The Bridgewater Gallery 
 
 ONE HUNDRED AND TWENTY OF THE 
 MOST NOTED PAINTINGS AT 
 BRIDGEWATER HOUSE 
 
 REPRODUCED IN PHOTOGRAVURE 
 FROM PHOTOGRAPHS 
 
 BY s 
 
 WALTER LONGLEY BOURKE M.Inst.C.E. 
 
 SUPERINTENDENT AND TRUSTEE UNDER THE WILL OF THE LATE 
 FRANCIS, THIRD AND LAST DUKE OF BRIDGEWATER 
 
 WITH DESCRIPTIVE AND HISTORICAL TEXT 
 
 BY 
 
 LIONEL CUST M.V.O. 
 
 SURVEYOR OF THE KING’S PICTURES AND WORKS OF ART AND DIRECTOR 
 OF THE NATIONAL PORTRAIT GALLERY 
 
 WESTMINSTER 
 
 ARCHIBALD CONSTABLE 
 
 AND COMPANY LIMITED 
 
 I 9°3 
 
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LIST OF SELECTED PICTURES 
 
 Raffaello Santi (Raphael) 
 
 Tiziano Vecelli (Titian) 
 
 Jacopo Robusti (Tintoretto) 
 
 Maria Robusti 
 Paolo Caliari (Veronese) 
 Bonifazio de’ Pitati da Veron 
 Lorenzo Lotto . 
 
 Paris Bordone 
 Giacomo da Ponte (II Bassano) 
 Ludovico Mazzolino . 
 Bernardino Luini 
 Gaudenzio Ferrari 
 Andrea del Sarto 
 Baldassare Peruzzi 
 Giulio dei Giannuzzi (Romano) 
 Francesco Mazzola (Parmigiano) 
 Lodovico Carracci 
 
 Annibale Carracci . 
 
 Giovanni Francesco Barbieri (Guercino) 
 Domenico Zampieri (Domenichino) 
 Salvatore Rosa ..... 
 Giovanni Paolo Pannini 
 
 Neapolitan School 
 Claude GellSe (le Lorrain) 
 
 Nicolas Poussin . 
 
 Giuseppe Ribera (Le Spagnole 
 Juan Carreno de Miranda 
 Spanish School 
 Hans Maler 
 Peter Paul Rubens (?) . 
 
 Sir Anthony van Dyck 
 David Teniers (the Younger) 
 
 Adriaen Brouwer 
 
 Jan Fyt .... 
 
 Rembrandt Harmensz van Rijn 
 
 Jan Victors 
 Salomon Koninck 
 Jan Steen . 
 
 Gabriel Metsu 
 
 Frans van Mieris (the Elder) 
 
 The Bridgewater Madonna. 
 
 The Virgin with the Palm-Tree. 
 
 The Holy Family in a Landscape. 
 
 The Virgin with the Diadem. 
 
 The Three Ages of Man. 
 
 The Holy Family. 
 
 Venus Rising from the Sea. 
 
 Diana and A£taeon. 
 
 Diana and Callisto. 
 
 The Descent from the Cross. 
 
 Portrait of a Venetian Gentleman. 
 
 Portrait of a Venetian Nobleman. 
 
 Portrait of a Venetian Gentleman. 
 
 Venus Lamenting the Death of Adonis. 
 
 The Holy Family in a Landscape. 
 
 The Virgin and Child, with Saints. 
 
 The Holy Family in a Landscape with St. John the Baptist. 
 The Judgment of Solomon. 
 
 The Circumcision of Christ. 
 
 Head of a Female Saint (?). 
 
 The Nativity of Christ. 
 
 The Holy Family. 
 
 The Adoration of the Magi. 
 
 The Infancy of Hercules. 
 
 The Virgin and Child with Saints. 
 
 The Dream of St. Catherine. 
 
 The Lamentation over Christ. 
 
 St. Gregory at his Devotions, supported by Angels. 
 
 Danae and the Golden Shower. 
 
 David and Abigail. 
 
 The March to Calvary. 
 
 Landscape with a River. 
 
 View of the Piazza of St. Peter’s at Rome, with the Procession 
 of the French Ambassador to the Vatican. 
 
 St. Jerome. 
 
 Demosthenes on the Sea Shore. 
 
 Moses and the Burning Bush. 
 
 The Transformation of the Apulian Shepherd. 
 
 Moses Striking the Rock. 
 
 Christ Disputing with the Do&ors. 
 
 Portraitof Julian Valcarcel, natural Sonof the Duque d’Olivarez. 
 Portrait of a Young Man in a Black Dress. 
 
 Portrait of a Young Man. 
 
 Portrait of a Lady. 
 
 The Virgin and Child. 
 
 The Alchemist. 
 
 A Village Street in Winter. 
 
 The Village Fair. 
 
 The Rustic Marriage. 
 
 Boors Carousing. 
 
 A Chained Mastiff. 
 
 Portrait of a Young Lady. 
 
 Portrait of a Young Lady. 
 
 The Prophetess Hannah and Samuel in the Temple. 
 
 Sketch of a Man’s Head. 
 
 Portrait of an Old Man. 
 
 Portrait of Himself. 
 
 Tobias taking leave of his Parents. 
 
 The Young Philosopher in his Study. 
 
 The Village School. 
 
 The Fishwife. 
 
 The Stirrup Cup. 
 
 The Market-Woman. 
 
 A Lady with a Spaniel. 
 
 Portrait of Himself. 
 
 The Morning Toilet. 
 
66 
 
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 109 
 
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 “5 
 
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 117 
 1 1 8 
 
 119 
 
 1 20 
 
 Nicolas Maes 
 Gerard Dou 
 
 Quiringh Gerritsz Brekelenkam 
 Arie de Vois 
 Adriaen van Ostade 
 
 Isaack van Ostade 
 
 Cornelis Pietersz Bega 
 Gerard ter Borch 
 Frans Hals (?) 
 
 Paulus Moreelse 
 Paulus Potter 
 Aelbert Cuyp 
 
 Dirck Stoop 
 Philips Wouwerman 
 
 Nicolas Berchem . 
 
 Jacob van Ruisdael 
 
 Meindert Hobbema 
 
 j) ... 
 
 Cornelis Gerritsz Decker 
 
 Jan van der Heyden 
 
 Jan van de Cappelle 
 
 Aernout [Aert] van der Neer 
 
 Simon Jacobsz de Vlieger 
 
 Willem van de Velde (the Younger) 
 
 Joseph Mallord William Turner, 
 Sir Joshua Reynolds, P.R.A. 
 
 Thomas Gainsborough, R.A. 
 Richard Wilson, R.A. 
 English School (?) 
 
 Nicolas de Largilliere 
 Paul Delaroche 
 
 The Seamstress. 
 
 Portrait of Himself. 
 
 Portrait of Himself in his Studio. 
 
 Cottage Scene with an Old Woman Cooking. 
 
 Portrait of a Youth holding a Book. 
 
 A Dutch Peasant giving a Toast. 
 
 The Tric-Trac Players. 
 
 The Skittle Players. 
 
 A Tavern Scene with Peasants Smoking and Drinking. 
 
 The Lawyer in his Study. 
 
 Rustic Courtship. 
 
 Travellers halting at a Country Inn. 
 
 Peasants Carousing at a Country Inn. 
 
 Interior of a Cottage. 
 
 Paternal Instru&ion. 
 
 Portrait of a Young Girl. 
 
 St. Simeon and the Infant Christ. 
 
 Three Oxen in a Landscape. 
 
 Landscape with a Piping Shepherd. 
 
 Landscape with a Milkmaid. 
 
 Landscape with the Ruins of the Castle of Koningsvelt. 
 Another Landscape with the Ruins of the Castle of 
 Koningsvelt. 
 
 Landscape with Travellers and Peasants. 
 
 Prince Maurice landing at Dordrecht. 
 
 Landscape with a Horseman. 
 
 An Engagement of Cavalry. 
 
 The Hay -Cart. 
 
 The Hawking Party. 
 
 River Scene in Italy. 
 
 View on a Canal with the Old Gate at Amsterdam. 
 
 A Wood by a River. 
 
 Charcoal-Burners in a Landscape. 
 
 Forest Scene with a Shepherd and his Flock. 
 
 The Road through the Wood (Landscape with Travellers 
 resting). 
 
 A Bird’s-eye View from the Dunes near Haarlem. 
 Landscape with a View of a Village near Haarlem. 
 
 The Watermill. 
 
 Wooded Landscape. 
 
 Landscape with a River and Cottages. 
 
 View of a Street in a Dutch Town. 
 
 A View on a River in Holland. 
 
 Landscape by Moonlight. 
 
 View on the Coast at Scheveningen. 
 
 Ships of War in Distress during a Storm. 
 
 The Battle between the English and Dutch Fleets at Sole Bay. 
 The Signal Gun. 
 
 Fishing Boats in a Gale off the Texel. 
 
 Fishing Boats in a Squall. 
 
 Portrait-Group of Lord and Lady Clive, Child and an Ayah(?). 
 Portrait of Mrs. Trecothick. 
 
 Cattle and Figures in a Meadow. 
 
 Landscape with the Destru&ion of Niobe and her Children. 
 The Youthful Artist. 
 
 Portrait of Himself. 
 
 Charles I. insulted by the Soldiers. 
 
THE BRIDGEWATER HOUSE COLLECTION 
 OF PICTURES 
 
 The eighteenth century comprised that social era which may be described as the grand days of the English 
 aristocracy. The bulk of the wealth and territorial influence, carrying with it a preponderating weight in the 
 politics and general progress of the nation, was in the hands of a comparatively few great noblemen or landed 
 proprietors. In point of view of social and political power the great families for long held their own against the 
 irresistible encroachment of those who had enriched themselves in commerce. If the British aristocrat in the 
 eighteenth century wielded a greater power even perhaps than scions of a royal house can exercise in the 
 twentieth century, if the young nobles and squires rode harder and lived harder, gambled more recklessly, and 
 dissipated their fortunes in a more princely manner than their successors of a hundred years later, it must be 
 admitted that they worked hard to maintain their social pre-eminence as leaders of fashion and arbiters in 
 matters of culture and social accomplishments. 
 
 Through this tendency on the part of its aristocracy the British nation was, and is to some extent still, 
 indebted for the formation of those great colle&ions of works of art, which have been the envy and latterly the 
 quarry of the modern millionaire. But the pace was too good to last, and the colledtions, which the eighteenth 
 century expended so much labour and expense in accumulating, the nineteenth century went a long way to 
 disintegrate, and the twentieth will probably obliterate altogether. One of the few great colledtions, formed by 
 a great English aristocrat of the eighteenth century, which still fortunately remains intacfl, is the famous colledtion 
 of pictures at Bridgewater House in Cleveland Square, St. James’s, formed originally by Francis Egerton, sixth 
 earl and third duke of Bridgewater. 
 
 Lord Francis Egerton, born in 1736, was younger son of Scroop, first duke of Bridgewater, by his second 
 wife, Rachel, daughter of Wriothesley Russell, Duke of Bedford. He lost his father when young, and his 
 mother took another husband. A sickly boy, difficult to teach and control, he succeeded unexpectedly at the 
 age of twelve to the dukedom of Bridgewater through the death of his elder brother. He was then sent abroad 
 on the grand tour, under the tutorship of Mr. Robert Wood, the traveller, whose journey to Palmyra and Baalbec 
 was then still the talk of society. The duke had no sooner attained his majority than he fell under the spell of 
 the beautiful Elizabeth Gunning, then widow of the Duke of Hamilton, and his suit was at the time successful. A 
 breach ensuing the young duke quitted London society, and shunned ever afterwards the companionship of the 
 female sex, even to the extent of excluding them from his own household. He then settled on his property at 
 Worsley near Manchester, and devoted his life thenceforth to the development of his collieries and the con- 
 struction of that great canal system of communication, which he initiated and which still remains identified 
 with his name. Through the skilful management of these enterprises he amassed a great fortune. Eccentric and 
 a recluse, with habits of the simplest kind, he was yet a liberal host and a generous benefactor at the call of need. 
 The duke never in person displayed any special zeal or affection for the fine arts, though in this direction eventually, 
 as in others, he showed himself ever alive to any chance which good fortune might throw in his way. It is evident, 
 that the investment of some part of his great wealth in buying pictures by the Old Masters was due to the 
 example of his nephew, George Granville Leveson-Gower, second Marquess of Stafford, created later on Duke 
 of Sutherland, the son of the Duke of Bridgewater’s only sister, Lady Louisa Egerton, by her marriage with the 
 first Marquess of Stafford. 
 
 The first Earl of Ellesmere has told the story how the Duke of Bridgewater, when dining with his nephew, 
 then Earl Gower, saw and admired a picture which the latter had picked up, a bargain, for a small sum at a 
 
 broker’s shop that morning. “ You must take me,” said the Duke, “ to that d d fellow to-morrow.” From 
 
 this small beginning was developed apparently the taste for buying pictures which led to the formation of the 
 Bridgewater House Gallery. 
 
 The Duke of Bridgewater died in London in March, 1803. In his will he made an elaborate disposal of 
 his estates. A large portion, including the estate of Ashridge in Hertfordshire, and a considerable property in 
 Shropshire and Durham, was devised to the duke’s cousin, who succeeded as Earl of Bridgewater, and whose 
 
 v 
 
estates subsequently passed, through marriage, to the present Earl Brownlow. The remainder of his property, 
 including the Manchester collieries, the canal, and Bridgewater House in London, with its famous collection of 
 pictures, was devised under trust to his aforesaid nephew, the Marquess of Stafford, and after his death to his 
 second son, Lord Francis Leveson-Gower, afterwards Earl of Ellesmere. The trust, created by the Duke of 
 Bridgewater’s will was to last for one hundred years, so as to expire in 1903. When this portion of the Duke 
 of Bridgewater’s estate, including the collection of pictures, was to become the absolute property of the existing, 
 and, as events have turned out the third and present Earl of Ellesmere. 
 
 In the formation of his collection of pictures the Duke of Bridgewater was to a great extent guided by the 
 advice of the well-known piCture-dealer and expert, Mr. Michael Bryan, from whom the duke obtained some 
 of his pictures. Mr. Bryan, moreover, was the agent employed to treat for the purchase of the Orleans collection, 
 from which the most famous Italian pictures in the Bridgewater House Collection were obtained. The history 
 of this remarkable collection is worth narrating. 
 
 The famous Palais Royal in Paris was originally built by Cardinal Richelieu, but in 1639 was ceded to 
 King Louis XIII. by the Cardinal. In 1643 the widowed queen, Anne of Austria, with her sons, the elder 
 being the youthful King Louis XIV., took up her residence there, when it first received the name of Palais 
 Royal. Later on it afforded a home to the exiled Queen of England, Henrietta Maria. Subsequently Louis XIV. 
 gave the palace to his brother, Philippe, Duke of Orleans, whose son ached as regent of France during the 
 minority of King Louis XV. It was the regent who formed the great colled™ of pidures there, and employed 
 the most competent artists and agents on this task. Many pictures were given as gifts by those who wished to 
 secure the regent’s favours. Acquisitions were made from all the most important private galleries in France as well 
 as from religious communities. The regent was lucky enough to acquire in Rome the whole colledion of Queen 
 Christina of Sweden, which had been purchased after her death by Don Livio Odescalchi, Duca di Bracciano 
 nephew of Pope Innocent XI. After the regent’s death the colledion passed into the hands of his son Louis’ 
 Due d Orleans, a man of very different calibre from his father, who caused some of the nude paintings to be 
 destroyed The colled™ eventually came into the possession of Louis Philippe, Due d’Orleans, so notorious in 
 the early days of the French Revolution as “ Philippe Egalite.” 
 
 Being hard pressed for money for his private use and to meet his creditors, and anxious at the same time to 
 possess sufficient wealth to further his political designs, - Philippe Egalitb ” parted with his colledion of pidures 
 selling the Italian and French pidures to a banker at Brussels, called Walkuers, and the Dutch, Flemish and 
 
 Kffi”“d P Mr re H° “ 7 r n h f Th r S MOOre Slade ’ Wh ° * ^icate consftting of Lord 
 
 EXd L Mr Td me d y d’ d /h 3,1 MOrla " d - ™ S P ° r,i0n ° f tKe “ llcaio " ™ “nveved to 
 gland by Mr. Slade and disposed of by private contrad at the Old Academy rooms in Pall Mall 
 
 The Italian and French piastres were sold by M. Walkuers to M. Laborde de Mereville at an A A 
 price. M. Laborde intended building a gallery for the retention of the „id 7 L “ at an advanced 
 the Revolution he was forced to ffyto LgW also ' 7 “ the ° Utbrak ° f 
 
 Returning, however, to France, he was recognized and fell a vidim to the guillotinT tL'pI^ 
 remained in London, until through the agency of Mr. Bryan the whole rnllL' The P'^es, however, 
 
 the Duke of Bridgewater, the Earl GoJr (hfs nephew), and the Earl of CariiT 7 7 ^ ' ° f 
 
 ridiculously small sum in the eyes of modern colledors. ‘ C f ° r the S ™ of jf+3,°°o, a 
 
 Having thus obtained this valuable colled™ the three noblemen in question A a 
 proportion for their own private use, and to offer the remainder for sale by private freatT The° I d ‘ 77 
 been made, the remaining pidures were exhibited in Mr. Bryan’s rooms in Pall Mai In' 7 a '° n ha ™g 
 Strand, until the bulk of them had been disposed of. The vdue of the colled™ m ’ 7 " ' y “ Um “ the 
 
 that the fortunate proprietors were able to sell for Pat non 1 ^ estlmate d by the faft 
 
 residue, which they dffinot care to keep themselvt £ £Z 7 J 7”? n " ,Ch “ ** «tU y . the 
 
 Raising of Lazarus,” by Sebastiano del Piombo, purchased by Mr. LgeTsteTn ‘ 38 “ The 
 
 t e « Rape of Europa,” by Titian, that has lately passed from the S 17 l 7 t NMi ° nal 
 Mrs. Gardner at Boston, U.S.A., and many of the important pidures in the 11 d ^ to that of 
 
 Mr - T - Hope ’ Mr - udn - sir ^u g h 
 
 value in the market, the Duke of Brid^ter 'made" impo^acqutfe 7 f '“ W ^ ° f 
 
 Alexandre de Calonne, the exiled minister of Louis XVI., sold by audionT M “ lkai0m ° f M ’ Charks 
 
 vi ’ March > ‘ 795 ! of Mr. John 
 
Trumbull of the American Legation in Paris, sold by Christie in February, 1797 ; of Baron Fagel, sold in May, 
 1801, and of Baron Fagel’s great-niece, the Countess of Holdernesse, sold in March, 1802. 
 
 The pictures acquired by the Duke of Bridgewater were at first deposited in the house which he purchased 
 near the Green Park, known as Cleveland House, which had formed part of the great mansion of the Earls of 
 Berkshire, and had been purchased by Charles II. for Barbara Villiers, Duchess of Cleveland. This house, with 
 the pidtures, was bequeathed by the Duke of Bridgewater at his death in March, 1803, to his nephew, the 
 Marquess of Stafford, who, as Earl Gower, had been associated with the duke in the purchase of the Orleans 
 colledtion, and who was subsequently created Duke of Sutherland. The Bridgewater property being stridtly 
 entailed on the Duke of Sutherland’s second son, Lord Francis Leveson-Gower, passed to him on the death of 
 the Duke of Sutherland in 1833, while the pidtures colledted by the Duke of Sutherland himself passed with 
 the title to his eldest son, and are now located in Stafford House. This latter colledtion should be carefully 
 distinguished from the Bridgewater colledtion, which during the lifetime of the Duke of Sutherland was known 
 as the Stafford Gallery, and located in what was then known as Cleveland House. 
 
 It was the Marquess of Stafford who, in 1806, was the first great private owner of pidtures to admit 
 strangers, under proper restridtions, to view his colledtion. An idea was long prevalent that this was one of the 
 conditions attached to the bequest in the Duke of Bridgewater’s will. This was not the case, the privilege being 
 due to the enlightened liberality of the noble owner, an example which has been faithfully followed by all 
 successive owners of the colledtion up to the present day. 
 
 Lord Francis Leveson-Gower, who assumed the name of Egerton, was one of the most cultivated amateurs 
 of his day, and a worthy successor of his father as a patron of art, literature and science. He was created Earl 
 of Ellesmere. Besides making several additions to the colledtion at Bridgewater House, he employed Sir Charles 
 Barry, R.A., to build the present magnificent palace on the site of Cleveland House, including a special gallery 
 for the display of the pidtures. 
 
 The instalment of the pidtures was somewhat hurriedly effedted, owing to the necessary arrangements for 
 occupying the new house during the season of 1851, at the time of the great International Exhibition in Hyde 
 Park. The arrangement, however, remained undisturbed until 1898, when by diredtion of the trustees and with 
 the consent of their present owner, the third Earl of Ellesmere, the whole colledfion was overhauled, cleaned 
 and repaired where necessary, by Messrs. Haines, and rearranged throughout the house under the super- 
 intendence of the editor of this work. 
 
 In view of the high quality of the greater number of the pidtures in the Bridgewater House Colledtion, the 
 colledtion may claim to rank, so long as it remains intadt, as second, perhaps, only to the great colledtion of 
 Prince Liechtenstein at Vienna among the great private colledtions of pidtures in the world. 
 
 The preservation of the colledtion, as a whole, may be to some extent due to the protedtion afforded by 
 the trust created by the will of the Duke of Bridgewater which expired in 1903, when the colledtion 
 became the absolute property of the present Earl of Ellesmere. Such a colledtion of pidtures in such a house 
 as Bridgewater House is an asset of inestimable value not only to its noble owner, but to the nation at large. 
 It is doubtful if such a colledtion could ever be formed again, even though the cheque-books of millionaires be 
 at hand to purchase such treasures as may come into the market. It was to the enlightened liberality of such 
 men as the Dukes of Bridgewater and Sutherland, and the first Earl of Ellesmere, that Great Britain owed 
 her great wealth in the domain of art. There is every reason to think that the same spirit will prevail with 
 the present noble owner of the colledtion, who has just entered upon uncontrolled administration of so splendid 
 an inheritance. 
 
RAFFAELLO SANTI 
 
 I483— 1520 
 
 Among the chief treasures acquired by the Duke of Bridgewater from the Orleans colle&ion were three paintings 
 by Raphael, the incomparable artist, whose fame as a painter was then as yet undimmed and untarnished by the 
 fierce light of modern criticism. Since the earliest days of collefting pidures for the simple pleasure of possession, 
 the easel pidures by Raphael have been regarded as the chief treasures of pidorial art. Under these circum- 
 stances it is not surprising that the supply should sometimes be found equal to meet the demand. 
 
 In later days the immense accessions to knowledge, due to increased facilities for travel and for research in 
 archives, both public and private, as well as to the opportunities offered by photography for recording and 
 comparing personal observations, have cast a new light upon the whole domain of art, whereby not only the 
 lives of individual artists, but whole epochs of art, can be viewed and studied, each step being traced as it were 
 from the cradle to the grave. 
 
 This progress has not been unattended by danger. The new school of art criticism, of which the late 
 Senatore Morelli was the most conspicuous example, has shown a tendency to create a scientific turn of mind 
 among students of art at the expense of that power of aesthetic consciousness which is so necessary for the 
 proper appreciation of works of art. Moreover the greater part of the art students everywhere are led to acquire 
 their knowledge, or what they believe to be so, of artists and their works, from books and photographs, and not 
 from the works of art themselves. So for the keen and zealous historian of art there is a danger lest the sense 
 of beauty, whereby the true value of works of art, other than the mere commercial value, can only be discerned, 
 shall be obscured, if not entirely extinguished, by the process of scrutiny and dissedtion, which lays bare all the secret 
 recesses of art, the dark corners into which few true lovers of art could wish to penetrate. There is too strong 
 an aroma of the reading-lamp, even of the operating-room and ledture theatre, too slight a flavour of human 
 interest and enjoyment about the primers, monographs, magazine articles in every language with which the 
 unfortunate student or teacher of art has to try to keep pace in these prolific days. There have been hundreds 
 of writers and professors of art during the last half century, but there has only been one John Ruskin. 
 
 It must not be thought that the preceding remarks are intended in any way to depreciate the serious and valuable 
 work done by Messrs. Crowe and Cavalcaselle, Senatore Morelli, Dr. Bode, Mr. Berenson, and other writers, whose 
 works are now indispensable text-books to the student. They are only intended to warn students, especially the 
 young, against mere book lore, and to induce that form of knowledge which can be obtained through the sight 
 or the touch alone, and cannot be conveyed through mere books or le&ures, however wisely or clearly these may 
 be expressed. 
 
 The life and works of Raffaello Santi afford a good instance of both the advantages and disadvantages to 
 be gained from the modern school of criticism. Step by step the circumstances of Raphael’s life have been 
 accounted for. The result is in no way to depreciate Raphael’s position in the history of painting. He is shown 
 to be no isolated phenomenon, no sport , to use a technical term, in the progress of a species, but the consumma- 
 tion of a school, a style, an epoch. As we follow Raphael through his life, his works serve for illustrations to 
 accompany it. First as the boy in the studio of his father, Giovanni Santi, at Urbino, then the student in that 
 of Timoteo Viti, where he imbibed something of the art of Francia and other painters of Ferrara, and then at 
 Perugia as the assistant in the adtive and prolific botteghe of Perugino and Pintorrichio. Next he is found as a 
 recognized genius in himself at Florence, but still susceptible to the influence of such a painter as Fra Bartolommeo, 
 and to a certain extent of Leonardo and Michelangelo. At Florence the light of Raphael’s art shone at its 
 brightest and purest. By the time that he was summoned to Rome by Pope Julius II. to commence that mighty 
 series of wall-paintings in the Vatican, Raphael had reached the highest pitch of worldly success to which an 
 artist can reach, when Pope and cardinals, princes and wealthy merchants competed for his services. Like other 
 famous painters, Raphael, while gaining in strength and maturity as a painter, lost the grace and simplicity of his 
 early Florentine works. The services of pupils and assistants had to be requisitioned, and in the press of important 
 commissions, Raphael had to consider the degrees of importance among his customers, as to who would not be 
 
satisfied without an assurance that the painting was entirely the work of Raphael’s own hand, who would be 
 content with a picture painted chiefly by Giulio Romano or Gian Francesco Penni, and only finished by the 
 master, who might be put off with a mere replica by one or other of his assistants, and all the various penalties 
 on reputation, which are imposed upon an artist by inordinate success. 
 
 The circumstances of Raphael’s life must be carefully remembered by those who seek to steer their way 
 through the accretions and impositions of an ignorant or unscrupulous posterity. Add to the difficulties already 
 suggested the fadts that Italy, if it be the birthplace and cradle of art, has been, owing to its climate and its habits 
 of life, one of the most careless and inconsiderate guardians of its treasures, and that in Italy the real art of 
 pidture cleaning and restoration was pradtically unknown until the present generation, it is not surprising to find 
 that among the mass of replicas, copies, and badly botched originals, many paintings bear the almost sacred name 
 of Raphael, from which modern critics unite in agreeing to withdraw that honour. 
 
 Among those which have excited severe criticism, and in some cases condemnation, are the four paintings 
 ascribed to Raphael in the Bridgewater House Gallery. 
 
IV 
 
 THE VIRGIN WITH THE CHILD ON HER LAP 
 
 (USUALLY KNOWN AS THE “BRIDGEWATER MADONNA") 
 
 This pidture is stated to have been acquired in Italy by the Marquis de Seignelay, son of the great Jean Baptiste 
 Colbert. At the sale of the last Marquis de Seignelay’s colledtion it was purchased by M. de Montarsis, who 
 disposed of it to M. Ronde, a jeweller, from whom it was purchased by the Duke of Orleans. Originally 
 painted on board, but transferred to canvas by Hacquin when in the Palais Royal. 
 
 Dimensions, 32x22 inches. 
 
 This pidture has suffered so much from over-cleaning and re-painting, and during the process of being 
 transferred to canvas, that it has lost much of the charm which it must have originally possessed. There are 
 defedts in the drawing and the composition, such as the ungraceful heads, but these defedts can be paralleled in 
 other paintings by Raphael during the last two years of his residence in Florence, 1507 and 1508. In 
 composition it resembles the so-called “Madonna della Casa Colonna,” now in the Berlin Gallery, and has been 
 subjedted to similar criticism. Could these pidtures be seen in their original state, with their true glazings, 
 and without the daubs and smears of re-paint, which disfigure them, the hand of Raphael would no doubt be 
 more easily discerned. It has been suggested by more than one critic that in this and other paintings of 
 the same date Raphael was assisted in great part by his comrade and fellow-student, Domenico Alfani, of 
 Perugia. It is preferable to see in this still charming pidture a genuine work by Raphael’s own hand, though 
 hardly recognizable through negledt and unskilful restoration. 
 
 A tribute to the genuineness of the “ Bridgewater Madonna ” can be found in the various copies of it 
 which exist, the most important being those in the Museo at Naples, and in the Palazzo Torrigiani at 
 Florence. 
 
2 . 
 
 THE VIRGIN WITH THE PALM-TREE 
 
 I m 
 
 (LA VIERGE AU PALMIER) 
 
 In 1680 this picture was in the collection of the Comtesse de Chiverne in Paris, from, whom it passed to the 
 Marquis d’Aumont, who sold it to M. De la Noue. Subsequently it was in the collection of Joseph Antoine 
 Crozat, Marquis du Chatel, sold in 1751, and later in that of M. Tambonneau, from whom it was purchased 
 by the Duke of Orleans. It was purchased at the sale of the Orleans collection at a valuation of 1,200 guineas. 
 
 Circular picture, on canvas, 40 inches in diameter. 
 
 This picture is said to have been one of those painted for Taddeo Taddei in 1507 or 1508 during the last 
 months of Raphael’s residence at Florence. 
 
 Its authenticity has been severely called into question by modern critics, some of whom maintain that 
 this and other paintings attributed to Raphael were really painted by Domenico Alfani or some other fellow- 
 pupil at Perugia from the designs sent to them by Raphael himself. A study for the group of the Virgin and 
 Child within a circle is in the Louvre. This beautiful drawing is much tenderer, much more full of feeling, 
 much more Raphaelesque than the group in the painting, which fad lends some colour to the above criticisms. 
 At the same time the picture is so much disfigured by repairs and re-painting, especially in the figure of 
 St. Joseph, that it is permissible to believe that the original handiwork was that of Raphael, or if that be not 
 conceded, that the original composition was of his designing. 
 
THE HOLY FAMILY IN A LANDSCAPE 
 
 (MADONNA DEL PASSEGGIO, LA BELLE VIERGE) 
 
 This charming composition is stated to have been painted by Raphael for Francesco delle Rovere, Duke of 
 Urbino, by whom it was given to Philip II., King of Spain, who in his turn presented it to the Emperor 
 Rudolph II. of Germany. It is further stated that it was taken as loot by Gustavus Adolphus, King of Sweden, 
 during the Thirty Years’ War, and that it passed from him to his daughter Christina, Queen of Sweden. 
 Subsequently it came, like so many others, into the Crozat collection, and later into that of the Duke of 
 Orleans. 
 
 Painted on panel, 34$ x 24^ inches. 
 
 If this painting is either by Raphael himself or designed by him, it must belong to the last few years of 
 his life at Rome. That the traditional ascription of the picture to Raphael is of very early date is shown by 
 the number of copies which exist, and all seem to have been taken from the picture in the Bridgewater 
 Gallery. At the same time it is impossible to accept the pidture, composition, drawing, colouring, background, as 
 Raphael’s own conception. Possibly this, with the ‘Madonna della Perla’ and the ‘ Madonna del Lagarto at 
 Madrid, and the * Madonna de Francois I.’ in the Louvre, was among the pictures left unfinished by Raphael 
 at the time of his premature death in 1520, and carried out according to their own design by one or other of 
 his assistants. 
 

 
 
 
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4 - 
 
 THE VIRGIN WITH THE DIADEM 
 
 (LA VIERGE AU DIADEME, OR AU VOILE) 
 
 Formerly in the cohesion of Sir Joshua Reynolds, P.R.A. 
 
 Painted on panel, 27x19 inches. , 
 
 This cannot be regarded as anything but a very good old copy from the celebrated pamting in the Louvre ; 
 
 he authorship of which has also lately been called into question. 
 

 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
TIZIANO VECELLI 
 
 1477?— ^76 
 
 If the fame of the paintings in the Bridgewater collection ascribed to Raffaelle Santi has been somewhat 
 clouded, the reverse has been the case with the five priceless canvases by Titian, which raise this colledtion to 
 the very front rank. Not only are these five canvases of first-rate quality and interest, but they represent 
 the greatest of Venetian painters at each of the most striking epochs of his life. 
 
 Tiziano Vecelli, known to the world as Titian, is stated to have been born at Pieve di Cadore in South 
 Tyrol, about 1477. The correctness of this date has lately been called into question, and it is a matter of 
 little or no import in determining the early steps of Titian’s great career. Tradition couples his name with 
 that of Giorgione as pupil of the great Venetian master, the venerable Giovanni Bellini. Another account 
 places him first with the mosaicist, Zuccato. But from the outset Titian who seems to have leapt fully armed 
 into the world of art, appears to have owned no master but the world-famous Giorgione of Castelfranco. 
 
 Giorgione is stated to have been born in 1477, the reputed year of Titian’s birth. Possibly Giorgione and 
 Titian may have worked together in Bellini’s studio, but at the outset of Titian’s life he seems to show no 
 influence but that of Giorgione. Giorgione died in 1510. Is it too much to suppose that like Raphael, 
 Vandyck, and other artists cut off in their prime, Giorgione left a number of unfinished works which 
 were carried to completion by Titian? 
 
 In Titian’s long career three epochs at least can be discerned. The Giorgionesque, the period of his full 
 golden maturity, and his robust, passionate, sensuous and indomitable old age. 
 
 The Bridgewater collection is fortunate in possessing unrivalled specimens of each one of these three epochs. 
 
 5 - 
 
 THE THREE AGES OF MAN 
 
 Vasari in his account of Titian narrates that this picture was painted for the father-in-law of Giovanni di 
 Castel Bolognese, who at one time resided at Venice, but later at Faenza, where Vasari saw the picture in his house. 
 
 A copy was formerly in the Manfrin Gallery at Venice, whence it was purchased by Mr. Barker; 
 subsequently it was purchased by the Earl of Dudley and later by Sir William Farrer. Another good old copy 
 is in the Galleria Doria-Pamfili at Rome. 
 
 One of these three versions was seen by Anthony Van Dyck in Italy some time during the years 1621-24, 
 either at Venice or Rome, as a sketch resembling the group of children in the picture appears in Van Dyck’s 
 Italian sketch-book at Chatsworth, inscribed “ la primavera , /’ estate, e Vinverno .” 
 
 The beautiful idyll depicted by Titian is wholly Giorgionesque in conception. It is closely related to 
 the “ Venus and Medea ” of the Borghese Gallery, and as this famous picture has been shown to owe its subjeCt 
 to a poet of the late Roman Empire, so possibly may the true meaning of Titian’s exquisite pastoral be some 
 day discovered. 
 
 A shepherd, almost nude, sits under a tree, leaning one arm on the shoulder of his mistress, who sits 
 before him, gazing with amorous rapture in his eyes, as she, half forgetfully, toys with the reed pipes, which 
 she has taken from his hand. In the swarthy shepherd can be recognized the same model as the St. John the 
 Baptist in the painting of “ The Baptism of Christ ” in the Gallery of the Capitol. In the maiden is seen that 
 type of rich golden beauty in which Titian, and also Palma, found the outlet for their emotions. 
 
 The piChire is divided into planes in the manner of Giorgione; in the second plane is a group of cupids, 
 two of whom lie asleep while the third tramples sportively on one of their bodies. Further in the background 
 sits an old man contemplating mortality in the shape of human skulls. Further back still a shepherd tends his 
 flock, while the eye loses itself in a blue distance of surpassing depth and beauty. 
 
 The death-note in the background seems more consonant with northern sentiment. Albrecht Diirer was 
 in Venice in 1506, and Titian can have hardly failed to notice, even if he did not appreciate, the thoughtful, 
 earnest work of the German artist both in painting and in engraving. 
 
 This picture appears to have passed from its original possessor into the hands of Otto von Truchsess- 
 Waldburg, the famous Cardinal Bishop of Augsburg. Subsequently it was bought by Queen Christina of 
 Sweden in Italy. It was later in the collection of Don Livio Odescalchi, Duca di Bracciano, who died in 
 1713, and eventually passed into that of the Duke of Orleans. 
 
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6 . 
 
 THE HOLY FAMILY 
 
 Among the earlier works by Titian is now ranked the painting of “ The Holy Family,” which has for long 
 passed under the name of the elder Palma. As Mr. Claude Phillips has well said, “ Deep glowing richness of 
 colour and smooth perfe&ion without smallness of finish make this picture remarkable, notwithstanding its lack 
 of any deeper significance.” In this group Titian has not scrupled to introduce the anachronism of St. John 
 the Baptist as a grown man, in order to utilize one of those beautiful Venetian male models, of which the 
 shepherd in “ The Three Ages ” is so fine an example. 
 
 The history of this pidture, prior to its forming part of the Orleans collection does not appear to be 
 known. 
 
7 - 
 
 VENUS RISING FROM THE SEA 
 
 It was during the period at which the art of Titian reached its highest pitch of perfection that he painted the 
 famous picture of ‘ Venus Rising from the Sea’ (‘ Venus Anadyomene,’ ‘ Venus a la Coquille’). 
 
 This composition is simplicity itself, and depends entirely on the painter’s art for its triumphant success. 
 The goddess, a beautiful Venetian model, stands nude in the sea, which reaches above her knees, as with both 
 hands she wrings the brine from her reddish golden-brown hair. A shell floats on the waves by her. In this 
 picture everything depends on Titian’s consummate skill in flesh painting, the beauty of which is well 
 preserved, in spite of the somewhat damaged condition of the painting. 
 
 Mr. Claude Phillips rightly says that in this picture “ Titian’s conception of perfect womanhood is here 
 midway between his earlier Giorgionesque ideal and the frankly sensuous yet grand luxuriance of his maturity 
 and old age.” There is something Hellenic in this presentation of mere beauty unadorned, and yet the 
 picture is the quintessence of pure Venetian warmth and lusciousness, without the tendency to exuberance, 
 which is characteristic of Titian’s later work. 
 
 It is curious that so beautiful a painting cannot be traced beyond the collection of Queen Christina 
 of Sweden, whence it passed into the Orleans collection. 
 

 
 . 
 
 
 
 
 
 
 

DIANA AND ACTAEON and DIANA AND CALLISTO 
 
 These two world-famous paintings amply illustrate the third period of Titian’s career. They show how Titian 
 increased not only in his power of depicting the frankly sensuous, such as these two pidtures and ‘ The Rape 
 of Europa,’ but also in dramatic power, as shown in his religious paintings, such as ‘ The Martyrdom of 
 St. Lawrence ’ and ‘ The Crowning with Thorns,’ in which a certain coarseness and violence of adtion 
 is redeemed by the marvellous fire and energy of the painter’s brush. 
 
 The paintings of ‘ Adtaeon ’ and ‘ Callisto ’ were, with one of ‘ The Entombment of Christ, painted 
 for King Philip II. of Spain. On June igth, 1559, Titian wrote from Venice to Philip, that the two 
 “ poes ies ” intended for his majesty were finished, one of Diana surprised by Adtaeon at the fountain, another 
 of Callisto’s frailty exposed by the nymphs at Diana’s bidding. Two other “poesies” were to be completed for 
 the king, representing Europa on the shoulders of the bull and Adtaeon torn by his hounds. The pidtures 
 were not however despatched until the following September, when Titian wrote again to Philip II. to 
 announce the event. The pidtures eventually reached Madrid in safety, and were followed in later years by 
 one at least of the other two “ poesies ” mentioned above. These pictures hung in the Royal Palace at 
 Madrid, where they were seen and admired by Charles, Prince of Wales and the Duke of Buckingham 
 on their madcap visit to Spain to court the Spanish Infanta. With the traditional magnificent generosity of 
 the Spaniard, Philip IV. had all the so-called “ fight pictures ” by Titian taken down and packed in cases to be 
 sent to England as presents to Charles. The failure of the marriage negotiations caused the gift to be revoked. 
 The pidtures remained in Madrid until 1704, when Philip V. gave the ‘ Diana and Adtaeon,’ the ‘Diana 
 and Callisto’ and the ‘Europa’ to the French ambassador, Antoine Charles, Due de Gramont, who took 
 them back with him to France. Subsequently all three passed into the colledtion of the Duke of Orleans, 
 whence the two pidtures in question were purchased by the Duke of Bridgewater for ^2,500. 
 
 Another version of the ‘ Diana and Callisto,’ perhaps from Titian’s own hand, perhaps from that of one 
 of his scholars, hangs in the Imperial Gallery at Vienna, having formed part of the colledtion of the Archduke 
 Leopold William of Austria. 
 
 Reduced copies of both pidtures are in the Royal Gallery at Madrid, which are usually attributed to the 
 hand of Juan Battista del Mazo, the son-in-law and assistant of Velazquez. 
 
 The two paintings of ‘ Diana and Adtaeon ’ and ‘ Diana and Callisto ’ are perhaps the most typical 
 works of Titian’s old age. In them can be seen that fierce ardent glow of sunset vigour, which distinguishes 
 them from the fresh poetical creations of his youth, such as ‘ The Three Ages.’ Audacity is the note from 
 the triumphant nudity of the flesh to the vigorous strokes of pink, blue, and even vermilion, which set off the 
 mysterious glamour of the scene. There was seventeen years’ more work to be done before Titian was carried 
 off by the plague, it is said in his ninety-ninth year. These two pidtures, however, with the ‘ Rape of Europa ’ 
 (now in Boston, U.S.A.), mark the zenith of his later career, before it starts on its magnificent decay of sombre 
 melancholy and passion, foreshadowing sometimes even the extravagances and eccentricities of Salvator Rosa. 
 

 
 
 
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JACOPO ROBUSTI (TINTORETTO) 
 
 1 518 — - 1594 
 
 At the death of Titian in 1576 his mantle fell on his younger contemporary, pupil and rival who is known 
 to the world as Tintoretto. Tintoretto was one of the greatest decorative painters, one of the greatest scene 
 painters that the world has ever seen. 
 
 How quickly he grasps the point of vision in a decorative piece for a ceiling or a vast wall space ; how 
 dramatically he insists on the important moment in the scene which he brings before your eyes. Yet when his 
 works are examined the slightness of the means employed is often too evident, the work hurried and scamped, 
 the eye dazzled by the prowess of an astounding virtuoso. The mind and the intellect of Titian and Velazquez 
 are wanting in Tintoretto, though in adual power and vigour of execution he may sometimes reach the same 
 heights. In his portraits he always presents his subjeds under a fine and dignified asped. With the dignity 
 and opulence of Venetian senators Tintoretto is quite at home, but he could never have painted a ‘ Charles V.’ 
 or a ‘ Philip IV.’ 
 
 Of the five works ascribed to Tintoretto in the Bridgewater colledion three are important, and included 
 in this series. 
 
 THE DESCENT FROM THE CROSS 
 
 This is an interesting example of Tintoretto’s dramatic power of narrative and also of his space composition 
 and decorative instind. In its present state the painting loses much of its effed, through the upper part of 
 the pidure, which was probably arched in shape and contained the figure of an angel, having been cut off. 
 
 The pidure was formerly in Madrid, and came from thence into the Orleans colledion. 
 
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PORTRAIT OF A VENETIAN GENTLEMAN 
 
 This portrait of a gentleman holding an open book cannot be identified. It is probably the work of Tintoretto 
 himself and came from the Orleans colle&ion. 
 
I 2. 
 
 PORTRAIT OF A VENETIAN NOBLEMAN 
 
 This portrait, which would appear to be the work of Tintoretto’s own hand, is well and animatedly conceived. 
 
 It was formerly in the colledtion of Captain William Coningham, a well-known amateur at Brighton, and 
 at the disposal of his colledtion it was purchased by the Earl of Ellesmere. 
 

MARIA ROBUSTI 
 
 13- 
 
 PORTRAIT OF A VENETIAN GENTLEMAN 
 
 This fine portrait bears the date 1583 , and has sometimes been attributed to the hand of Marietta Robusti, 
 Tintoretto’s daughter, who is known to have painted, or at all events assisted her father to paint many of the 
 portraits which bear his name. Marietta died in I59°> Fer thirtieth year. 
 
. — : 
 
PAOLO CALIARI (VERONESE) 
 
 1528 — 1588 
 
 Paolo Caliari was born at Verona in 1528, the son of a stone-carver called Gabriele. He studied painting 
 under his uncle, Antonio Badile, but soon gave evidence of original talent of his own. After various important 
 decorative works at Mantua and elsewhere Paolo was invited to Venice in 1555, from which date he resided 
 principally at Venice, where his numerous and splendid paintings gained for him that high position in the ranks 
 of great painters to which he is justly entitled. He died at Venice on April 19, 1588, and was buried in the 
 church of S. Sebastiano there, which he had decorated with some of his most important works. 
 
 14. 
 
 VENUS LAMENTING THE DEATH OF ADONIS 
 
 A fine example of Paolo Veronese’s decorative paintings. This picture was formerly in the collection of Queen 
 Christina of Sweden, and afterwards in the Orleans collection. 
 
 Painted on canvas, 57^x67 inches. 
 

 
 
 
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BONIFAZIO DE’ PITATI DA VERONA 
 
 1487—1553 
 
 The name of Bonifazio has been assigned to no less than three painters of approximately the same date, but it 
 has recently been ascertained by Dodtor Gustav Ludwig that there was really only one painter of this name, 
 Bonifazio de’ Pitati, born at Verona in 1487, the son of Marzio and Benvenuta de’ Pitati, and to him, or to his 
 pupils all the paintings, formerly attributed to the three Bonifazios, should be ascribed. His father settled at 
 Venice, where Bonifazio was brought up as a painter of the true Venetian school. He died at Venice on Oftober 
 19th, 1553, after a long illness, and was buried in the church of SS. Ermagora e Fortunato. He married 
 Marietta, daughter of Zuan di Marco Brunello, a basket-maker at Venice, and widow of one De Grassi, but left 
 no children. 
 
 15 * 
 
 THE HOLY FAMILY IN A LANDSCAPE 
 
 This painting of the Holy Family resting in a landscape, so rich in colour and Venetian feeling, has usually been 
 ascribed to Jacopo Palma, the elder, but it is almost certainly by Bonifazio da Verona. 
 
 Painted on canvas, 38 x 44$ inches. 
 

 
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LORENZO LOTTO 
 
 1480?— 1556 
 
 This interesting painter was born at Venice about 1480, and according to Mr. Berenson was a pupil of Alvise 
 Vivarini at Venice. Although he was a contemporary of Giorgione, Titian and Palma, Lotto was one of the 
 most original painters of his time. Lotto was trained in Venice but spent most of his life on the mainlan , 
 working first at Treviso and Recanati and afterwards at Rome and at Bergamo, where some of his most 
 important works were executed. Later in life he returned to Treviso and Venice, but afterwards was tempted 
 by prospers of employment to reside at various places in the Marches, especially at Ancona and Loreto. At 
 the latter place he spent the last four years of his life under the prote&ion of the Sacra Casa. 
 
 The example of his work in the Bridgewater House colle&ion dates from his early days at Treviso. 
 
 16. 
 
 THE VIRGIN AND CHILD, WITH SAINTS CLARA, FRANCIS, JEROME 
 
 AND JOSEPH 
 
 This picture is painted on panel and is signed “ L. Lotus. F. ’ The figures recall the style of Vivarini, while 
 the landscape shows the contemporary of Giorgione. 
 
 The pidure was in the Orleans colledion, but its earlier history is not known. 
 
PARIS BORDONE 
 
 1500?— 1571 
 
 Paris Bordone is one of the brilliant band of colourists who worked under Titian at Venice. He was born at 
 Treviso, but worked principally at Venice, although he visited various places on the mainland in Italy, and 
 even travelled as far as Paris and Augsburg. He is specially distinguished for the warmth and glow of his 
 colouring. 
 
 17 - 
 
 THE HOLY FAMILY IN A LANDSCAPE WITH ST. JOHN THE BAPTIST 
 
 This is a typical composition by Paris Bordone, who follows Titian in the anachronism of making St. John the 
 Baptist a grown man. The heavy rich dark green landscape is characteristic of Bordone. 
 
 This painting was one of those purchased in Italy by the Queen of Sweden, from whose collection it 
 passed into that of the Duke of Orleans. 
 

 !. : 
 
 
 
JACOPO DA PONTE, called IL BASSANO 
 
 i5 IC >— 159 2 
 
 Jacopo da Ponte was the most conspicuous member of a noted family of painters at Bassano in North Italy, 
 whence they took their name. The father, Francesco, and his younger brothers Giovanni, Leandro and Girolamo 
 were also painters. Jacopo da Ponte worked for many years at Venice in the style of Titian and Paolo Veronese, 
 but returned to Bassano, where he, with the help of his brothers and his sons, established a regular school of 
 painting, and produced pictures in an apparently inexhaustible stream. He died at Bassano at the age of 
 eighty-two in 1592. 
 
 18. 
 
 THE JUDGMENT OF SOLOMON 
 
 This picture was in the Orleans collection, where it was ascribed to the hand of Paolo Veronese. It has none 
 of the fine colouring or composition of that great painter, although it has considerable merit of its own. The 
 careful and mechanical painting point to the school of Bassano, and it may perhaps be ranked among the works 
 of Jacopo da Ponte. 
 
 Painted on canvas, 72x105 inches. 
 
— 
 
LUDOVICO MAZZOLINO 
 
 1480? — 1528? 
 
 Ludovico Mazzolino was born at Ferrara, and his works are characteristic of the school of Costa, though it is 
 uncertain under whom Mazzolino studied. His paintings are usually full of crowded figures on a small scale, 
 with architectural features and marble bas-reliefs. Of these the picture in the Bridgewater House Collection is a 
 good example. Mazzolino married in 1521 Giovanna, daughter of Bartolommeo Vacchi, a painter at Venice. 
 The date of his death is uncertain. 
 
 1 9 ' 
 
 THE CIRCUMCISION OF CHRIST 
 
 This little painting, with its crowd of gaily coloured figures and architectural background is very characteristic 
 of Mazzolino. 
 
 The picture was formerly in the colledion of Mr. W. Coningham, and was purchased by the Earl of 
 Ellesmere in 1849. 
 
 Painted on panel, 1 2 * 8J inches. 
 
BERNARDINO LUINI 
 
 i475 ? — 1533? 
 
 Born at Luino on the Lago Maggiore, the early days of Luini’s life are shrouded in mystery. He appears to 
 have been a pupil of Stefano Scotto and to have settled in Milan about 1500. It is uncertain whether Luini 
 was ever a pupil of Leonardo da Vinci, or even associated with him at all. His work shows many special and 
 original characteristics, and it is probable that he was the most remarkable and interesting exponent of the style 
 introduced by Leonardo, rather than an aCtual pupil or imitator of the great master, under whose name the 
 paintings by Luini have so often been disguised. The latter part of his life Luini spent at Lugano. 
 
 20. 
 
 HEAD OF A FEMALE SAINT? 
 
 This interesting little picture has always passed for the work of Leonardo da Vinci. It is, however, very 
 characteristic of Luini’s style when working after the manner of Leonardo. It was in the Orleans collection, 
 but its history is unknown. 
 
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GAUDENZIO FERRARI 
 
 1481?— 1547 ? 
 
 Gaudenzio Ferrari was bom at Valduzzia about 14.81, and at an early age was employed upon the paintings 
 on the Sacro Monte at Varallo, where some of his principal works were executed. He lived principally at 
 Vercelli and later at Milan. His works, which are numerous, were chiefly executed for churches in the 
 neighbourhood of Milan or the Lago Maggiore. 
 
 THE NATIVITY OF CHRIST 
 
 This small composition, which is attributed to Gaudenzio Ferrari, was acquired by the Earl of Ellesmere. 
 
ANDREA DEL SARTO 
 
 1486—1531 
 
 Andrea d’ Agnolo, usually knowu as Andrea del Sarto, was the son of a tailor at Florence, where he was born. 
 He was at first a pupil of Piero di Cosimo, but latterly followed the style of Michelangelo and Fra 
 Bartolommeo, until he developed those great qualities of his own, which have made his name famous. With 
 the exception of a short visit to the court of Franjois I. at Paris in 1518 his life was spent at Florence, where 
 he died. 
 
 THE HOLY FAMILY 
 
 A circular pi£ture representing the Virgin and Infant Jesus with St. Joseph, St. Elizabeth and St. John 
 the Baptist. 
 
 This painting, if it can safely be ascribed to the a£tual hand of Andrea del Sarto, can hardly be ranked 
 among his most powerful works, although it possesses great charm and delicacy of colour. It was purchased 
 by the Earl of Ellesmere. 
 
 Painted on canvas, 36 inches in diameter. 
 

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BALDASSARE PERUZZI 
 
 1481—1537 
 
 Baldassare Peruzzi was the last great native painter of the Sienese school. He attained perhaps as great a 
 distin&ion as an architedt, and excelled especially as a decorative painter. In his smaller paintings he was 
 especially influenced by Raphael and by his close study of antique art. He was buried in the Pantheon at 
 Rome, near Raphael. 
 
 23 - 
 
 THE ADORATION OF THE MAGI 
 
 This little painting is interesting as an example of Peruzzi’s work on this scale. It was in the Orleans 
 colledtion, but the previous history of the painting cannot be traced. 
 
 Painted on panel, i 6£ x 2 o£ inches. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
GIULIO DEI GIANNUZZI, or GIULIO PIPPI 
 
 (GIULIO ROMANO) 
 
 I 49 2 - ? — 1546 
 
 This painter, born at Rome, became, when young, pupil and assistant to Raffaello Santi, and assisted him in 
 his great paintings at the Vatican, and in his cartoons for tapestry, and after his death carried many of his unfinished 
 works to completion. He then entered the service of Federigo Gonzaga, Duke of Mantua, and executed many 
 important works there. He became superintendent of all the ducal buildings at Mantua, where he died at the 
 age of about fifty. 
 
 THE INFANCY OF HERCULES 
 
 Juno, supported by Minerva, is giving suck to the infant Hercules. In the background are Cupids and Fauns 
 plucking fruit. 
 
 This pidture, which is more interesting for its bright colouring and clever composition than for its subjedt, 
 was probably one of a series of small mythological compositions, painted by Giulio Romano for the Duke of 
 Mantua. Twelve of these passed with the Mantua collection into that of Charles I., but the picture here is not 
 identical, as has sometimes been stated, with that described in Van der Doort’s catalogue of Charles I.’s 
 pidtures as “The Birth of Hercules.” This latter pidture is still at Hampton Court. The Bridgewater House 
 pidlure is one of those from the Orleans colledtion. 
 
 Painted on panel, 47 x 36 inches. 
 
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FRANCESCO MAZZOLA, called PARMIGIANO 
 
 1505—1540 
 
 Francesco Maz/.ola, or Mazzuoli, called Parmigiano or Parmigianino, through his having been born at 
 Parma, was one of the chief successors of Correggio. Although in some ways Parmigiano is unrivalled in his 
 sense of beauty and colour as well as in richness of colour, the peculiar style of Correggio in his hands became 
 an affe&ed mannerism, false and insipid to the view. 
 
 25. 
 
 THE VIRGIN AND CHILD WITH ST. JOHN THE BAPTIST AND 
 ST. MARY MAGDALENE 
 
 This charming composition is specially noted for the richness of its colour, approaching almost to that of 
 Bonifazio. The ascription of the painting to the hand of Parmigiano has sometimes been doubted, but the 
 self-conscious insipidity of the Virgin, the Correggio-like composition, and the fine landscape in the 
 background, suggest a master-hand, such as that of Parmigiano. The pifture is one of those purchased by the 
 Duke of Bridgewater from Mr. Michael Bryan, the well-known connoisseur. 
 
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LODOVICO CARRACCI 
 
 1555—1619 
 
 A native of Bologna, Lodovico Carracci was the real founder of the so-called Ecle&ic school of painting. 
 Beginning as a serious and industrious student of the works of Andrea del Sarto, Correggio, Titian and other 
 great masters, Lodovico in 1589 opened his famous painting academy at Bologna, in the management of 
 which he was associated with his nephews, Agostino and Annibale Carracci. The three were often engaged 
 upon the same painting, so that it is difficult to distinguish their works. Lodovico was, however, more in 
 sympathy with his predecessors than his nephews, and excelled them in agreeable composition and tender 
 feeling. For a long time the influence of the Carracci school was paramount upon the continent. The 
 influence of the Carracci themselves for a time stemmed the downward path of Italian painting, but their 
 pupils and followers soon exaggerated their principles, and ignored the traditions under which the Carracci 
 worked. 
 
 26. 
 
 THE DREAM OF ST. CATHERINE 
 
 St. Catherine of Alexandria in her sleep beheld a vision of the Virgin Mary surrounded by angels, when the 
 Virgin presented St. Catherine to the Infant Christ, who placed a ring upon her finger, as the betrothed of 
 Christ. 
 
 This painting is specially notable for the rich soft light which permeates it, described by Sir Joshua 
 Reynolds as “ the pleasant twilight of Lodovico.” It is also remarkable for grace and elegance of composition, 
 as well as for some daring contrasts of colour. The pi&ure formerly belonged to M. Nancre, from whom it 
 was acquired by the Duke of Orleans. 
 
27 - 
 
 THE LAMENTATION OVER CHRIST 
 
 This painting is an admirable example of the power of Lodovico Carracci, and has been esteemed as one of his 
 chefs-d'oeuvre. Conceived entirely from the academic point of view, it is both uninspired and theatrical, but 
 at the same time it contains many admirable pieces of drawing and considerable richness of colour. 
 
 The pidture was formerly in the collection of the Duke of Modena at Mantua, whence it passed into that 
 of the Duke of Orleans. 
 
ANNIBALE CARRACCI 
 
 1560 — 1609 
 
 Annibale Carracci was a native of Bologna, and a pupil of his uncle, Lodovico Carracci, with whom he was 
 very many years associated in the management of the famous Academy of painting at Bologna. Annibale was 
 perhaps the most forcible of the three Carracci, and the one whose works best repay the student for careful 
 investigation. The intention of the Carracci school was avowedly not original, but as a painter Annibale 
 Carracci showed much originality, both in form and colour. He specially excelled in landscape. 
 
 28. 
 
 ST. GREGORY AT HIS DEVOTIONS, SUPPORTED BY ANGELS 
 
 This important painting was executed by Annibale Carracci for Cardinal Antonio Maria Salviati, and formerly 
 served as the principal altarpiece in the Church of San Gregorio at Rome. In 1800, when the French army 
 retreated from Rome, this picture was taken as loot, but fell into the hands of Mr. Day and Signor Pietro 
 Camuccini, by whom it was smuggled into England in spite of the edict issued from the Vatican forbidding 
 such a transaction. It was conveyed safely to London by Lord Northwick and sold to Lord Radstock, from 
 whom it was subsequently purchased by the Duke of Bridgewater. 
 

 
 
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 ■ . •• ’ ■ : •' ■ - • - . 
 
 • ; ■ • 
 
 ■ • •' 
 
 . 
 
 
 
 
29 . 
 
 danAe and the golden shower 
 
 This fine large painting is a very good illustration of the strength and the weakness of Annibale Carracci as a 
 painter. The composition is obviously taken diredt from Titian, but the head of Daniie is more Raphaelesque 
 than Venetian. In the contrast between the naked flesh and the white sheet Annibale has sought to rival 
 Titian, but, although successful in his rendering, he falls far short of the magic warmth and glow of his great 
 predecessor. The landscape, however, seen through the casement is of great excellence, although perhaps it is 
 unduly assertive as part of the composition. The pidture was in the Orleans colledfion, but its previous history 
 appears to be unknown. 
 

 
 
 
 
 
 
 
GIOVANNI FRANCESCO BARBIERI called 
 GUERCINO 
 
 1591 — 1666 
 
 Giovanni Francesco Barbieri, born at Cento near Ferrara, was called ‘ Guercino ’ from an injury to his eye, 
 and usually ‘ Guercino da Cento.’ Although he was one of the most prominent members of the Bolognese 
 school, and strongly influenced in early life by Lodovico Carracci, and in later life by Guido Reni, Guercino 
 pursued a quite independent career of his own at Bologna, Venice and Rome. The influence of each school 
 of painting is visible in his works, especially at one time that of Caravaggio. In his later days, when he 
 imitated Guido Reni, Guercino lost much of the force and excellence of his previous manner. He was noted 
 for rapidity of execution both as a painter and as a draughtsman. In spite, however, of the technical 
 excellence of his work, it is seldom interesting, although in modern days it has been perhaps underrated 
 to an undue extent. 
 
 3 °- 
 
 DAVID ABOUT TO ATTACK NABAL, WHO HAD REFUSED HIM 
 HOSPITALITY, IS MET WITH PRESENTS AND APPEASED 
 BY NABAL’S WIFE ABIGAIL 
 
 This immense composition, measuring 9 ft. 4 in. by 11 ft. in. was painted in 1636 or 1637 for Cardinal 
 Barberini at Rome. It was subsequently purchased by Cardinal Mazarin in Paris and passed from his 
 colle&ion into that of the Duke of Orleans. The picture is very characteristic of Guercino, showing how 
 he blended the academic formalities of the Carracci with the colouring of the Venetians and the strong 
 chiaroscuro of Caravaggio. It ranks among Guercino’s most important paintings. 
 
 Painted on canvas, 112 x 140I inches. 
 

 
 V : : ' 
 
 '• ' •' \ ' • 
 
 ■ ' . . • . ' 
 
 
 
 
 
 
 :r ; v ;i 
 
 : • : • ' 
 
 ij-l’ •• - 'i - 1 ' ' . ' 
 
DOMENICO ZAMPIERI 
 
 (DOMENICHINO) 
 
 1581 — 1641 
 
 This painter was born at Bologna, and became one of the principal exponents of the Carracci school. His 
 principal paintings were done at Rome. If the paintings of Domenichino seem uninteresting from the 
 artificial and uninspired nature of their composition, it must be conceded that, like the works of his masters, 
 the Carracci, the paintings show in grace, good drawing and beauty of colour qualities which go a long way 
 to justify the somewhat extravagant esteem in which they were once held. Domenichino died at Naples. 
 
 3 1 * 
 
 THE MARCH TO CALVARY 
 
 Jesus Christ is sinking under the Cross on His way to Calvary. This painting is chiefly remarkable for its 
 careful execution and its clearness and freshness of colouring. It was formerly in the collection of the 
 Marquis de Seignelay, from which it passed into the Orleans collection. 
 
 Painted on panel, 33 x 27^ inches. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
SALVATORE ROSA 
 
 1615—1673 
 
 Salvatore Rosa was born near Naples, and, being of an impetuous temperament, selected the profession 
 of a painter for himself. For some years he wandered in the Abruzzi in the society of banditti, but was forced 
 by poverty to return to Naples and earn his living by his art. Subsequently he found patrons at Rome, and for 
 a time enjoyed immense popularity there. Except for a few years at Florence he resided at Rome till his death 
 there in 1673. 
 
 His wild, romantic landscapes and banditti scenes have a special chara&er of their own, but he was 
 less successful in historical paintings of a more academic order. 
 
 32 . 
 
 LANDSCAPE WITH A RIVER 
 
 The landscape represents an arm of the sea between rocky shores, with fishermen and other figures in the 
 foreground. The pi&ure was in the colle&ion of the Due de Choiseul, and afterwards in that of the Due de 
 Choiseul-Praslin, which was dispersed after his death in 1793. 
 
 Painted on canvas, 24 x 42^ inches. 
 

 
 
 
 
 
 
 
 
 
 ■ 
 
 
 
 
 
 
 
 
 
 
 
 
GIOVANNI PAOLO PANNINI 
 
 1691 ? — 1764 
 
 A native of Piacenza, Pannini spent most of his long and active life as a painter at Rome. He was 
 considered one of the first painters of architecture in his day, and his pictures were in great demand among the 
 foreigners who visited Rome during his life-time. As a decorative painter he had great merits, and if he 
 did not attain to the higher walks of his art, he was one of the most useful and accomplished artists of his day. 
 
 33 - 
 
 VIEW OF THE PIAZZA OF ST. PETER’S AT ROME, WITH THE PROCES- 
 SION OF THE FRENCH AMBASSADOR TO THE VATICAN 
 
 This and a companion picture, also in the Bridgewater House collection, were painted by Pannini in 1757 for 
 Etienne Francis, Due de Choiseul, Ambassador from Louis XV. to the Pope of Rome. After the dispersal of 
 the Due de Choiseul’s collection, these two pictures, with two others by Pannini, were purchased by the 
 Marquis de Guavallo and taken to America. They were subsequently purchased from the Athenaeum at 
 Boston, U.S.A., and brought back to England, when they became the property of Lord Francis Egerton, 
 afterwards first Earl of Ellesmere. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
NEAPOLITAN SCHOOL 
 
 ABOUT 1500 1520 
 
 34 - 
 
 ST. JEROME 
 
 Purchased at Naples by the first Earl of Ellesmere. 
 Painted on panel, 69 x 40^ inches. 
 
CLAUDE GELLEE (LE LORRAIN) 
 
 1600 — 1682 
 
 Claude Gellee was born at Chamagne in the Vosges, and was the son of humble parents, who at first 
 apprenticed him to a pastry-cook. The exadt details of his early life are uncertain, but at the age of fourteen 
 he was in Rome and penniless. He appears to have adled as pupil and assistant, first to a German painter, 
 Gottfried Wals at Naples, and then to a Tuscan painter, Agostino Tassi at Rome, where he was known as 
 le Lorrain , or de Lorraine , from his native country. In 1625 Claude travelled through North Italy and 
 Bavaria to Nancy in Lorraine, where he was employed for about a year, after which he returned to Rome, 
 where he continued to reside until his death. As a landscape-painter, Claude ranks among the most important 
 that the world has seen. Though he has been criticised as artificial and untrue to nature, he was a most 
 indefatigable worker in the open air, and a student of the various effedts of light and shade in the environs 
 of Rome and the Campagna. His sketches he embodied in the famous classical landscapes, which adorn so 
 many colledlions, and of which there are fine examples in the Bridgewater House colledtion. 
 
 35 - 
 
 DEMOSTHENES ON THE SEA SHORE 
 
 A view on the sea-coast with classical ruins, and a figure of Demosthenes walking by the waves. 
 
 This pidture was painted in 1664 for M. de Bourlemont, and belonged subsequently to Mr. Bartholomew 
 Clarke of Delapre Abbey, from whom it descended by inheritance to his grandson, the Hon. Edward Bouverie 
 of Delapre Abbey, from whom it was purchased by the Duke of Bridgewater. The composition appears as 
 No. 1 71 in Claude’s ‘Liber Veritatis.’ 
 
3 ^. 
 
 MOSES AND THE BURNING BUSH 
 
 A rich Italian landscape, apparently a view in the Campagna, into which is introduced the scene of Moses and 
 the Burning Bush. It was painted, like the preceding, in 1 664 for M. de Bourlemont, and passed through the 
 collections of Mr. Bartholomew Clarke and the Hon. Edward Bouverie to the Duke of Bridgewater. It appears 
 as No. 1 61 in Claude’s ‘Liber Veritatis.’ 
 
 Painted on canvas, 44$ x 61^ inches. 
 
THE TRANSFORMATION OF THE APULIAN SHEPHERD 
 
 In this tranquil river-scene, Claude has introduced the pretty legend from Ovid’s 1 Metamorphoses,’ which 
 narrates how a shepherd of Apulia, having intruded upon the revels of the nymphs, was instantly transformed 
 into a laurel bush. The pifture was painted in 1657 for M. De la Garde, and was purchased in Italy for the 
 Duke of Bridgewater by the famous collector, Sir Paul Methuen. In the famous ‘ Liber Veritatis of Claude 
 at Chatsworth, the composition appears as No. 142 of the series. 
 

 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
NICOLAS POUSSIN 
 
 1594—1665 
 
 Nicolas Poussin was bom in Normandy of a good family and studied painting in Paris. When about thirty 
 years old, he visited Rome, where he spent the remainder of his life, except for two years from 1640, when he 
 resided in Paris as painter-in-ordinary to Louis XIII. 
 
 Poussin, who belongs more to the Italian than to the French school, for long remained in unchallenged 
 supremacy as an exponent of the classical style of painting, both in landscape and history. His paintings have 
 lately been somewhat unduly depreciated by amateurs. 
 
 38 . 
 
 MOSES STRIKING THE ROCK 
 
 This painting is a good example of Poussin’s work. It is stated by some to have been painted for M. de Gillier, 
 and by others to have been painted for M. de Chantelou at Rome. It passed subsequently through the 
 collections of M. de l’Isle Sardiere, the President Pomponne de Bellievre, M. de Dreux, and the Marquis de 
 Seignelay into the Orleans collection. 
 
 Painted on canvas, 38^ x 52J inches. 
 
GIUSEPPE RIBERA 
 
 (LO SPAGNOLETTO) 
 
 1588 — 1656 
 
 Giuseppe (Jusepe) Ribera was born at Xativa near Valencia in Spain, on January 12, 1588, and studied 
 painting under Francisco Ribalta. Having made his own way to Italy, he studied at Rome under Michelangelo 
 da Caravaggio. After a varied life he settled at Naples, where he became the chief exponent of the 
 ‘ Naturalist ’ school, as opposed to the ‘ Academic 5 school of the Carracci at Bologna. He was very 
 prosperous at Naples, where he obtained the highest patronage, until his death there in 1656. 
 
 39 - 
 
 CHRIST DISPUTING WITH THE DOCTORS 
 
 This is a fair sample of Ribera’s painting, but does not show his most forcible characteristics. It was formerly 
 in the Orleans collection. A similar picture is in the Imperial Gallery at Vienna, which originally belonged to 
 the Archduke Leopold of Austria, and was engraved from the copy by Teniers in “ The Teniers Gallery.” 
 The picture at Vienna is probably the original. 
 
 Painted on canvas, 47 x 67 inches. 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ( 
 
 
 
 
 
 
 
 
 
 
JUAN CARRENO DE MIRANDA 
 
 1614 — 1685 
 
 Born at Aviles in the Asturias, Juan Carreno studied painting at Madrid. He was specially influenced by the 
 works of Velazquez and Van Dyck. He was among the painters specially employed by Philip IV., and after 
 Velazquez and Murillo ranks high among Spanish painters. 
 
 40. 
 
 PORTRAIT OF JULIAN VALCARCEL, NATURAL SON OF THE DUQUE 
 
 D’OLIVAREZ 
 
 This excellent portrait of a young and handsome man in rich dress with the order of Alcantara has usually 
 been attributed to Velazquez, and was purchased as the work of that painter by the first Earl of Ellesmere 
 from the collection of Count Altamira, which was sold in Maddox Street, London, in 1828. The Altamira 
 collection had originally been formed by Don Diego Felipe Gusman, Marquis de Leganes, commander of the 
 Spanish Forces in Savoy and Piedmont about 1620-1630. 
 
 The portrait is supposed to be that of Julian Valcarcel, the son of a noted courtesan at Madrid, and 
 afterwards acknowledged as his son by the famous Duque d’Olivarez, who bestowed on him the name of 
 Henrique Felipe de Gusman, and created him Duque de San Lucar. When Olivarez fell from power, Julian 
 was banished and died childless before 1650. The story is narrated in “Gil Bias,” Book xii., Chapter iv. 
 The title and estates of San Lucar descended eventually to the Marquis de Leganes. 
 
 The portrait is almost certainly the work of Carreno. 
 
 Painted, on canvas, 78 x 42 inches. 
 

 
 
 
 
 
 
 . 
 
 
 
 
SPANISH SCHOOL 
 
 41 - 
 
 PORTRAIT OF A YOUNG MAN IN A BLACK DRESS 
 
 This interesting portrait was purchased by the Earl of Ellesmere, as a portrait of Velazquez by himself. It 
 does not resemble the work of Velazquez, though it appears to be of the Spanish school. At the same time it 
 has some affinity to the work of Van Dyck, in his Genoese manner. 
 
 Painted on panel, 2g£ x 21 1 inches. 
 
HANS MALER 
 
 1523 
 
 42. 
 
 PORTRAIT OF A YOUNG MAN 
 
 _ -Kr 
 
 This interesting portrait of a young man was formerly ascribed to Hans Holbein the younger, and called a 
 portrait of Melanchthon. It is signed, however, by a Master using the monogram H.M. followed by the 
 letters M.Z.S., and it is dated 1523. The painter who used this monogram has recently been identified through 
 the researches of Dr. phil. Max. J. Friedlander of Berlin, as a rare Tyrolese painter, by name Hans Maler. The 
 initial letters designate his name, “ Hans Maler, Maler Zu Schwaz” (Tyrol). 
 
 Painted on panel 10J x 9 inches. 
 
 
 VL. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 w ■ ■ /• • ■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
PETER PAUL RUBENS (?) 
 
 1577 —' i 6 4 ° 
 
 This famous painter was born at Siegen in Westphalia, and spent most of his life at Antwerp, where he died, 
 after a long and phenomenally prosperous career, on May 30th, 1640. His place among the greatest painters of 
 the world is now decisively established and needs no explanation. Many of the colossal decorative works which 
 bear his name were executed under his superintendence at his painting school at Antwerp. As a portrait painter 
 Rubens takes high rank, and in them shows his great mastery of style and finish. 
 
 43 - 
 
 PORTRAIT OF A LADY 
 
 This portrait, so elegantly and carefully executed, has been attributed to the hand of Peter Paul Rubens. 
 The history of the painting is unknown, it being a comparatively recent addition to the colle&ion. An exadtly 
 similar pidture is in the collection of the Royal Academy of Arts at Vienna. 
 
 Painted on canvas, 29 x 21 inches. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
SIR ANTHONY VAN DYCK 
 
 1599—1641 
 
 Anthony Van Dyck was born at Antwerp in 1599, and became a pupil of Hendrik van Balen. After 
 pradtising a short time independently, he entered the school of Rubens as an assistant, and had a share in 
 some of the important works produced under Rubens’ direction. After a short visit to England in 1620 in 
 the service of James I., Van Dyck visited Italy, and resided there some six or seven years at Genoa, Rome, 
 Venice, Palermo, but principally at Genoa. On his return to Antwerp, he figured successfully as a rival to 
 Rubens, until 1632 when he was summoned to England, as court-painter to Charles I. He continued, with 
 intervals of visits to his native country, in the royal service until his premature death in Blackfriars in 
 December, 1641. 
 
 44. 
 
 THE VIRGIN AND CHILD 
 
 This fine example of Van Dyck’s power in depidting sacred subjedts was probably painted in Italy, as it shows 
 that rich exuberance of colour and dramatic fervour which was charadleristic of the period when Van Dyck 
 was passing from the influence of Rubens under that of Titian. There are numerous repetitions of this 
 painting, which was one of those most admired by Van Dyck’s contemporaries. One is in the Liechtenstein 
 colledtion at Vienna, another in the Dulwich Gallery, and two are at Genoa. This example was brought from 
 Italy to England by Mr. Bradshaw Pearson in 1790, and purchased by the Duke of Bridgewater. 
 
 Painted on panel, 55 x 40 inches. 
 

 
 
 
 
 
 
 
 
 ' 
 
 
 
 
 
 

DAVID TENIERS 
 
 1610 — 1690 
 
 David Teniers, the son of a painter of the same name, was born at Antwerp in December, 1610, and learnt 
 from his father chiefly, though he came very much under the influence of Rubens, and in his scenes from 
 peasant life, was almost an imitator of Adriaen Brouwer. 
 
 Teniers was an industrious and prolific artist, varying in his style, and unequal in his execution. He 
 amassed a considerable fortune, and became court-painter to the Archduke Leopold William of Austria, 
 governor of the Netherlands. Teniers purchased an estate at Perck near Antwerp, which figures in his later 
 paintings. He was buried there in April 1690, having died at Brussels. 
 
 45 - 
 
 THE ALCHEMIST 
 
 An aged alchemist in his laboratory, a youth watching him, and two assistants in the background. Painted in 
 1649. Signed D. Teniers fecit. 
 
 This painting in the artist’s gray or silver manner passed through the colle&ions of M. de La Live de 
 Jully, 1769, the Marquis d’ Albert, 1788, M. Destouches, 1794, * nto that °h the Duke of Orleans, whence it 
 was obtained for the Duke of Bridgewater. 
 
 Painted on panel, 16 x 20£ inches. 
 
• . ■■ j- ' ■ 
 
 J ' • 
 
 ... . 
 
 .... 
 
 • ' : ' - . ' 
 
 . ...I 
 
View of a Dutch village 
 Painted on canvas, 
 
 46. 
 
 A VILLAGE STREET IN WINTER 
 
 in winter-time with peasants in the snow, and others about to kill a pig. 
 27 \ x 27 \ inches. 
 
 ityy (**■?) 
 
. 
 
47 - 
 
 THE VILLAGE FAIR 
 
 A Fair or Kermesse in a village with numerous peasants feasting and dancing. 
 
 A spirited, signed work by Teniers in his latest manner. Formerly in the collection of M. de Brunoy, 
 sold in 1777. 
 
 Painted on canvas, 25 x 28 £ inches. 
 
 |V tjvfa 7 -) 
 


ADRIAEN BROUWER 
 
 1605 ? — 1638 
 
 Adriaen Brouwer was born at Oudenarde in 1605 or 1606, and became a pupil of Frans Hals at Haarlem, and 
 afterwards painted for a short time at Amsterdam. In 1631 he settled at Antwerp, where he was greatly 
 influenced by Rubens, and where he died on February ist, 1638. 
 
 Brouwer imbibed a great deal of the native vigour and outspokenness of Frans Hals, but his realism, especially 
 after the influence of Rubens can be traced, was more subtle, more pidturesque even than that of his better- 
 known contemporary, David Teniers the younger. 
 
 49 - 
 
 BOORS CAROUSING 
 
 A company of Dutch peasants carousing and singing in a tavern. Signed and dated 1633, and therefore painted 
 at Antwerp. 
 
 Painted on panel, 11x9 inches. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 , 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
JAN FYT 
 
 i 6 i i — i 66 i 
 
 Jan Fyt was born at Antwerp in March, 1611, and became a pupil of Snyders. He spent some years in Italy 
 before settling at Antwerp as an animal-painter. He married in 1656 Joanna van der Zande, and died at 
 Antwerp in September, 1661. Fyt ranks high among animal-painters, and the painting in the Bridgewater 
 House collection shows his powers to great advantage. 
 
 5 °- 
 
 A CHAINED MASTIFF 
 
 This painting was formerly in the collection of Mr. Noel Desenfans, by whom it was attributed to Velazquez. 
 It is certainly by Jan Fyt. 
 
 Painted on canvas, 2i£ x 24I inches. 
 
 lyrj 
 
 

 
 
 '..a ;» • ; i' • ; ? - 
 
 v 
 
 
 
 
 
 
 
 
 
REMBRANDT HARMENSZ VAN RIJN 
 
 1606 — 1669 
 
 Rembrandt is now universally acknowledged as the greatest painter produced by Holland, and as unsurpassed in 
 his art even by the great painters of other countries at any date. 
 
 Rembrandt was born at Leyden on July 15th, 1606, the son of a miller, Harmen Gerritsz van Rijn, and 
 of Neeltje Willemsdochter, the daughter of a baker at Leyden. He was a pupil first of Jacob van Swanenburgh 
 at Leyden, and afterwards of Pieter Lastman at Amsterdam. Through his second master he was affedted by 
 the influence of Adam Elsheimer. 
 
 Rembrandt’s life falls into three periods. 
 
 I. His early life at Leyden, until he took up his permanent residence in Amsterdam, a period lasting to about 
 1632 or 1633. 
 
 II. His life at Amsterdam as a fashionable portrait painter, and the attainment of his full powers of 
 execution and imagination, lasting from about 1633 to 1650. 
 
 III. The period of his misfortunes and troubles, both pecuniary and domestic, resulting in the tragic and 
 sombre, but superb paintings, in which the whole life and soul of the great painter stand revealed. This period 
 was terminated by his death at Amsterdam on O&ober 8th, 1669. 
 
 5 1 - 
 
 PORTRAIT OF A YOUNG LADY 
 
 This portrait of a young Dutch lady, aged eighteen, in a rich dress ornamented with lace and jewels was painted 
 in 1634 (signed and dated), at the time of Rembrandt’s popularity as a portrait painter in Amsterdam. It was 
 formerly in the collections of the Comte de Merle, sold in 1784, and of M. Destouches. 
 
 Painted on panel, 27I x 21 inches. 
 

 . 
 
 . • > i 
 
 
 
 ; • ' ' 
 
 . 
 
 
52 . 
 
 PORTRAIT OF A YOUNG LADY 
 
 A portrait of a Dutch lady at Amsterdam, painted in 1635 (signed and dated). 
 
 This portrait is stated to have belonged to a Jewish family at Amsterdam. It was purchased by the Earl of 
 Ellesmere from Mr. Geddes. 
 
 Painted on panel, 244 x 19 inches. 
 
53 - 
 
 THE PROPHETESS HANNAH AND SAMUEL IN THE TEMPLE 
 
 This little painting is one of the most highly finished and delicately conceived works of Rembrandt. There 
 is hardly any detail of colour, drawing, composition, or chiaroscuro, which is not illustrated at its best within the 
 small compass of this pidture. The painting is signed and dated in 1648. The subjedt is usually described as 
 above, but according to another version the adtual scene described is that of the young King Joash and his aunt 
 Jehoshabeth, with the Jewish ceremonial relating to a first-born son taking place in the background. 
 
 This pidture was formerly in the colledtion of Heer Filips de Flines at Leyden, where it was seen and 
 extolled by Govert Bidloo, as “ Hannah and Samuel,” in a poem published at Leyden in 1718. After the sale 
 of the Flines Colle&ion in 1740, it passed into that of M. Jacques de Roore, sold in 1747 in Holland, and 
 afterwards into that of M. de Julienne, sold in Paris in 1767. 
 
 Painted on panel, 165 x 13^ inches. 
 
— — : 
 
55 - 
 
 PORTRAIT OF AN OLD MAN 
 
 This nefi portrait of an old man, probably a minister of the church at Amsterdam, seated in an arm-chair is 
 characteristic of Rembrandt’s highest powers as a fashionable portrait painter. It was painted in 1637 (signed 
 and dated). 
 
 The picture was formerly in the collection of M. Geldermeester, sold in November, 1800, and was one 
 of those purchased by Mr. Bryan for the Duke of Bridgewater. 
 
 Painted on canvas, 52 x 40 inches. 
 
56 - 
 
 PORTRAIT OF HIMSELF 
 
 A BUST portrait of Rembrandt himself in his worn and rugged middle age, one of many powerful self- 
 delineations during the time of his misfortune and sorrow. It was painted in 1659 (signed and dated), and was 
 formerly in the colledKon of Mary Doublet, Countess of Holdernesse, a niece of the famous colle&or, the Greffier 
 Fagel, and at the sale of her collection in 1802 it was purchased for the Duke of Bridgewater. 
 
 Painted on canvas, 30 x 25 inches. 
 
 m y (/**) 
 

 
 ■ • . • '■ • ' • • • i ■ ' 
 
 
 
 
 
 
 
 
 
 
JAN VICTORS 
 
 1620 — 1673? 
 
 Jan Victors was 
 
 pupil of Rembrandt at Amsterdam. The details of his life are as yet unknown. 
 
 57 - 
 
 TOBIAS TAKING LEAVE OF HIS PARENTS 
 
 This painting is very carefully finished, and combines the manner of Rembrandt with the close careful 
 exa&itude of the Leyden school. 
 
 Painted on canvas, 19 x 23^ inches. 
 

SALOMON KONINCK 
 
 1609 — 1668? 
 
 Salomon Koninck was a native of Amsterdam and an imitator of Rembrandt, in whose style his later works 
 are conceived. The influence of Rembrandt is less evident in his earlier works, such as that in the Bridgewater 
 House Gallery. 
 
 Koninck died at Amsterdam some time between 1663 and 1668. 
 
 58. 
 
 THE YOUNG PHILOSOPHER IN HIS STUDY 
 
 A young student is seated in his study, round which are ranged various books and emblems of art and learning. 
 The pi&ure is suffused with warm light, illuminating a light brown interior. 
 
 Painted on panel, 2o£ x 17^ inches. 
 

 
 
 
 
 
 
 
 
 
 **■ c 
 
 
 
 
 
 
 
 
JAN STEEN 
 
 1626 — 1679 
 
 Jan Steen was born in Leyden in 1626, the son of a merchant, Havick Jansz Steen. He studied under 
 Nicolas Knupfer, a German painter settled at Leyden, and afterwards under Jan Van Goyen. Although the 
 son of wealthy parents, Jan Steen fell on evil times and died in poverty at Leyden in 1679. 
 
 Jan Steen ranks among the greatest painters of the world. In drawing, chiaroscuro, and other matters of 
 technique, he reaches a level of sustained excellence, which leaves him unrivalled, even by such painters as 
 Dou and Mieris. He also had a very varied range of execution, every detail in his pictures, portraits, costume, 
 still-life, landscape, being rendered with perfedt skill. The coarseness of his subjedts has sometimes interfered 
 with a true appreciation of his skill as a painter. 
 
 59 - 
 
 THE VILLAGE SCHOOL 
 
 One of Jan Steen’s most animated scenes. This painting was successively in the colledtions of M. Lormier, 
 sold in 1763, M. Braamcamp, sold in 1771, and the Marquess of Camden, sold in 1841, when it was 
 purchased by Lord Francis Egerton for 1,041 guineas. 
 
 Painted on canvas, 32 x 42 inches. 
 
GABRIEL METSU 
 
 1630 — 1667 
 
 Gabriel Metsu was born at Leyden, and was a skilful painter even as a boy. He very early became a pupil 
 of Gerard Dou, and was reckoned as a “ master ” at the age of fourteen. At first Dou’s influence is evident, 
 but in 1650 Metsu went to Amsterdam and came under the influence of Rembrandt. He further developed 
 the school of fine painting at Leyden by a series of small exquisitely finished and delicate coloured little 
 paintings of domestic life, and managed to combine refinement with brilliancy. He died at the zenith of his 
 career at Amsterdam in October, 1667, at the age of thirty-seven. 
 
 THE STIRRUP CUP 
 
 A traveller on horseback halting at the door of a house in Amsterdam, and receiving a glass of wine from 
 its mistress, while a servant holds his horse. Signed but not dated. This pi&ure was formerly in the Wretson 
 and Lubbeling colle&ions at Amsterdam, and afterwards in that of M. Lebrun at Paris. It was subsequently 
 purchased by Lord Francis Leveson Gower, afterwards first Earl of Ellesmere. 
 
 Painted on canvas, stretched on panel, 26 x 20 inches. 
 

 .... . - . ■ • 
 
 
 
 
 
 
 ' 
 
 * 
 
 . \ i : 
 
 
 
 
 
 
 
 
 
 

62. 
 
 THE MARKET-WOMAN 
 
 A market-woman at her stall, holding up a herring for sale, with a tray of fruit by her. 
 This picture was formerly in the Geldermeester colledion. 
 
 Painted on panel, 7f x 6£ inches. 
 
 i , tyr(zi- 7 
 

63 - 
 
 A LADY WITH A SPANIEL 
 
 A young lady in rich dress playing with a spaniel. 
 
 This is a good example of Metsu’s fashionable toilet pieces. 
 Painted on panel, 15^ x 12^ inches. 
 

FRANS VAN MIERIS 
 
 (THE ELDER) 
 
 1635—1681 
 
 Frans van Mieris was born in Leyden, the son of a goldsmith. He became a pupil of Gerard Dou, and 
 shared with him the growing reputation of the Leyden school for fine and exquisite painting. At the time of 
 his death at the age of forty-six, his work began to show the traces of the over-elaboration and affe&ation 
 which are so evident in the works of his son, Willem van Mieris, and his grandson, Frans van'SMieris, the 
 younger. 
 
 64. 
 
 PORTRAIT OF HIMSELF 
 
 A small portrait painted towards the close of his life. It was in the colledtion of M. St. Vi&or, sold in 1822, 
 and then in that of Count Pour tales, from which it was purchased by Lord Francis Leveson Gower, afterwards 
 first Earl of Ellesmere. 
 
 Painted on panel, 4^ x 3^ inches. 
 
6 5 - 
 
 THE MORNING TOILET 
 
 A young lady in a red plush dressing-jacket, seated at her dressing-table. 
 This was formerly in the collection of M. Geldermeester, sold in 1800. 
 Painted on panel, x 6i inches (later enlarged to lof x 8f inches). 
 
 

NICOLAS MAES 
 
 1632 — 1693 
 
 Nicolas Maas was born at Dordrecht in 1632, and became a pupil of Rembrandt at Amsterdam for four 
 years. He then returned to Dordrecht, where he spent most of his life, though he returned to Amsterdam 
 in 1678 and died there in November 1693. While under the influence of Rembrandt, Maes painted his 
 most remarkable works, without in any way merely imitating his master. Latterly he took to portrait- 
 painting, and produeed a number of portraits, loosely handled in the French style, which then came into 
 fashion. 
 
 66 . 
 
 THE SEAMSTRESS 
 
 An excellent example of Maes' best work in his earlier days, combining brilliancy and depth 
 chiaroscuro of Rembrandt. This pidure was brought to England in 1833 by Mr. Chaplin 
 the first Earl of Ellesmere. 
 
 Painted on panel, 15 x 12 inches. 
 
 of colour with the 
 and purchased by 
 

 
 
 
 
 . >r ,.k ■ / ' 1 / 
 
GERARD DOU 
 
 1613—1675 
 
 Gerard (Gerrit) Dou was born at Leyden on April 7, 1613. His father, Douwe Jansz. de Vries van 
 Arentsvelt, was a prosperous glass-painter at Leyden. His mother, Marytgen van Rosenburg, was widow of 
 Vechter Vechtersz van Strijtvelt, also a glass-painter. The father brought up both his sons Jan and Gerard to 
 be glass-painters, and placed the latter as a pupil with Bartholomeus Dolendo, a well-known engraver. In 
 1628, however, his father resolved to let Gerard Dou become a painter, and placed him as a pupil in the 
 house of the great painter Rembrandt Harmensz van Rijn. Dou remained an inmate of Rembrandt’s house 
 for three years. On setting up on his own account in Leyden, Dou quickly displayed that consummate skill 
 for fine, accurate and delicate painting for which he became justly renowned, and earned fame, which 
 continues to increase at this day. His paintings were all painted in his studio, and he paid no attention to the 
 works of nature. Dou spent most of his life at Leyden, where he became wealthy, and died there in 
 February, 1675. 
 
 67 - 
 
 PORTRAIT OF HIMSELF 
 
 A small portrait, signed, but not dated, showing the painter at about the age of twenty-two. It was 
 purchased in The Hague in 1819, and became the property of Mr. John Smith, author of the “Catalogue 
 Raisonne of the Dutch and Flemish Painters,” for which work it was lithographed in reverse as a frontispiece. 
 The painting was purchased from Mr. Smith by Lord Francis Leveson Gower, afterwards first Earl of 
 Ellesmere. 
 
 Painted on panel, 7x6 inches. 
 
 
■ 
 
 • :: - riA^rcr’.-; 
 
 
68 . 
 
 PORTRAIT OF HIMSELF IN HIS STUDIO 
 
 This is one of the finest of Dou’s works. The painter is represented in his studio playing the violin near an 
 open window. The piflure is signed and dated 1637, when the painter was twenty-four years of age. 
 
 This picture was purchased from the painter himself by Petter Spiering Silvercron, the Swedish resident at 
 The Hague, for Queen Christina of Sweden. Queen Christina gave it back to Spiering in 1652. It 
 subsequently belonged to Mr. Ladbrooke, in Portland Place, from whom it passed into the Bridgewater 
 collection. B 
 
 Painted on panel, 1 2 x 8f inches. 
 
QUIRINGH GERRITSZ BREKELENKAM 
 
 1620? — 1668 
 
 Quiringh (or Quirijn) Brekelenkam was born at Zwammerdam about 1620, and resided at Leyden. Nothing 
 is known of his life, but he painted in the style of Dou and Metsu, sometimes most excellently, but with varying 
 degrees of success. He died at Leyden in 1668. 
 
 69. 
 
 COTTAGE SCENE WITH AN OLD WOMAN COOKING 
 
 An excellent example of the Leyden school, and probably a genuine work by Brekelenkam, though the attribution 
 is not absolutely certain. 
 
 Painted on panel, iy$ x 15J inches. 
 

 
 : : • ' : ■ 
 
 
 
 
 

ARIE DE VOIS 
 
 1641 — 1698 
 
 Arie (Adrian) de Vois was born at Leyden in 1641, the son of an organist. He was, like other eminent 
 artists of the Leyden school, a pupil of Nicolas Knupfer at Utrecht. He adopted, however, the style of 
 Gerard Dou, and excelled in the same manner of portraits, and genre subje&s, painted with exquisite finish on 
 a small scale. 
 
 7°. 
 
 PORTRAIT OF A YOUTH HOLDING A BOOK 
 
 Painted on panel, x 55. inches. 
 
ADRIAEN VAN OSTADE 
 
 1610 — 1685 
 
 Adriaen van Ostade was born at Haarlem in 16x0, and spent his life in that town. He was a pupil of Frans 
 Hals, and was strongly influenced by him, and by his fellow pupil, Adriaen Brouwer. The coarse humour of 
 these two genial artists is prevalent in Ostade’s early paintings. In middle life he showed more poetry and real 
 picturesque feeling in his little pictures, and the influence of Rembrandt is easily to be traced in the tones and 
 chiaroscuro. Later in life, when Ostade had become a prosperous citizen, his painting becomes correCt in 
 manner, but, as compared with his earliest works, somewhat lifeless and uninspired. 
 
 7 1 * 
 
 A DUTCH PEASANT GIVING A TOAST 
 
 A Peasant at the door of an inn, raising his hat, as he gives a toast. Painted in 1677. 
 
 This little picture was formerly in the collection of M. de Vence, 1750, and the Due de Chabot, 1787. 
 Painted on panel, x 5J inches. 
 

 
 ' 
 
 
72 . 
 
 THE TRIC-TRAC PLAYERS 
 
 Two peasants playing tric-trac in a tavern, with a third looking out of the window. Painted in 163 
 formerly in the colleftions of M. de Blondel de Gagny, sold in 1776, and Comte de Merle, sold in 1783. 
 Painted on panel, 13^ x 17 inches. 
 
73 - 
 
 THE SKITTLE PLAYERS 
 
 A party of peasants outside a tavern, some playing skittles. Painted in 1676. 
 Formerly in the colle&ion of M. Geldermeester, sold in 1800. 
 
 Painted on canvas, 16^ x 20 inches. 
 

 
 
 
 
 
 
 
 
 
 
 
 
74 - 
 
 A TAVERN SCENE WITH PEASANTS SMOKING AND DRINKING 
 
 Painted late in the artist’s life, and perhaps unfinished. 
 
 Formerly in the colledtions of M. Geldermeester, 1800, and the Greffier Fagel, sold in 1801, from 
 whence it was purchased for the Duke of Bridgewater. 
 
 Painted on panel, 13^ x 1 if inches. 
 

75 - 
 
 THE LAWYER IN HIS STUDY 
 
 A lawyer seated in his study, perusing a deed, while his servant, or a client, brings him a brace of woodcock. 
 Painted in 1671. 
 
 This picture was in the collection of the Greffier Fagel in 1801, from whence it was purchased by the 
 Duke of Bridgewater. 
 
 Painted on panel, 13^ x ii£ inches. 
 
 Y ) 
 
76 - 
 
 RUSTIC COURTSHIP 
 
 A peasant paying his addresses to a woman at the door of a cottage. Painted in 1667. 
 
 This excellent painting passed successively through the collections of M. Braamcamp, 1771, the Prince 
 de Conti, 1777, the Due de Chabot, 178 7, M. Lebrun, 1791, and M. Helsleuter, 1802, until it was 
 purchased for Lord Francis Egerton. 
 
 Painted on panel, 17$ x 151 inches. 
 
HB 
 
ISAACK VAN OSTADE 
 
 1621 — 1649 
 
 Isaacs van Ostade, bom at Haarlem in June 1621, was younger brother of Adriaen van Ostade and pupil of 
 his brother. The influence of his brother can easily be traced in his works, but Isaack specially tsce t in 
 landscape, his works generally being on a larger and broader scale than those of his brother. He died at 
 Haarlem in 1649, at the age of only twenty-eight. 
 
 77- 
 
 TRAVELLERS HALTING AT A COUNTRY INN 
 
 This is a familiar subjeft with Isaack van Ostade, and treated with his usual care for pifhiresque detail. 
 Painted on panel, 23 ! a 3 2 i inches. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
CORNELIS PIETERSZ BEGA 
 
 1620 — 1664 
 
 Cornelis Pietersz Bega was born at Haarlem, and became a pupil of Adriaen van Ostade. He worked in the 
 same style as his master, but his paintings are more sombre in colour, and heavier in treatment, though they 
 are highly finished, as shown by the example in the Bridgewater House Gallery. 
 
 79 - 
 
 INTERIOR OF A COTTAGE WITH A MOTHER AND CHILD AND TWO 
 
 OTHER PERSONS 
 
 This subjeft is treated with great tenderness and depth of feeling, and the management of the chiaroscuro is 
 very skilful. 
 
 Painted on canvas, 1 7^ x 1 jjf inches. 
 

 
 
 
 
 
 
GERARD TER BORCH 
 
 1617 — 1681 
 
 Gerard Ter Borch (or Terburg) was born at Zwolle in 1617. His father was a wealthy man, four of whose 
 children, Gerard, Harmen, Moses, and a daughter Gezina, were noted in the arts. 
 
 Gerard Ter Borch was chiefly influenced by the school of Frans Hals at Haarlem, but by repeated 
 travelling he was enabled to study the works of Titian, Rembrandt, and Velazquez. He returned to Holland 
 in 1650, and in 1654 married and settled down at Deventer, where he spent the remainder of his life. 
 
 Ter Borch formed a style of his own, and in later days elaborated each painting so carefully, that every 
 picture can be considered a chef-d'ceuvre. His works are characterized by unpretentious truth, and simple yet 
 convincing composition and action. His colouring is brilliant, but cool and subdued in tone. His works are 
 justly esteemed among the finest of their kind. 
 
 PATERNAL INSTRUCTION 
 
 A young lady standing before a man, who is addressing her and an elderly lady, who is sipping wine. 
 
 This subject was one often repeated by Ter Borch, with very slight variations. 
 
 The present picture was formerly in the collection of Lord Wharncliffe and appears to be identical with 
 that sold in the collections of M. Beaujon, 1782, and M. Proley in 1787, and twice subsequently by 
 anonymous owners at Christie’s in 1819 an< I 1820. It is also perhaps the version originally in the Lubbeling 
 collection at Amsterdam. 
 
 Painted on canvas, 27! x 30 inches. 
 
FRANS HALS (?) 
 
 1580? — 1666 
 
 Frans Hals was born at Antwerp, where his parents, who were natives of Haarlem, were then living, about 
 1580 or 1581. Before 1602 the family had returned to Haarlem, where Hals had become a pupil of Karel 
 van Mander. The remainder of his life was spent at Haarlem, except for short visits to Amsterdam. Hals married 
 first Annette Harmensz, for bad condudt to whom he was punished in 16x6, and secondly, Lysbeth Reiniers of 
 Haarlem. After a reckless life Hals died in poverty at Haarlem on September 7th, 1666, still in possession of 
 his full powers as an artist. Among painters Hals ranks second only to Velazquez in his daring and skilful 
 handling of the brush. 
 
 81. 
 
 PORTRAIT OF A YOUNG GIRL 
 
 This portrait in its quiet sober tones differs from much of Hals’s usual work, and the change has been attributed 
 by Dr. Bode to the influence of Rembrandt on Hals after a visit by Hals to Amsterdam in 1637. Were it not for 
 some resemblance between this portrait and other paintings by Hals under the same influence, one would be more 
 ready after closer examination to ascribe the portrait to one of Hals’s contemporaries, such as Jacob Gerritsz Cuyp. 
 Painted on panel, 19^x17^ inches. 
 

 
 
 
 
 
 
 
 
 
 
 O'l 
 
 
 
 ... . 
 
 r . . . . . 
 
 
 
 
 
PAULUS MOREELSE 
 
 157 i — 1638 
 
 Paulus Moreelse was born at Utrecht, and became a pupil in portraiture of Michiel van Mierevelt at Delft. He 
 visited Italy for some time, and was much influenced by the academical schools there. Subsequently he returned 
 to Utrecht, where he died in 1638. 
 
 82. 
 
 ST. SIMEON WITH THE INFANT SAVIOUR 
 
 This painting is interesting as showing the effe<ft of the Italian School on so purely Dutch a painter as Moreelse. 
 It is signed and dated 1614, when the painter was probably in Italy. 
 
 Painted on canvas, 295 x 24S inches. 
 
 

 
 ' 
 
 
 ■ l 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
PAULUS POTTER 
 
 1625—1654 
 
 Paulus Potter was born at Enkhuizen, in North Holland, in 1625, the son °f Pieter Symonsz Potter, himself 
 a painter and draughtsman of considerable merit. During his short life Paulus Potter resided for short periods at 
 Amsterdam, Haarlem, and Delft, but his art was practised in the open air, among the sheep and cattle on the 
 rich polders. He died at Amsterdam in his twenty-ninth year, having then already established his claim to rank 
 as the first animal painter in Holland. 
 
 S3- 
 
 THREE OXEN IN A LANDSCAPE 
 
 A characteristic example of Potter’s plein air style. Signed and dated 1650. 
 Painted on panel, ioj x nf inches. 
 
AELBERT CUYP 
 
 1620 — 1690 
 
 Aelbert Cuyp was born at Dordrecht (or Dort) in Oftober, 1620, the son of Jacob Gerritsz Cuyp, himself a well- 
 known painter, and Aertken van Cooten of Utrecht, his wife. He was a pupil of his father, and his whole life 
 seems to have been spent in Dordrecht. Here he lived in a position of affluence on property of his own, and 
 died on November 7th, 1691. In 1658 he married Cornelia Bosman, widow of Johan van der Corput. 
 
 Cuyp ranks among the most famous painters of the world, although his works are entirely confined to 
 scenes from the woods, meadows, and canals of his native town. By a constant study of the same scenes under 
 the varying effe&s of light at different times of the day and different seasons of the year, Cuyp was able 
 to produce those atmospheric effe&s of sunlight and colour which have made his name famous. The great 
 waterway and haven of Dordrecht was especially adapted for the exercise of his skill. In his earlier life he 
 often painted portraits, animals, and still life. Later in life his work suffered somewhat by constant repetition of 
 the same motives. From an early date Cuyp’s work has been specially valued by English amateurs. 
 
 84. 
 
 LANDSCAPE WITH A PIPING SHEPHERD 
 
 A pastoral scene with two cows under a rocky mountain, and a young herdsman playing on the flageolet. 
 There does not seem to be any record how this important example of Cuyp’s work was acquired. 
 Painted on canvas, 361 x 45 inches. 
 
. 
 
 i * i - • . ! ' 
 
 ' ' . ■ - • ' • • . . .. ' • . . ' .... 
 
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85 - 
 
 LANDSCAPE WITH A MILKMAID 
 
 In the landscape is a marshy pool, near which are ducks and grazing cattle, while a woman is milking a cow 
 under a tree on the right. Signed A. Cuyp. 
 
 There does not appear to be any record whence this important pidture was obtained. 
 
 Painted on canvas, 54 x 69 inches. 
 
86 . 
 
 LANDSCAPE WITH THE RUINS OF THE CASTLE OF KONINGSVELT 
 
 The ruined castle is seen in the background on the left, and a party of travellers at a wayside tavern in the fore- 
 ground on the right. 
 
 This picture was formerly in the colle&ion of M. Jan Danser Nyman at Amsterdam, sold there in March, 1798. 
 Painted on panel, i8i x i8f inches. 
 
LANDSCAPE WITH TRAVELLERS AND PEASANTS 
 
 A lady and gentleman riding along a wooded road in the sunshine are accosted by a group of peasants. 
 
 This is an early work by Cuyp, and was formerly in the colledion of M. de Calonne; sold in 1795. It 
 seems to be identical with a painting formerly in the collection of Cuyp’s friend and patron, M. van der Linden 
 van Slingelandt at Dordrecht, which was sold in August, 1785. 
 
 Painted on panel, 17 x 21 \ inches. 
 

 
 
 
 
 
 
 
 
PRINCE MAURICE LANDING AT DORDRECHT 
 
 The scene is laid on the Maes, near Dordrecht, with an imaginary representation of some dignitary, such as 
 Prince Maurice, embarking for the fleet. The composition was one of Cuyp’s favourites, and forms the subjedt 
 of some of his most important works, such as the painting in the Bridgewater Colle&ion. 
 
 This remarkable pidture was one of those purchased from the artist by Cuyp’s friend and patron, M. Johan 
 van der Linden van Slingelandt, and was purchased at the sale of this colledtion in 1785. 
 
 Painted on canvas, 45 x 65^ inches. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
DIRCK STOOP 
 
 1610 — 1686 
 
 Dirck Stoop was born at Utrecht in 1610. About 1653 he settled at Lisbon as Court painter, and in that 
 capacity accompanied Catherine of Braganza to England in 1662, and resided for some years in London. In 
 1678 he returned to Utrecht, where he died in 1686. 
 
 Stoop specially excelled in battle pieces, and landscapes with horses and dogs. 
 
 90. 
 
 LANDSCAPE WITH A HORSEMAN 
 
 A wild hilly landscape with a man leading a white horse and addressing another traveller. 
 
 The excellence of this little painting has given rise to the suggestion that it may be an early work of 
 Philips Wouverman. 
 
 Painted on panel, 16J x 20 inches. 
 
 7 1 ^ 2 -^) 
 

 
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 .• .... . . .... ;! . 
 
 . 
 
 
 
 
 
 
 
PHILIPS WOUWERMAN 
 
 1619-1668 
 
 Philips Wouwerman was bom in Haarlem, the son of Paulus Joosten Wouwerman, a painter of history, under 
 whom he first studied painting. Later he became a pupil of Wynants, but was specially influenced by the works 
 o p j= t = r _ d ' Laer (Bamboccio). Wouwerman has gained well-merited fame as a painter of horses, but he also 
 excelled in landscape painting. He was an industrious and prosperous artist, who produced an immense number 
 of market scenes, camp scenes, battle scenes, etc. The popularity of his works has, however, led to countless 
 imitations and many aftual forgeries. He died at Haarlem in wealthy circumstances 
 
 gt. 
 
 AN ENGAGEMENT OF CAVALRY 
 
 One of the most important and spirited paintings by Wouwerman which exist. Signed. 
 
 This pidhire was formerly in the colleftion of Cardinal Fesch, and passed into the hands of Mr. Farrer, 
 the dealer, from whom it was purchased by the Earl of Ellesmere about 1848. 
 
 Painted on canvas, 35J x 57 inches. 
 

 
 : ■ • • • ‘ • • 
 
 
 
 
 
 
 
 
 
 
 

NICOLAS BERCHEM 
 
 1620 — 1683 
 
 Nicolas Berchem was bom at Haarlem in .620, the son of Pieter Claesz, the well-known painter of stU life. 
 He married the daughter of the painter, Jan Wils. Berchem was a varied artist, but is chiefly remarkable or 
 his Italian landscapes with cattle and figures. These are very numerous, and comprise many repetitions ot the 
 same compositions in different forms. Although so much of his work is of an Italian charader, it is not certain 
 that he ever visited Italy. He died at Amsterdam in 1683. 
 
 THE HAWKING PARTY 
 
 View of a landscape with a large viadud in the distance, and a group of figures out hawking in the foreground. 
 Signed. One of the most pleasing of Berchem’s works. , , 
 
 This pidure was formerly in the celebrated colledion of M. van der Linden van Slingelandt at Dordrecht 
 sold in 1785, and passed into that of M. de Calonne. It subsequently was sold in the colledion of Lord Berwic 
 in 1825, and purchased by Lord Francis Egerton. 
 
 Painted on panel, 14I x 21J inches. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
94 - 
 
 RIVER SCENE IN ITALY 
 
 An Italian landscape with figures in Berchem’s familiar style, but remarkable for its atmospheric effedts in the sky 
 and distance. 
 
 Painted on canvas, 45 x 65^ inches. 
 
JACOB VAN RUISDAEL 
 
 1628(9) — 1682 
 
 Jacob van Ruisdael, or Ruysdael, was born at Haarlem in 1628(g), the son of Isaak van Ruisdael, and 
 nephew of Salomon van Ruysdael, who was also an eminent landscape painter. Ruisdael’s life was spent 
 chiefly at Haarlem, though he resided for a few years in Amsterdam. Ruisdael was a patient and accurate 
 depi&er of the landscape scenery round his native town. He was a careful student of forest scenery and the 
 foliage of trees, and his woodland compositions in this style are very numerous. At one time he came under 
 the influence of Albert van Everdingen, who had travelled in Norway and painted the wild romantic scenery of 
 that country. Ruisdael imitated and improved upon Everdingen with great skill, but his romantic landscapes 
 are less interesting than those direct from nature on the dunes or seashore near Haarlem. Though he was an 
 abnormally prolific artist, his art, now so highly valued, was little appreciated in his day, and he died in an 
 almshouse at Haarlem. 
 
 95 - 
 
 VIEW ON A CANAL WITH THE OLD GATE OF AMSTERDAM 
 
 A very remarkable study of trees and water with the sluice and old gate in the background, above which is a 
 windmill, the whole illuminated with the light of a passing storm. 
 
 Painted on canvas, 25^ x 3 of inches. 
 

 
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97 - 
 
 CHARCOAL-BURNERS IN A LANDSCAPE 
 
 A romantic scene with a torrent rushing through a wood, and men burning wood in the background. 
 
 This fine landscape was formerly in the collections of M. Lapeyriere, M. Trouard, the Comte de 
 Vaudreuil, and finally in that of Mr. J. Watson-Taylor, from which it was purchased in 1803 by the first Earl 
 of Ellesmere. 
 
 Painted on canvas, 24. x 2 8£ inches. 
 

 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

FOREST SCENE WITH A SHEPHERD AND HIS FLOCK 
 
 A wooded scene with a rocky stream, over which a shepherd and his flock are crossing by a rustic bridge. 
 
 This picture was formerly in the collection of the Due d’Alberg, and afterwards in that of Sir Charles 
 Bagot, G.C.B. 
 
 Painted on canvas, 14 x 15^ inches. 
 

 
 
 
 
 
t 
 
99 - 
 
 THE ROAD THROUGH THE WOOD 
 
 (landscape with travellers resting) 
 
 A road passing through a wood, through which a church tower is seen. Various travellers in a cart or on 
 horseback are engaged in conversation on the road. These figures have been introduced by Philips 
 Wouverman. 
 
 This picture was painted in 1671 (signed and dated). 
 
 Painted on canvas, 23 x 32 inches. 
 

 
 
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IOO. 
 
 A BIRD’S-EYE VIEW FROM THE DUNES NEAR HAARLEM 
 
 A typical example of Ruisdael’s work from nature, taken from his favourite position on the Dunes, a few miles 
 from Haarlem. 
 
 Painted on canvas, i6§ x 
 
 ig| inches. 
 

LANDSCAPE WITH A VIEW OF A VILLAGE NEAR HAARLEM 
 
 A panoramic view of the country surrounding a village near Haarlem, the tower of the church forming 
 conspicuous objed: in the landscape. This is another of Ruisdael’s transcripts from nature, and charged with 
 melancholy poetry. 
 
 It has sometimes been attributed to Guilliam Du Bois. 
 
 Painted on panel, 12x18 inches. 
 

 
 

MEINDERT HOBBEMA 
 
 1635 ?— 1709 
 
 Meindert Hobbema was a native, apparently, of Amsterdam, and resided in that city all his life. He was 
 associated with Jacob Ruisdael in early life, and was probably his pupil. His landscape paintings, simple as 
 they are in charader, are now perhaps more highly prized than those of any other painter. Hobbema married 
 Eltje Vinck at Amsterdam in 1668, and died there in December, 1709. 
 
 102 . 
 
 THE WATERMILL 
 
 View of a watermill and the surrounding buildings. Signed and dated 1657. 
 
 This interesting and valuable pidure was formerly in the colledion of M. de St. Vidor at Paris, sold in 
 1822, when it was purchased by Lord Francis Egerton. 
 
 Painted on panel, 15x21 inches. 
 

103 . 
 
 WOODED LANDSCAPE 
 
 (scene in a wood, with woodcutters at work) 
 
 A typical example of Hobbema at his best. 
 
 This pi&ure was formerly in the colle&ion of M. Danser Nyman at Amsterdam, sold in 1798. 
 Painted on panel, 14 x 31J inches. 
 

CORNELIS GERRITSZ DECKER 
 
 DIED 1678 
 
 Cornelis Decker was a native of Haarlem, where he lived and died. His landscape paintings are not common. 
 He was a pupil of Salomon Ruisdael, whose works he imitated with success. 
 
 104. 
 
 LANDSCAPE WITH A RIVER AND COTTAGES 
 
 A pleasing composition with a charm peculiar to itself. 
 
 This pidture was formerly in the colledtion of Mr. George Watson Taylor. 
 
 Painted on panel, 14x12 inches. 
 

 
 
 
 
 ' 
 
 
 
 
 . ' 
 
 ' 
 
 
 . 
 
 
 
 
 
 
 
 
JAN VAN DER HEYDEN 
 
 1637 — 1 71a 
 
 Jan van der Heyden was born at Gorcum in 1637, and is specially noted for his architectural views in the 
 streets of Amsterdam. He was also a skilled and scientific mechanician, and invented the first hydraulic fire- 
 engines. He died at Amsterdam on September 28, 1712. 
 
 VIEW OF A STREET IN A DUTCH TOWN 
 
 A characteristic view of Dutch scenery by this excellent painter of architecture and sunshine. The figures 
 are said to have been inserted by Adriaen van de Velde. 
 
 Formerly in the collection of M. Geldermeester, sold in 1800. 
 
 Painted on panel, 1 8 £ x 24^ inches. 
 

 
 
 
 
 "I “ 
 
 
 
 
 
 
 
 
 
 
 
 
JAN VAN DE GAPPELLE 
 
 WORKED 1653 1680 
 
 Jan van de Cappelle practised as a marine and landscape painter at Amsterdam, but nothing is known of his 
 life. His work has some affinity to that of Simon de Vlieger. His paintings, which are mostly river scenes, are 
 highly esteemed by collectors. 
 
 106. 
 
 A VIEW ON A RIVER IN HOLLAND 
 
 This important painting, representing a wide river scene with barges and a ferry boat, is both in subject and size 
 an unusual example of Van de Cappelle’s work. 
 
 Painted on panel, 28J x 42^ inches. 
 

 
 
 
 
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 .[lui i'l U A c -;;.ou‘ VI . : ■ a - 
 
AERNOUT [AERT] VAN DER NEER 
 
 1603 — 1677 
 
 Aert van der Neer was born at Amsterdam and died there, on November gth, 1677, a ft er a chequered career 
 as a landscape painter and innkeeper. Little esteemed in his own days, his winter and moonlight landscapes and 
 his paintings generally are now highly valued by connoisseurs. 
 
 107. 
 
 LANDSCAPE BY MOONLIGHT 
 
 A landscape with a river, seen by moonlight. 
 
 A typical example of this painter’s work. 
 
 Painted on canvas, 18^ x 16^ inches. 
 
'■ ■ •. 
 
 
 
 
 
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SIMON JACOBSZ DE VLIEGER 
 
 1601 — 1653 
 
 Simon Jacobsz de Vlieger was born at Rotterdam in 1601, and turned his hand to every kind of painting. He 
 resided at Delft and Amsterdam, and finally at Weesp, where he died in March, 1653. 
 
 De Vlieger specially excelled in his marine paintings, in which he was the precursor of such painters as 
 Willem van de Velde, the younger, and Jan van de Cappelle, who may have been his pupils. 
 
 108. 
 
 VIEW ON THE COAST AT SCHEVENINGEN 
 
 A typical scene, showing the fishing boats at Scheveningen returning to the shore. 
 Painted on panel, 21x38 inches. 
 

 
 
 
 
 
 
 
 v. . •;< > 
 
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WILLEM VAN DE VELDE, THE YOUNGER 
 
 i 6 33 — 1 7°7 
 
 Willem van de Velde, born at Amsterdam in 1633, was son of Willem van de Velde, a marine-painter of 
 great repute. About 1670 his father was summoned to England, where he became marine-painter in ordinary 
 to King Charles II., a post in which he was succeeded by his son who accompanied him. 
 
 Van de Velde resided at Greenwich, where he died, and was buried in 1707. His life appears to have 
 been spent on the water, drawing and painting the shipping in the Thames and on the coast. His paintings 
 are numerous, and his drawings still more so. 
 
 109. 
 
 SHIPS OF WAR IN DISTRESS DURING A STORM 
 
 A fleet of large ships of war are rounding a headland in rough weather. This painting is somewhat broader 
 and freer in treatment than most of Van de Velde’s works. 
 
 Painted on canvas, 164 x 15J inches. 
 
I IO. 
 
 THE BATTLE BETWEEN THE ENGLISH AND DUTCH FLEETS OFF 
 THE NORTH FORELAND AT SOLE BAY ON JUNE 3, 1666 
 
 This battle was fought between the English Fleet commanded by the Duke of Albemarle and Prince Rupert 
 on the English side, and the Dutch Fleet commanded by Admirals De Ruyter and Van Tromp. The result 
 was indecisive. The moment represented is when the English ship ‘ The Royal Prince,’ commanded by 
 Admiral Sir George Ayscue, having gone aground on the Galloper shoal off the Essex coast, was compelled to 
 surrender to the Dutch Admiral, Van Tromp. 
 
 This pifture was formerly in the colfeaions of M. van Zaanen and M. Geldermeester in Holland, and 
 afterwards in that of Mr. Walsh Porter. 
 
 Painted on canvas, 294 x 414 inches. 
 

 
 
 
 
 
 
 
 
 
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III. 
 
 THE SIGNAL-GUN 
 
 View of a calm sea with fishing boats, and in the background a ship, on which sails are being hoisted and from 
 which a signal-gun has been fired. 
 
 This charming little pi&ure was formerly in the colle&ion of the Prince de Conti, sold in 1777. 
 
 10 x 8 inches. 
 
FISHING BOATS IN A GALE OFF THE TEXEL 
 
 This is one of Van de Velde’s largest and most important works. It represents a rough sea off the Island of 
 the Texel in the north of Holland in which various fishing-smacks and men-of-war are tacking against the 
 wind. Painted in 1672. 
 
 This picture was formerly in the collections of Madame Backer, sold in 1766, M. van Locquet, sold in 
 1783, and finally in that of Mr. Hope, who brought it to England, where it was obtained for the Bridgewater 
 collection. 
 
 Painted on canvas, 52J x 75^ inches. 
 
JOSEPH MALLORD WILLIAM TURNER, R.A. 
 
 1775—1851 
 
 Turner, the greatest of English landscape painters, was born in April, 1775, in Maiden Lane, Covent Garden, 
 the son of a hair-dresser. The story of his life is well known. His life as a landscape painter is a record of 
 unflagging industry and increasing success, though his habits were those of an eccentric recluse. Turner died on 
 December 19th, 1851, and was buried in St. Paul’s Cathedral. 
 
 113 - 
 
 FISHING BOATS IN A SQUALL 
 
 This important picture was painted by Turner in rivalry and as a pendant to the great painting by William van 
 de Velde, the younger, also in the Bridgewater House Collection. It is interesting to compare the two paintings 
 and to discover the reasons which give Turner the prize in his contest with his Dutch rival. 
 
 Painted on canvas, 60 x 84^ inches. 
 
SIR JOSHUA REYNOLDS, P.R.A. 
 
 1723—1792 
 
 Born at Plympton in Devonshire. First President of the Royal Academy at its foundation in 1768. 
 
 The two specimens of Sir Joshua Reynolds’s work in the Bridgewater House collection belong to the 
 mature and best period of his career. 
 
 1 14. 
 
 PORTRAIT-GROUP OF ROBERT, LORD CLIVE (?) WITH HIS WIFE, 
 CHILD AND AN AYAH 
 
 This fine group was included in Mr. Brett’s sale at Christie’s on June 23, 1838, as “ Group of Lord Clive and 
 Family with a Malay Girl.” The personages depicted do not, however, show any resemblance to the great 
 Lord Clive or his wife, Margaret Maskelyne. The name of Lord Clive does not appear in the list of those who 
 sat to Sir Joshua Reynolds, nor is there any record of any payment for such an important picture of so important 
 an individual. The portraits must therefore represent some other leading Anglo-Indian persons of importance. 
 Reynolds painted several Anglo-Indian families, such as the Claverings, Cruttendens, and Mr. BarwelL 
 

PORTRAIT OF MRS. BARLOW TRECOTHICK 
 
 Ann Meredith, daughter of Amos Meredith, sister of Sir William Meredith, Bart., was married (as his second 
 wife) in 1770 to Alderman Barlow Trecothick of Addington Park, Surrey, Lord Mayor of London in 1770. 
 He died in May 1775, and his widow was re-married in 1777, as his third wife, to Assheton Curzon, afterwards 
 Viscount Curzon. She died on June 13, 1804. 
 
 Mrs. Trecothick sat to Sir Joshua Reynolds in July 1770 as Lady Mayoress, and again in March 1771. 
 This portrait, with the group next following, and a portrait of Dr. Thomas, Bishop of Rochester, were 
 included in the sale of Mr. J. W. Brett’s colledfion at Christie’s on June 23, 1838. The portrait was then 
 erroneously described as “ Lady Montague.” The three pictures were, however, withdrawn from the sale and 
 sold privately to Lord Francis Egerton. 
 
THOMAS GAINSBOROUGH, R.A. 
 
 1727 — 1788 
 
 This painter was born at Sudbury in Suffolk, and after studying in London under Hubert Francois Gravelot and 
 Francis Hayman, R.A., settled at Bath in 1760, where he became one of the most fashionable painters in 
 his day. In 1774 he removed to London, where his growing fame and fortune was only put an end to by his 
 premature death. 
 
 The Bridgewater House colle&ion is unfortunate in not possessing any example of Gainsborough’s portrait 
 work. It contains a pleasing example of his work in landscape, the painting being remarkable in that the cattle 
 form the principal subject, whereas they are usually introduced as quite subsidiary accessories. 
 
 1 16. 
 
 CATTLE AND FIGURES IN A MEADOW 
 
 Two cattle about to be milked are standing waiting for the attention of the milkmaid and her friend. 
 Painted on canvas, 24 x 30^ inches.