 
 The colours view'd, and on the void expanse 
 
 Her gay creation forged the mimic world. — Thomson. 
 
 In this apartment, the centre of the ceihng is supported 
 by small columns, which divide the light, and are imitated 
 from those seen at Athens, in the upper division of the oc- 
 tagon building, vulgarly called the Temple of the Winds. 
 These columns rest on massy beams, similar to those in 
 marble, which he across the peristyle of the Temple of 
 Theseus ; the larger columns, which support the entabla- 
 ture, are profiles of those of the Propylaea. The organ 
 assumes the appearance of a sanctuary. The Ionic co- 
 lumns, entablature, and pediment, are copied from the 
 
 * Almost all the pictures in this gallery arc of a large size, and arc, 
 beside, in the very first class of art. 
 
224 
 
 Mr. hope s collection. 
 
 exquisitely beautiful specimen in the Temple of Erechtheus, 
 in the Acropolis of Athens ; over the centre of the pedi- 
 ment, is the car of Apollo ; the tripods, sacred to the god 
 of Music, surmount the angles ; the drapery, which de- 
 scends over the pipes in the form of an ancient pepluus or 
 veil, is embroidered with laurel wreaths, and other emblems 
 appropriate to the son of Latona. The massive tables, 
 with recesses for books and port-foUos, and the antique 
 pedestals and implements, which adorn the sides of the 
 chamber, have all the classic uniformity of the general de- 
 coration. 
 
 Bacchus and Ariadne, by Guido. A fine free specimen 
 of the master, delicately coloured, and full of expression. 
 
 Magdalen, by Corregio. A true, but early picture of 
 the master. 
 
 The Inspiration of St. Giustinian, by Albano. From 
 the Orleans gallery. A noble emblematical picture, finely 
 drawn, and coloured with great breadth of effect; the 
 head of the Saint is particularly expressive. 
 
 Adoration of the Shepherds, by Jordaens. A magnifi- 
 cent specimen of the master, full of choice expression and 
 character ; it is coloured with a richness that approaches 
 closely to Rubens. 
 
 Madonna and Child, by Vandyke . A brilUant, clear, and 
 captivating peformance, rich in colour, and chaste in draw- 
 ing and expression, altogether in the most felicitous style 
 of art. 
 
 Our Saviour and St. Thomas, by Guercino. A bdld, 
 masterly work, painted with a very decisive pencil, and 
 great effect of chiar-oscuro. 
 
 Lucretia, by Guido. Very deUcate in colour, and sweet 
 in expression. 
 
 St. Michael, by Raphael. Painted for Cardinal Oneis, 
 
Mr. hope S collection. 
 
 225 
 
 after the first had been sent to France — registered in the 
 Roman archives of 1517 — three years before Raphael's 
 death . 
 
 Roman Charity, by Guido. A masterly, fine picture, 
 painted with great breadth, and producing a fine contrast 
 of expression. 
 
 Paul Veronese between Virtue and Vice, by Paul Vero- 
 nese. The figures the size of life, and the portrait of the 
 Artist admirable ; the drapery of the female figures is very 
 fine, and the subject altogether very graceful and free. 
 
 Charity, by Vandyke. In the first class of art, rich in 
 all the excellencies of his fascinating pencil, poetical and 
 beautiful in expression. 
 
 Venus bewailing the Death of Adonis, by Rubens. A 
 magnificent gallery picture, exhibiting the mighty powers 
 of the artist in the highest perfection ; the figures are of 
 the size of life, and the dead body of Adonis, perhaps, the 
 most wonderful work of art in the world, it is fairly 
 rounded from the canvass, and foreshortened with most 
 surprising skill ; indeed, the whole anatomy of the figure 
 affords a fine model for the study and admiration of suc- 
 ceeding genius. The colouring is not less beautiful, and 
 the arrangement of the composition truly poetical, but 
 there is the usual vulgarity of expression in the female 
 heads, which invariably detracts from the otherwise su- 
 perlative performances of the artist. 
 
 Portraits of Dante, Petrarch, and other Italian Poets, 
 by Vasari. A singularly rich and clever work, the portraits 
 admirable, and very characteristic. 
 
 Virtue leading Hercules, by P. Veronese. An emble- 
 matical subject ; the Hercules is not sufliciently muscular. 
 
 Dying Magdalen, by Ludovico Caracci. A very inte- 
 resting picture, finely expressive of resignation, and sere- 
 nity of mind, the life-parting gasp is quivering on the lip, 
 and the eye fixed in the stillness of death. 
 
 Q 
 
Mr. hope S collection. 
 
 St. Cecilia, by Domenichino. A very choice work of 
 art, rich in colour, and fine effect. 
 
 Venus chiding Cupid, by Pahna Vecchio. A capti- 
 vating specimen, freely drawn, and chastely coloured, with 
 very characteristic expression. 
 
 CiBsar Borgia, by Corregio. From the Orleans gallery. 
 A glorious, fine head, rich in all the brightest materials of 
 art, elaborately finished, and full of character. 
 
 A Holy Family, by Titian. 
 
 Temptation of our Saviour, by Titian. From the Or- 
 leans gallery. There are two figures of the size of life. 
 The head of our Saviour may safely be pronounced as one 
 of the finest works of art in the world, it is full of heavenly 
 expression, rich in colour, and masterly in effect. 
 
 St. Sebastian, by Andrea del Sarto. A very chaste, fine 
 specimen of the master. 
 
 View of Castellamare, by Salvator Rosa. An extraor- 
 dinary fine picture, highly finished, and very similar to 
 the oval picture by the same master, called the " Sooth- 
 sayers," in the Marquess of Stafford's collection ; the per- 
 spective is grand, and the scene rich in natural effect. 
 
 Hymen destroying Cupid's Darts, by Guido. The little 
 God of Love, fast bound, and the figure of Hymen, stoop- 
 ing to burn the darts, admirably drawn. The story is 
 poetical, and the artist has caught the inspiration of the 
 sister art. 
 
 Supper at Emmaus, by Geminiani. A small cabinet 
 picture, richly coloured, producing a magical efiect of 
 ckiar-oscuro. 
 
 Holy Family, by Agostino Caracci. A httle gem, in 
 the first class of art, particularly fine in pencilling, and full 
 of expression. 
 
 Angelica and Medora, by Guercino. A noble gallery 
 picture, of the size of life, exhibiting great mastery of art, 
 and richuesfe of colour. 
 
M«. HOPE S COLLECTION. 
 
 227 
 
 Holy Family^ by Tintoretto. A large fine picture, 
 drawn with the usual characteristic grace and feeling of 
 the artist, and distinguished by the most captivating sweet- 
 ness of expression. 
 
 Su-fper at Emmaus, by Jordaens. A magnificent gal- 
 lery picture of five heads, the size of life, full of expression, 
 finely drawn and coloured. 
 
 St. Sebastian, by Domenichino. Shewing the great 
 skill of the artist in anatomical knowledge ; a very fine 
 study. 
 
 Our Saviour, by Domenichino. A large upright picture, 
 the companion to the above, equal in drawing, and supe- 
 rior in colour and expression. 
 
 Holy Family, St. Mark, and Doge Ranieri, by Tinto- 
 retto. An extraordinary fine picture, bold, and free in pen- 
 cilling, and richly coloured ; the figures are of the size of 
 life, highly characteristic and expressive. 
 
 Christ betrayed, by Guercino. The companion to " Our 
 Saviour and St. Thomas," in the same gallery, and quite 
 equal in merit. 
 
 Judith, by Giorgione. A very fine specimen of the 
 master, rich in colour, and breadth of effect. 
 
 Ecce Homo ! by Spagnolet. A very fine head, peculiarly 
 delicate in colour, and sweet in expression. 
 
 Landscape with Figures, by Claude. A magnificent 
 cheerful picture, in the most felicitous style of the artist, 
 rich in all the magical sweetness of pencilling and colour, 
 which distinguishes his best productions ; the figures are 
 happily disposed, and the whole subject true to nature. 
 
 Madona and Child, by Romanelli. A very rich speci- 
 men of the master, finely drawn, and full of expression. 
 
 Holy Family, by Schidone. Masterly and free in draw- 
 ing and colour, the infant Christ very soft and expressive. 
 
 Marc Antonio, the Engraver, by RafFaelle. An asto- 
 nishing fine head, choice in expression, and rich in colour. 
 
228 
 
 Mr. hope s collection. 
 
 Praying Saint, by F. Bartolomeo. A clever figure, very 
 expressive of devotional fervour. 
 
 Assumption of the Virgin, by Vandyke. A fine rich 
 sketch for an altar-piece, emblematical, and freely drawn. 
 
 Petrarch composing his Odes, by N. Poussin. An em- 
 blematical picture. 
 
 Landscape, by Rubens. Bold and masterly in effect, 
 with great richness of colour, and crispness of pencil. 
 
 The Martyrdom of a Saint, by Salvator Rosa. A figure 
 suspended to a tree by his hands,on a wild rocky scene ; a 
 very bold fine specimen of the master. 
 
 Holy Family, by Tintoretto. An upright picture, rich 
 in colour, displaying a fine contrasted effect in the figures. 
 Head of Christ, by Raphael. A magnificent work of art, 
 celestial in expression, rich in colour, and general effect. 
 
 SCULPTURE AND ANTIQUITIES. 
 
 Large Vase, representing the Marriage of Neptune and 
 Amphitrite, by Giovanni de Bologna. 
 
 A Marble Slab, with bas-relief of Figures, and a Temple, 
 antique. 
 
 Two singularly beautiful Mosaic Tables, one of which 
 is particularly rich in ornamental design. 
 
 Two Busts in white Marble, one of Napoleon, when 
 first Consul, the other of Dante. 
 
 Bust of the Belvidere Apollo. 
 
 Antique Tripod, with Chimceras, in pavonazzo marble. 
 Busts of Augustus and Vitellius, red porphyry. 
 Bust of Minerva. 
 Bronze Bust. 
 
 Two Greek Priestesses, antique. 
 
Me. hope S collection. 
 
 229 
 
 Bronze Vase. 
 
 Marble Statue of Venus, antique. 
 
 Four bronze Vases and Bust, on bookcase. 
 
 DittOi opposite, to correspond. 
 
 Four bronze Vases, on bookcase, end of gallery, two on 
 each side of organ. 
 
 Small Figures of Venus de Medicis and Mercury ^ in 
 bronze, on ditto. 
 
 Two bronze Candelabra. 
 
 Statue of Female Faun, antique. 
 
 Four bronze Busts. 
 
 Statue of Venus rising from the Bath, by Canova. 
 There appears to me to be an affectation of expression in the 
 countenance, and the head is too much turned from the 
 front ; the back is particularly fine and fleshy, but the calves 
 of the legs require roundness ; the wet drapery is excellent, 
 and the bosom very soft and round ; the outline, when 
 viewed sideways, is particularly fine, but taken as a whole, 
 I think we have superior works by English sculptors. 
 
 Alto-relievo in white marble, Cupid and Psyche. 
 
 Marble Bust of Jupiter. 
 
 THE SPLENDID AND UNIQUE COLLECTION OF 
 GREEK VASES. 
 
 These treasures of antiquity are arranged in four separate 
 apartments leading to the Picture Gallery, and may be 
 safely pronounced the most interesting and unique coUec- 
 lection in the world. Independent of their great variety, 
 and varied elegance of form, they are doubly valuable as 
 specimens of ancient history and costume, every object 
 presenting some new and highly-instructive design, tending 
 
230 
 
 Mr. hope S collection. 
 
 to correct and refine the taste, and direct the student to 
 the purest style of Greek art. These exquisite relics, al- 
 most all of which are in entire preservation, were found in 
 tombs ; the smaller sort have been placed in recesses, imi- 
 tating, in design, the ancient Columbaria, or receptacle of 
 Cinerary urns. As they relate chiefly to Bacchanalian 
 rites, connected with the representations of mystic death 
 and regeneration, those of a larger size have been placed in 
 compartments, divided by terms, and surmounted with 
 heads of the Indian or bearded Bacchus. The furniture is 
 decorated with the scenic mask of the Thyrsus, twined 
 round with ivy-leaf ; the panther's muzzle and claw ; and chi- 
 meras in bronze, from models of ideal animals found among 
 the ruins of Pompeia ; the vases consist of nearly two hun- 
 dred specimens, among which, are two beautiful modern 
 copies of the Barbarini or Portland vase. 
 
 THE NEW GALLERY. 
 
 This splendid apartment has been recently added to the 
 extensive galleries of Mr. Hope, and affords additional 
 proof of the distinguished talent and fine taste of this libe- 
 ral patron of the arts. It is of an oblong form, 48 feet in 
 length by 22 in breadth, and was erected by Mr. W. Atkin- 
 son, from designs and under the direction of Mr. T. Hope, 
 for the reception of one hundred pictures in the Flemish 
 school of painting, and in the most superlative class of art. 
 
 The apartment may, with great justice, be termed a 
 Jewel Closet, not less from the treasures of art contained 
 therein, than from its splendour of decoration, appropriate 
 elegance, and tasteful arrangement. The centre of the 
 ceiling, which is divided into sunk pannels with gold patres 
 
Mr. hope s collection. 
 
 ^31 
 
 in the centre, rises from a gallery of circular-headed lights, 
 which are continued on the four sides of a quadrangle, with 
 very slight divisions. The under part of the ceiling springs 
 from a cove, and is enriched with gold mouldings, and five 
 sunk pannels at each end of the room ; the doors are of 
 polished mahogany, inlaid with classical designs in brass, 
 richly engraved. Opposite the door, is a light blue Otto- 
 man spreading round the end of the room, on the sides of 
 which, are disposed Grecian couch-chairs carved, of the most 
 beautiful designs, and tripod-tables of elegant structure, 
 crowned with rich specimens of variegated marble slabs, 
 under some of which are fine antique bronze casts of the 
 Dying Gladiator, the Wrestlers, and curious antique vases. 
 Down the centre of the room, from end to end, leaving a suf- 
 ficient passage, is a beautiful screen, executed in mahogany, 
 the lower compartments of which extend on each side, and 
 are adapted for the reception of splendid books on works 
 of fine art, with which it is well stored. Six elegant chased 
 gold brackets, supporting Grecian lamps, spring from each 
 side, and ranged along the top, are several beautiful bronze 
 figures, and choice vases, mostly antiques, of great value ; 
 on each side of the screen, ten of the choicest paintings 
 are arranged, and hung on centres, so that the connoisseur 
 may turn them to obtain a suitable light. As a collection, 
 the pictures contained therein are perfectly unique, every 
 work of the least doubtful character, or second-rate class, 
 being carefully excluded. It would not be possible, nor 
 will it be expected, in a general catalogue and work of re- 
 ference, to do justice to the varied merits of each picture, 
 a task that would require as many separate essays. In 
 enumerating the subjects and masters, I have merely en- 
 deavoured to direct particular attention to those works 
 which are pre-eminently great among such an assemblage 
 of brilliant specimens. 
 
232 
 
 Mu. HOPE S COLLECTION, 
 
 Entering the New Gallery, we commence on the left- 
 hand of the door. 
 
 A view in Holland, with Figures^ by Berkheiden. A 
 lively, clever specimen of the master, in fine perspective, 
 ihe figures characteristic, and well grouped. 
 
 Fruit-piece, by Van Os. A brilliant composition, rich in 
 colour and transparent effect. 
 
 A View in Holland, by A^anderheiden. Fresh and clear 
 in tone, with good perspective effect. 
 
 Two Figures, supposed to be Portraits, by Rembrandt. 
 A very choice picture of the master, exhibiting his usual 
 excellencies of colour, drawing, and breadth of effect. 
 
 Interior of a Room, Figures at Luncheon, by John Steen. 
 A singularly rich and fine figure, with great depth of per- 
 spective variety of subject, and elaborate finishing. 
 
 Sea-view, approaching Storm, by Backhuysen. The ves- 
 sels are admirable, the horizon aeriel and true to nature. 
 
 Exterior of a Cottage, Boors drinking, by A. Ostade. A 
 little gem, in the first class of art, full of humour and 
 choice effect, highly finished, and richly coloured. 
 
 The Temptation, by W. Mieris. An elderly female, 
 whose countenance proclaims her office, tempting a beau- 
 tiful voung girl, who is seated in a garden, with a display 
 of elegant trinkets ; an exquisite work, full of character, 
 and rich in colour. 
 
 Landscape, with Figures, by J. and A. Both. A noble 
 fine picture, glowing with sunny effect, transparent in co- 
 lour, and elaborately finished. 
 
 Landscape, with Boats and Figures in foreground, by 
 Zaftleven. A highly-finished little gem, brilliant, fresh, 
 and clear, in the most fascinating style of art. 
 
 The Parrot and Monkey, by Netcher, a male and female 
 /ceding two favourites. A rich cabinet specimen, choice 
 in colour, and full of humour. 
 
Ma. HOPE S COLLECTION. 
 
 233 
 
 Dead Game, by Weenix. An extraordinary fine picture, 
 painted with great truth to nature, and richness of colour. 
 
 A Flemish Family at Dinner , ^c, by John Steen. Full 
 of life and variety of character, the figures finely drawn 
 and well grouped, and the general effect admirable. 
 
 Dog with dead Game, the companion to the former, by 
 Weenix. The dog, which is of the size of life, is truly sur- 
 prising, and the hare is painted with all the softness of na- 
 ture ; it is a very choice performance. 
 
 Death of Cleopatra, by Lairesse. Finely drawn, but not 
 agreeable in colour, the dead figure, in the foreground, is 
 admirable, and the story well told. 
 
 A Calm, by W. Vandevelde. A clear, fine, aerial pic- 
 ture, fresh and warm in effect, with all the repose of 
 nature. 
 
 The Market Man and Woman with Vegetables, by W. 
 Mieris. A most elaborate performance, in the highest 
 class of art. 
 
 A Stiff Breeze, by W. Vandevelde. A very beautiful 
 production, admirably true to nature, and sweetly coloured. 
 
 A Dutch Fair, by Lingelback. An extraordinary fine 
 picture, with a great variety of characters well grouped, 
 the perspective grand, and the humour of the scene ex- 
 cellent. 
 
 Figures with Vegetables, by W. Mieris. A companion to 
 the former. 
 
 A Storm, by W. Vandevelde. The water splashy and 
 clever, and the horizon full of the convulsive effect of 
 nature. 
 
 The Sj/bils' Temple, with a Waterfall^Figures and 
 Cattle in Foreground, by Berchem. A well-known gem of 
 the master, in his happiest style, frequently engraved. 
 
 The Consent to Marry, with Interior of a Church in 
 Background, by Vanderneer. The two figures are very 
 
S34 
 
 Mr. hope S collection. 
 
 expressive of the story, the still-life in the foreground ex- 
 quisitely painted. 
 
 Large Enamel of St. Cecilia, by Bone. A very exquisite 
 gem by this distinguished artist. 
 
 Miniature Portrait, by Denner. Equal to enamel in 
 finish and colour. 
 
 Large Enamel Portrait of Mrs. Hope, from Dawe, by 
 Bone. A very choice and highly-finished portrait, full of 
 grace, and beaming with intelUgence, brilliant in colour 
 and animated effect. 
 
 Landscape, by Ruysdael. A magnihcent specimen, clear, 
 free in colour, and crisp in pencilling, painted with all the 
 freshness of nature, and fine transparent keeping. 
 
 Landscape, with Cattle, by Ommegauck. Richly co- 
 loured, and highly finished ; the horizon delightfully aerial. 
 
 Landscape, with Figures Hawking, by Berkheiden. A 
 giov^ing Uttle picture in colours, the figures well grouped, 
 and full of expression. 
 
 The Antiquarian, by Van Tol. A very rich old head, 
 characteristic, and choice in effect. 
 
 View on a Canal— -Boats, by Berkheiden. A choice little 
 gem, equal in silvery effect to Ruysdael. 
 
 Christ awakened in the Storm hy his Disciples, by Rem- 
 brandt. One of the grandest cabinet pictures in Europe ; 
 the composition admirable, the expression animated, and 
 the convulsive heavings of the ocean, painted with all the 
 appalhng effect of nature. 
 
 The Reproval, by W. Mieris. "J'he youngster detected 
 playing at knuckles, (a Flemish game,) with a bowl ; a very 
 choice little cabinet gem. 
 
 Infant Christ in Landscape, by Domenichino. An extra- 
 ordinary fine specimen of this great master, in the happiest 
 style of art. 
 
 A Dutch Festival, by Gyssels. An extraordinary fine 
 
Mr. HOPE'S COLLECTION. 
 
 235 
 
 composition, full of humour and broad effect ; there is a 
 multitude of characteristic figures, grouped with great 
 skill, and highly finished. 
 
 Portrait of a Nobleman, by Holbein. A singularly fine 
 cabinet head of this early master. 
 
 Virgin and Child, in Landscape, by P. Perugino. Sweetly 
 painted ; the child is particularly soft, round, and delight- 
 ful in expression. 
 
 St. John preaching in the Wilderness^ by Breemberg. A 
 noble composition, in the very first class of art, full of 
 choice expression, grand effect, and harmony of colour. 
 
 Landscape — Figures and Boats in foreground, by J. Grif- 
 fier. A most elaborate work of art, finished with a minute 
 attention to nature that is truly astonishing. 
 
 Landscape, with Figures, by J. Vanhuysum. A brilliant 
 fine picture, chastely coloured , and the figures very animated . 
 
 Vieio in Holland, by J. Vanderheiden. A pleasing, clear, 
 and natural performance, highly finished, and very deli- 
 cately coloured. 
 
 Female Figure, with brass Vessel, by Slingeland. An ex- 
 quisite work of art, highly finished, rich in colour, and 
 choice in expression. 
 
 Landscape — View in Holland, by Vanderheiden. 
 
 Companion to the last-named, by the same artist. 
 
 Two Female Figures, by Ph. Vandyke. A rich cabinet 
 picture, glowing with harmony of colour, and full of ex- 
 pression. 
 
 The Wise Men's Offering, the figures by Polenberg. A 
 very clever picture, grouped, and painted with more than 
 the usual breadth of this fascinating master. 
 
 Interior of a Church, by Vandeelen. A choice little pic- 
 ture, in fine perspective, with great harmony of colour. 
 
 Female dancing, in Landscape, by Eaffaelle. A curious 
 reUc of the graceful pencil of this divine artist, exquisite 
 in feeling and expression. 
 
236 
 
 Mr. hopes collection. 
 
 Domestic Poultry, by Weenix. A noble gallery picture, 
 rich in colour and feathery effect. 
 
 Female playing on an Instrument, by Terburgh. A true 
 picture, but in the early style of the artist. 
 
 Landscape, with Figures and Horses, by Karel du Jardin. 
 Copied, I should think, from P. Wouvermans, and closely 
 approaching the great original. 
 
 The Merry Cavaliers. 
 
 Interior of a Room — Soldiers drinking, by Terburgh. 
 Companion to the last named, by the same artist, but in 
 very superior style; the dog is particularly fine, the ex- 
 pression in the figures excellent, and the whole highly 
 finished. 
 
 The Vinery, by John Steen. A humorous scene; groups 
 of figures enjoying rural sports on the close of the vine 
 season, rich in colour, and full of characteristic effect. 
 
 Small Landscape, with Sphinx in foreground, by Van- 
 huysum. A clever little classical gem, worthy of the 
 great name it bears. 
 
 Interior of a Room, with Figures by candle-light, by G. 
 Dow. Certainly one of the finest cabinet pictures of the 
 master, painted with a magical effect of chiar-oscuro, ap- 
 proaching the happiest efforts of Rembrandt, and more 
 exquisite in colour and elaborate finish. 
 
 Flower-piece, by Vanhuysum. An exquisite composi- 
 tion, beautiful in colour and arrangement, transparent and 
 brilhant in effect. 
 
 Landscape, by Vanhuysum. A companion picture to 
 " the Sphinx." 
 
 The Flemish Musician, a portrait, by Mieris. A fine 
 characteristic head, beautifully drawn, highly finished, and 
 richly coloured. 
 
 A Calm, by Backhuysen. A companion picture. 
 
 The Letter received, a portrait, by Metzu. The expres- 
 sion in the principal figure while reading the letter, the 
 
Mr. HOPE'S COLLECTION. 
 
 237 
 
 girl drawing aside the curtain from a picture of a ship, de- 
 noting the communication is from a mariner, and the ani- 
 mated Uttle spaniel, are all in the most felicitous style of 
 art. 
 
 Landscape and Cattle, by A. Vandevelde. Sparkling, 
 clear, and true to nature. 
 
 A Landscape, with Figures, by Van de Heist. Richly 
 coloured, and transparent in effect. 
 
 The Letter Writer, a portrait, by Metzu. A beautiful 
 specimen, the drapery on the table astonishingly clever. 
 
 The Ancient Lovers, by Ostade. A humorous little pic- 
 ture, full of expression, and elaborately finished. 
 
 Buying Poultry, by W. Mieris. An exquisite cabinet 
 gem, finely arranged, and finished in detail. 
 
 Fruit-piece, by Vanhuysum. 
 
 Companion to the last-named, by the same incomparable 
 artist. 
 
 Mav>, lighting a Pipe, by Schalken. Very fine effect, and 
 rich in colour. 
 
 Man and Woman with Fruit, by W. Mieris. A compa 
 nion picture, and a gem in the first class of art. 
 
 Dead Game, by Weenix. A singularly rich specimen, 
 of the master, the live jay and lap-dog very animated and 
 clever. 
 
 Diana with her Nymphs at the Bath, by Verholie. A 
 beautiful, rich, and exquisite picture, drawn with grace, 
 and full of expression. 
 
 Landscape with Cattle, by A. Vandevelde. A soft, clear, 
 refreshing work, closely resembhng nature, and highly 
 finished. 
 
 Boors regaling, by P. De Hooge. A characteristic pic- 
 ture, rich in colour, and choice expression. 
 
 Interior of a Room, with Figures, by Uchterveld. Rather 
 murky in colour, but well drawn. 
 
 Vie^o in Rome, with Figures, by Vanderulft. A very 
 
238 
 
 Mu. HOPE'S COLLECTION. 
 
 beautiful picture, the religious processions finely grouped, 
 the whole classical in arrangement, and rich in colour, 
 
 Sea-Nymph and Triton, by Poelenberg. Exquisitely 
 fine, and highly finished. 
 
 Christ restoring the Blind, by Schidone. A fine free 
 sketch for a larger picture. 
 
 View on the Dort, by Berkheiden. A chaste, clear, and 
 pleasing specimen. 
 
 Flower-piece, by Van Os. A companion picture, very 
 rich in colour, and transparent effect. 
 
 The Judgment of Paris, by W. Mieris. Equal to enamel 
 in finish and colour, the little genii, beautiful, round and 
 fleshy, and the principal figures finely drawn. 
 
 Landscape, by Rembrandt. An oval picture of extraor- 
 dinary merit, and displaying the mighty hand of the artist, 
 and his close intimacy with natural effect. 
 
 Cattle in a Landscape, by Paul Potter. A very highly- 
 finished little gem. 
 
 Christ a?id St. Thomas, by Vanderwerf. A most grace- 
 ful, highly-finished, classical picture, beautifully drawn, 
 and richly coloured. 
 
 PICTURES ON THE SCREEN, COMMENCING ON THE 
 RIGHT-HAND FROM THE ENTRANCE. 
 
 The Widow, or the First Advance, by Mieris. An exquisite 
 work, full of humour, and rich in all the highest excellen- 
 cies of art. 
 
 The Magdalen, in a Landscape, by Vanderwerf. Cer- 
 tainly one of the most brilliant pictures in the world; a su- 
 perlative work of art, equal to enamel in finish and colour, 
 and altogether a most exquisite gem. 
 
Mr. hope S collection. 
 
 2S9 
 
 Curiosityy by Metzu. A female writing, and a man 
 overlooking her, full of characteristic expression, and 
 highly finished. 
 
 The approaching Storm, with Cattle in Landscape,hj Paul 
 Potter. A singularly fine cabinet specimen of the master, 
 in his best time, clear, free, and true to nature. 
 
 Interior of a Room, Figures playing at Backgammon, by 
 Teniers. One of the choicest pictures of the artist, drawn 
 with great freedom, and highly finished. 
 
 The Market Woman with Vegetables, by G. Dow. Rich 
 beyond comparison, and exquisitely finished, a gem of the 
 highest class, the drapery astonishing, and the whole su- 
 perlatively grand. 
 
 Interior of a Room, with Figures at Backgammon, but in 
 different positions, by Teniers. A companion picture to the 
 last-named, by the same artist. 
 
 The Stable-door, or a Leg up, by Paul Potter. A very 
 fine specimen, the chiar-oscuro admirable, and the pencil- 
 ling elaborate. 
 
 Lot and his Daughters, by Vanderwerf. A most extra- 
 ordinary fine picture, beautifully drawn, and rich in 
 colour. 
 
 The Village Schoolmaster, by Van Tol. Equal to Rem- 
 brandt for admirable effect of light and shade, full of cha- 
 racteristic expression, and highly finished. 
 
 The Hermit, by 'Ringeland. A choice little cabinet 
 picture. 
 
 The Hawking Party, by P. Wouverman. A highly- 
 finished specimen of this fascinating master ; the horses 
 are very spirited, and the whole composition in his best 
 style. 
 
 Inner Court of a Farm House, by Ostade, (1767.) A 
 true picture of the master, and a pleasing domestic scene, 
 highly finished. 
 
240 
 
 Mr. HOPE'S COLLECTION. 
 
 Landscape — Evening; two Figures, by Hobbema. Crisp, 
 and true to nature, finished with his usual attention to de- 
 tail and harmony of colour. 
 
 A General Officer writing Despatches, by Terburgh. A 
 clever picture, the greyhound very fine. 
 
 The Festival^ a Landscape, with Figures and Horses, by 
 P. Wouverman. A very delightful picture, exhibiting great 
 contrast of character ; the open-hearted mirth and rustic 
 «velry of Ihe peasantry is finely opposed to the serene 
 quiet gratification of their superiors. 
 
 The Miniature, by Metzu. A lady and her page, the 
 former intently viewing a minature portrait of her absent 
 lover, a very choice little gem. 
 
 Landscape, with Cattle and Figures, by Cuyp, Grand 
 and imposing in effect, with all the rich glow of a mid-day 
 sun; the cattle animated, and finely drawn, and the whole 
 transparent and fascinating. 
 
 Dead Game, by Gyssels. A very surprising perform- 
 ance, painted with most astonishing attention to detail, 
 and remarkable delicacy of touch. 
 
 Landscape and Cattle, by Karel du Jardin. A rich and 
 beautiful gem, highly finished, and transparent in eflTect.