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A GUIDE 
 
 TO 
 
 BURGHLEY HOUSE, 
 
 NOR THA MP TON SHIR E, 
 
 i 
 
 THE SEAT OP 
 
 THE MARQUIS OF EXETER j 
 
 CONTAINING 
 
 a Catalogue 
 
 OF ALL 
 
 THE PAINTINGS, ANTIQUITIES, &c. 
 
 WITH 
 
 BIOGRAPHICAL NOTICES 
 
 OP 
 
 THE ARTISTS. 
 
 STAMFORD: 
 
 PRINTED AND PUBLISHED BY JOHN DHAKA RD, H IGH»STR K E T ; 
 And sold by 
 
 BALDWIN, CRADOCK, AND JOY ; AND NICHOLS AND SON, 
 IN LONDON. 
 
 1815. 
 
TO 
 
 THE MOST NOBLE 
 BROWNLOW, 
 
 j$tatqut0 an* Cart of ©jceter, 
 
 BARON OF BURGHLEY, 
 
 #c. %c. fife. 
 
 THIS ATTEMPT TO 
 
 DESCRIBE THE TREASURES CONTAINED IN THE 
 
 MAGNIFICENT SEAT 
 
 OF HIMSELF AND HIS ANCESTORS, 
 
 IS, WITH 
 DUE RESPECT, INSCRIBED 
 
 THE PUBLISHER. 
 
PREFACE 
 
 The following pages will sufficiently dis- 
 close the design of the present publication. 
 If any explanation, however, be previously 
 necessary, it may be given in two words* 
 Its object is, to afford a descriptive key to 
 the treasures of a Mansion, which has long 
 been estimated among the most distin- 
 guished residences in a kingdom deserv- 
 edly celebrated for its baronial establish- 
 ments. 
 
 Whatever is eminent among domes- 
 tic edifices in "other countries, as illustra- 
 tive of the wealth, the dignity, and the 
 
vi 
 
 hospitality of their aristocracies, is for the 
 most part to be found in their respective 
 capitals ; but the traveller would very 
 imperfectly describe the grandeur of Eng- 
 lish habitations without personally visit- 
 ing those baronial mansions with which its 
 provinces are so thickly studded. Among 
 these, the princely residence which these 
 pages are devoted to describe has long 
 been celebrated— not less as exhibiting a 
 singularly perfect specimen of Elizabethan 
 architecture, than on account of the ex- 
 quisite works of art with which its cham- 
 bers abound. Nor is it possible to visit 
 this magnificent pile, and examine its vari- 
 jous treasures, without associating in the 
 reflections which they suggest the vene- 
 rated character of the illustrious founder 
 of the palace ; — as well as of the for- 
 tunes and ( honours of its possessors ; — 
 a statesman of the most solid and useful 
 talents, to whose prudent and judicious 
 
VII 
 
 counsels, under the most trying circum- 
 stances, England owes much, perhaps, 
 even of her present grandeur and security : 
 " Quum satis naturae, satisque glorias, pa- 
 triae autem non satis vixisset, morte adeo 
 placida Deo animam reddidit, ut adversa- 
 riorum maximus se nihil illi perinde invi- 
 dere dixerit ac ejusmodi mortem in tanta 
 claritudine, quum maximarum rerum adrni- 
 nistris exitus plerumque sint tristiores."* 
 Camden seems to have taxed his highest 
 powers, — powers confessedly great, — to do 
 honour to the memory of the Lord Trea- 
 surer Burghley ; and nothing but fear of be- 
 ing charged with pedantry prevents our 
 transcribing the whole of an eulogium at 
 once so eloquent and just. The patriarch 
 of the family having laid broad and deep the 
 foundations of his own and his country's 
 fame and security, left to his descendants 
 the pleasing office of fostering the arts, — 
 
 * Camdeni Annales, a Hearne ; vol 3, p. 773. 
 
viii 
 
 of ornamenting the superstructure which 
 his care had raised. How well they have 
 executed this task, this Catalogue of their 
 collections abundantly proves. To de- 
 scribe these, after repeated and not incu- 
 rious examinations, has been our business. 
 To criticise works of art with taste and 
 discernment is no slight undertaking : as 
 the father of English poetry has observed 
 on another occasion, — 
 
 $ * * * # >£i s every dele 
 A rock of ice and not of steel. 
 
 If, therefore, after a candid comparison of 
 our account with the pictures themselves, 
 it shall be found that we have not been 
 greatly defective in discrimination and 
 judgment, we shall be content with the 
 decision ; — " we have our reward/' 
 
CONTENTS. 
 
 Page. 
 
 Sketch of the Origin and Foundation of Burghley, 1 
 
 Pedigree of the Family, 6 
 
 Lodges — River — Dairy-house — G amekeeper's - lodge — 
 
 Park — Shrubberies Greenhouse Boathouse — 
 
 Temple — Stables — House, , 7 
 
 Great Hall, . 19 
 
 Chapel Room, 28 
 
 Chapel, 31 
 
 Billiard Room, 32 
 
 Bow-window, or Ball Room, 39 
 
 Brown Drawing Room, 42 
 
 Black Bed Chamber, 50 
 
 West Dressing Room, 54 
 
 North-west Dressing Room, 58 
 
 China Closet, 59 
 
 Queen Elizabeth's Bed Room, 61 
 
 Back Dressing Room, 62 
 
 Queen Elizabeth's Dressing Room, 63 
 
 Purple Velvet Bed Room, 66 
 
 West Dressing Room, 67 
 
 b 
 
X 
 
 State Bed Dressing Room, or First George Room, 72 
 
 Jewel Closet, 78 
 
 New State Bed Room, or Second George Room, 81 
 
 Great Drawing Room, or Third George Room...... 87 
 
 Fourth George Room, t 91 
 
 Fifth George Room, or Heaven, 96 
 
 Grand Staircase, or Hell, 100 
 
 Dining Room, 104 
 
 Marble Hall, .108 
 
 Red Drawing Room, . Ill 
 
 Blue Drawing Room,..,. 114 
 
 Green Dressing Room, ,< 115 
 
 Japan Closet, 118 
 
 Miuiature Cabinet, No. 1, 145 
 
 No. 2,., 132 
 
 Crimson Velvet Bed Room, 135 
 
 Crimson Velvet Dressing Room, 137 
 
 Private Rooms, Halls, &c, 138 
 
 Bed Chamber, 140 
 
 Dressing Room, 140 
 
 Breakfast Room. 141 
 
 New Library,... 143 
 
 Old Ditto, ; 144 
 
 Tapestry Society of Bedlamites Sleep-walker- 
 Halls— Family Arms — Skeleton found — Kitchen, 146 
 
 Appendix. 
 
 On the Origin and Progress of Painting, 153 
 
 Lives and Anecdotes of the Artists^ , , 167 
 
A 
 
 <§uibt to 3Butj$lep, 
 
 IBurghley, so called, either from Berg 
 a lull, and Ley a pasture, or else from be- 
 ing the ley or pasture of the Abbot of St. 
 Peter of the Burgh, (Peterborough;) is 
 situate in the parish of St. Martin, Stam- 
 ford Baron, in the county of Northampton, 
 at the distance of about a mile and a half 
 to the south east of the bridge over the 
 river Welland ; which river here forms the 
 boundary between the counties of Lincoln 
 and Northampton, and separates the bo- 
 rough of Stamford in Lincolnshire from 
 Stamford Baron. 
 
 B 
 
2 
 
 The ancient lords of this manor held 
 it under the Abbots of Peterborough in 
 fee farm. In the time of King Edward 
 the Confessor it was held by one Alf^ar 
 the King's Chaplain ; and in the time of 
 the Conqueror it was held by a person of 
 the name of Geoftry, whose surname is sup- 
 posed to be Winchester, as one of both 
 these names held Burghley and Armston, 
 which were confirmed by Pope Eugenius 
 in 1 146 to the Abbey of Burgh. 
 
 In or about the time of Henry III. it 
 was possessed by William de Burghley, 
 and after him Thomas de Burghley died 
 possessed of it in 1280, on which occasion, 
 in respect of the tenure, two horses were 
 delivered to the Abbey for a mortuary, 
 and on the death of Mary his widow, soon 
 afterwards, a cow was taken by the same 
 title. After this it continued in the Burgh- 
 ley family, and Peter de Burghley held it 
 in the 24th of Edward I. and obtained a 
 grant of free warren here in the 3d of Ed- 
 ward II. Geoffry, the son and successor 
 of Peter, had no issue by Mary or Mario t 
 his wife* She survived her husband, and 
 
3 
 
 married John de Tichmersh, who, in lier 
 right, held this manor in the 3d of Edward 
 III. ; and she appears to have continued 
 as owner here, along with James Byroun, 
 in the 20th of Edward III. 
 
 But it seems that Peter de Burghley 
 had sold the manor, or the reversion at 
 least, to Robert Wykes, from whom it de- 
 scended to his great grand daughter, Eliza- 
 beth, the wife of John Milton, alias Law- 
 rence ; which Elizabeth died possessed of 
 it in the 5th of Henry VII. leaving Henry 
 Wykes, clerk, her next heir. The latter, 
 who died possessed of it on the 9th of 
 May, 1508, devised it to his kinswoman, 
 Margaret Chambers, and to Thomas Wil- 
 liams, junior ; and Margaret Chambers 
 sold it to Richard Cecil, Esq. [Peck's 
 Desiderata Curiosa.~\ 
 
 Another manor in this place called 
 the manor of Little Burley , probably that 
 which is mentioned to be held by James 
 Byroun, was afterwards held by Michael 
 de la Pole, Earl of Suffolk and Chancellor 
 of England ; but he being attainted in the 
 Parliament of the 10th of Richard II. and 
 
4 
 
 adjudged to death and forfeiture of all his 
 estates, although the king, with whom he 
 was a great favourite, did not immediately 
 carry the sentence into execution, the 
 popular clamour run so hard against him, 
 that he was obliged to leave the country, 
 and died at Paris on the 5th of September, 
 in the 12th of Richard II. (1388.) Mi- 
 chael de la Pole, his son, who married a 
 daughter of the Earl of Stafford, petitioned 
 to have this estate restored, but without 
 success; though he afterwards regained 
 his father's rank and titles, and died in the 
 service of King Henry V. at the siege of 
 Harfleur, the 14th of September, 1415, as 
 did his eldest son Michael, Earl of Suffolk, 
 in the same service, in the battle of Agin- 
 court, a month afterwards* 
 
 In the 13th of Richard II. this manor 
 was granted by the crown to Robert Gar- 
 ton, William de Ryvell, clerk, and Henry 
 de Besewick, clerk, in fee. In the 18th 
 of Henry VIII. a fine was levied between 
 Sir William Compton, Knt. and others, 
 demandants, and Thomas Williams and 
 others, deforcients, of the manor of Little 
 
5 
 
 Burghley ; and two years afterwards ano- 
 ther fine between David Cecil, senior, de- 
 mandant, and Henry Humport, otherwise 
 Chambers, deforcient. 
 
 By these or some other conveyances, 
 the whole estate at Burghley became vested 
 in the family of Cecil, which 'was first en- 
 nobled in the person of Sir William Cecil, 
 Knt. son of Richard, and grandson of 
 David, which Sir William was Secretary 
 of State under King Edward VI. and 
 Queen Elizabeth ; and was by the latter 
 created Baron of Burghley, in the 14th 
 year of her reign, (1571,) and made a 
 Knight of the Garter, and appointed Lord 
 High Treasurer of England, in the year 
 following. He held the office of Treasu- 
 rer nearly twenty-six yqjars, a much longer 
 term than it has ever isince been held by 
 one person. His residence was for the 
 most part at Theobalds, in Hertfordshire, 
 which, on account of its vicinity to Lon- 
 don, was an easier and shorter retirement 
 from his official duties : but about the 
 year 1575 he began to erect the mansion 
 at Burghley, which has since been the 
 
6 
 
 principal residence of his posterity. Tho- 
 mas, Lord Burghley, the Treasurer's eldest 
 son, was created Earl of Exeter, on the 
 4th of May, 1605 ; and Henry, Tenth 
 Earl of Exeter and Eleventh Lord Burgh- 
 ley, his lineal descendant, was created 
 Marquis of Exeter, on the 30th of De-* 
 cember, 1800 ; whose son and heir, Brown- 
 low, Marquis of Exeter, inherits the estates 
 and honours of his family. The reader is 
 here referred to the Pedigree. 
 
 But, upon more recent examination 
 than the foregoing, relative to the erection 
 of the House, which has been chiefly ex- 
 tracted from Peck and Bridges, it has been 
 asserted that the Lord Treasurer came to 
 the estate in right of his wife ; and that 
 the property was derived from, or had 
 been in the possession of, the De la Poles, 
 Earls of Suffolk. Thus the Lord Treasu- 
 rer is thought to have founded the present 
 mansion upon an old house which he found 
 upon the estate, it being conceived far 
 out of his power to have erected it as it at 
 present exists. The east and north ends, 
 (the part looking down upon Stamford,) 
 
PEDIGREE OF THE Mi t 
 
 Da? id Cecil, of Stamford, alias Stanfo 
 
 ( 
 
 Richard Cecil, Esq. died 1 
 
 ux. 1. Mary Cheke,=William Cecil, 1st Baron=ux. 2. Mildred Aj 
 died 1543. ^of Burghley, died 1598. j^Cooke, d. 1589. 
 
 ux.2. Frances=Tho. 2d Baron of Burghley ,===ux. 1. Dorothy 
 Smith. ! and 1st E. of Exeter, d. 1622. | Nevill, d. 1608. 
 
 Georgiana. ux. 1. Lady Elizabeth=William, 2d Earlof==ux. 2, Elizabeth Dm- 
 Manners, died 1591. J Exeter , died 164Q.^ | ry, died 1654. 
 
 William,=Eliz. Lake. Elizabeth, Diana, 1st mar. 
 
 Lord aft. m. Geo. married Henry, Earl of 
 
 Ross, Rodney, Esq. Thomas, Oxford, and aft. 
 
 diedl618, and died Earl of Thomas, Earl of 
 
 issueless. 1630. Berkshire. Elgui. 
 
 David, 3d Earl of Exeter, died 1643=Lady Eliz. Ik 
 
 ux. 1. Lady Frances— John, 4th Earl of=ux. 2. Lady Mh 
 Manners, died 1669. | Exeter, died 1678. d. of the EarP 
 
 John, 5th Earl of Exeter, d. 1700.=Lady Anne (Cavendish) Rich, widow, d. of Yl 
 
 I 
 
 ux. 1. Annabella=John, 6th Earl of==ux.2.Eliz. Brown- \1 
 Bennet, died 1698. Exeter,died 1721. | low, died 1723 
 
 f " m — 
 
 John, 7th Earl of Exeter, Brownlow, 8th Earl=Hannah-Sophia ( 
 
 died 1722, issueless. of Exeter, died 1754. | bers, died 1765 
 
 ( V"^ 
 
 Brownlow, 9th Earl of Exe-=LaetitiaTownsend > Thomas-Chambers— Charl 
 
 ter, died 1794, issueless. died 1756. Cecil, died 1778. j died 1 
 
 ux. 1. Emma Vcrnon=Hen. Cecil, 10th Earl and 1st Marquis of Exeter, died 1S04. 
 
 L 
 
 ^ ^— ->^- 
 
 Hen, Vernon, died young, Sophia, jHenry, died yoi 
 
15!.=Jane Heckington, died March, 1588. 
 
 v-^ 
 
 Igs, m.Tho. 
 flje, Esq. 
 
 QUIS OF EXETER. 
 
 Esq. died 1541.=Alice Dickons. 
 
 j 
 
 v" 
 
 Eliz. m. Robt. 
 Wingfield, Esq. 
 
 Margaret, 1st m. Roger Cave, 
 Esq. & aft. Ambrose Smith, Esq. 
 
 Anne, m, Edw. 
 E. of Oxford. 
 
 v^— 
 
 Robert Cecil, E. 
 of Salisbury. 
 
 Eliz. m. Will. 
 Wentworth. 
 
 -sr ' "V 
 
 Sir Richard Cecil, of=Eliz. Edw. Vise. 
 Vakerly, died 1633. J Cope. Wimbledon. 
 
 Anne,m. 
 Henry, 
 Earl of 
 Stam- 
 ford. 
 
 v 
 
 Christopher. 
 Thomas. 
 
 Catherine. 
 Susan. 
 
 Eirton, diedl6S8. 
 
 Lucy, mar. Will. Marquis of Winchester. 
 
 Mildred, m. 1st Sir Tho. Read, & aft. Sir Edm. Trafford. 
 
 Mary, mar. Edw. Earl of Norwich. 
 
 Eliz. 1st mar. Sir Will. Hatton, and aft. L.C. Just. Coke. 
 
 Dorothy, mar. Sir Giles Allington. 
 
 Eliz. mar. John Havers. 
 
 4 (Fane) Palmes, widow, 
 Westmorland, died 1681. 
 
 Frances, mar. Arth. 
 Earl of Shaftesbury. 
 
 E. of Devonshire, d. 1703. Frances, m. John, Lord Viscount Scudamore. 
 
 flliam. 
 
 v 
 
 Charles. 
 
 Edward. Elizabeth, married 
 
 Charles,E.ofOrrery. 
 
 C.m- 
 
 ^ 
 
 William. 
 
 — ~v — 
 
 Francis. 
 
 -y 1 — 
 
 Charles. 
 
 — ^ 
 
 Eliz. m. Will. 
 Aislabie, Esq. 
 
 — sr~~ 
 
 David. 
 
 "V 
 
 Marg.-Sophia. 
 
 ^ 
 
 Eliz. m. Cha. 
 Chaplin, Esq. 
 
 — ^ 
 
 Anne, d. 
 unmar. 
 
 b Gornier, 
 
 Ik. 
 
 Is. 2. Sarah Hoggins, died lT97.=ux. 3. Eliz. Duchess Dowager of Hamilton. 
 
 V 
 
 Brownlow, 2d Marquis of Exeter, 
 
 Thomas* 
 
7 
 
 and the kitchen, are considered to be parts 
 of the original structure. Admitting this 
 account to be correct, the old building, 
 upon which the present House was found- 
 ed, must have been very inconsiderable, 
 not only from the appearance of the exist- 
 ing mansion, but from the several dates ob- 
 servable on different parts of it, which will 
 be hereafter noticed. 
 
 Having given this historical sketch of 
 the manor of Burghley, and its introduc- 
 tion into the Cecil family, together with 
 the origin of the building, we shall, as 
 briefly as possible, notice a few of the at- 
 tractions in the Park, and then guide the 
 stranger to the noble mansion. 
 
 At the southern extremity of St. 
 Martin's, are the Lodges, a most elegant 
 and beautiful modern building, erected by 
 Henry the Tenth Earl of Exeter, in 1801. 
 The late Mr. Legg, of Stamford, was the 
 architect of this elegant structure, which 
 is composed of two uniform turrets, taper- 
 ing in irregular conical forms : the tops 
 being the chimneys appear somewhat un- 
 finished, though they impart a chasteness 
 
8 
 
 and simplicity of style that would be use- 
 lessly sought for in a spiral continuation and 
 vane. On the outer extremities of these 
 turrets are two wings, each containing two 
 or three apartments on the ground floor. 
 This building is said to have cost o£5,000. 
 A correct view of it is given in the an- 
 nexed plate. 
 
 About a mile from the Lodges, at 
 the bottom of a beautiful lawn on the south 
 side of the mansion, is a fine piece of 
 Avater, about three quarters of a mile in 
 length, formed by Mr. Launceolet Brown, 
 (of whom we shall speak further when we 
 come to the Catalogue of Paintings.) 
 Over this Lake is erected a handsome and 
 well-built stone Bridge of three arches, on 
 the balustrades of which are four full-sized 
 lions, couchant, moulded in composition* 
 Having passed this bridge, the gates of 
 which are seldom, however, open to the 
 public, the Dairy House next presents it- 
 self, which has been lately built, and has 
 a curious plaster ceiling. About half a 
 mile further south is the Gamekeeper's 
 Lodge, a neat handsome cottage, built in 
 
9 
 
 a tasty antique style. The thatched roof 
 and gothic windows of this building, toge- 
 ther with the sequestered spot in which 
 it is erected, form an agreeable contrast 
 to the majestic grandeur of the hall. 
 From its' pleasing variety and seeming 
 tranquillity, and perhaps from an innate 
 pride in human nature, (as Shenstone has 
 observed of the cottages of the great,) 
 spring the pleasure the spectator feels on 
 beholding this little mansion. 
 
 The deer are in this end of the park, 
 which is less picturesque, and affords but lit- 
 tle of that rich and beautiful scenery which is 
 to be met with in various other parts, partis 
 cularly near the Lake. The length of the 
 Park, north to south, is about two miles, 
 and the width from half a mile to a mile. 
 But when the House was first built, it 
 went no further than the Ermin-street 
 Road, which passed in a line from Stilton 
 to Stamford through Castor. In 1665, 
 however, John Earl of Exeter enlarged it 
 to its present extent, and took in this old 
 Roman way. On this bank, not many 
 yards from the corner of the Park wall, 
 
 c 
 
10 
 
 stood an ancient and strong beacon ; and 
 there are now to be seen several founda- 
 tion stones of crosses, which were formerly 
 erected there. The greater part of the 
 Park is in the parish of Barnoak. 
 
 The Shrubberies are on the east side 
 of the House, and are pleasingly culti^ 
 vated : they were thus laid out, and also 
 the beautiful lawns, mounts, alcoves, &c. 
 in the Park, under the direction of Mr. 
 Brown. Several enclosed fields formerly 
 surrounded the House, some walled and 
 some paled round, each containing from 
 about five to ten acres ; but they were al- 
 tered as they at present exist about sixty 
 years ago. A painting of Tillemans, en- 
 graved by Caldwall, represents the House 
 and Gardens as they existed previous to 
 Brown's improvements. It may be seen 
 in Brydges's Hist, of Northamptonshire, 
 vol. 2. These changes unquestionably 
 added greatly to the grandeur and beauty 
 of the situation of the House. A Green- 
 house, 100 feet by 18, situate in the 
 gardens, contains several of the most rare 
 plants of English produce, and some beau- 
 
11 
 
 tiful exotics. Here also, in the most retired 
 spots, are romantic grottoes and mossy 
 cells, composed of the rudest of Nature's 
 productions. Some of them have gothic en- 
 trances made of the wildest-grown branches 
 of the oak, and are paved with the small 
 leg bones of sheep. The effect the Boat- 
 house imparts to a stranger, on his first 
 entrance, is delightful : after pacing along 
 serpentine walks, noticing the evergreens 
 and a variety of engaging scenery, and 
 having no idea of being near water, he is 
 suddenly led through a door made in the 
 declivity of a hill, where, having entered, 
 the surface of an extended Lake presents 
 itself, which he finds he is admiring from 
 a balcony erected round the Boat-house, 
 the ceiling and sides whereof are thickly 
 covered with moss. 
 
 A modern gothic Temple, after the 
 model of that of Campden, in Gloucester- 
 shire, is situated on the southern side of 
 the Shrubberies, at an agreeable distance 
 from the Lake. It is about 22 feet by 18, 
 and contains a fine head of William Duke 
 of Cumberland, placed upon a marble 
 
12 
 
 slab. Through the north door of the 
 Temple we come to a recess of about 200 
 feet, surrounded by closely-plauted laurel 
 and other evergreens. In this remote 
 spot stands an elegant monument, four 
 feet high, erected to the memory of Han- 
 nah Sophia Chambers, Countess of Exe- 
 ter, with this inscription. 
 
 Oh, thou most loy'd, most valu'd, most rever'd, 
 Accept this tribute to thy merit due; 
 Nor blame me if, by each fond tie endeared, 
 I bring again your virtues into vievf. 
 
 These lonely scenes your mem'ry shall restore, 
 Here oft for thee the silent tear be shed; 
 Belov'd through life, till life can charm no more, 
 And mourn'd till filial piety be dead. 
 
 On this side the House, at the dis- 
 tance of a few yards, is a large oval bason 
 of gold and silver fish, 140 feet in circum- 
 ference. 
 
 Adjoining other outbuildings leading 
 from the east wing of the House, are the 
 Stables, which from their extent and noble 
 appearance it would have been an omis- 
 sion not to have noticed. They compose' 
 three sides of a square of about 2,500 
 
13 
 
 yards, and are built very lofty with parapet 
 walls, indented. The Coach-houses are 
 * in the centre of each side, the entrances 
 to which are under pointed archways, 
 having windows, like the stables, of the 
 same gothic structure. In the middle 
 of the large gravelled court surrounded 
 by these buildings, (excepting on the 
 north side, where are iron palisades and 
 gates forming the entrance,) is a circular 
 bason, about 15 feet in diameter, which is 
 continually supplied through a pipe with 
 clear spring water, and which, emptying 
 itself by means of another pipe, always 
 keeps at the same height, and always con- 
 tains a fresh and pure supply of that 
 element. 
 
 At length we come to the notice of 
 the noble mansion,— the turrets, cupolas, 
 and spires of which impart at first view to 
 the beholder a sense of its splendour and 
 magnificence. It is built of freestone, in the 
 form of a beautiful parallelogram, which 
 measures by the inner court 110 feet by 
 70. The chimnies are all formed of pillars 
 
14 
 
 of the doric order, connected at top by a 
 frieze and cornice of the same. According 
 to Horace Walpole, John Thorpe, an 
 eminent architect, in the reign of Queen 
 Elizabeth, gave the plan, and superin- 
 tended the erection of the greater part of 
 this stupendous building. 
 
 Before the north door there formerly 
 stood a piece of water, which was filled up 
 when the beautiful serpentine river was 
 formed. On this side is the principal en- 
 trance, where, between the windows, we 
 observe the date 1587- The circumfe- 
 rence of the circle forming the coach-road, 
 encompassing a beautiful grass plat, is 
 about a furlong ; and from the gate to the 
 steps, the distance is about 110 yards. 
 On each side of the north door is a plat- 
 form, extending 90 by 18 feet each w r ay, 
 which, with the intermediate breadth of 
 the threshold, completes a front of 200 
 feet. The ascent to the House is by 
 nine large semi-circular steps. — In the 
 arched roof, under the passage leading to 
 the inner court, are escutcheons of the fa- ' 
 
15 
 
 mily arms, in one of which is W. Dom. 
 de Burghley, 15J7, the year when that 
 part of the House was built. 
 
 Surrounded by massy piles? of build- 
 ing is a beautiful court, from which, on 
 the east side, the doric, the ionic, and 
 the corinthian orders are distinctly seen 
 rising one above the other, with large 
 niches on each side. Above the corinth- 
 ian order, the uppermost of the three, 
 are two large stone lions, rampant, sup- 
 porting the family arms. The spire of 
 the chapel arises from hence, which, al- 
 though far from being ornamental, is of 
 admirable workmanship. This part of 
 the building appears from the date above 
 the dial to have been finished in 1585. 
 Over an arch before the chapel, is a bust 
 of King William III. The pillars on the 
 opposite and western end are of plain doric ; 
 and the windows on the north and south 
 sides of the court are of the pure modern 
 gothic. Four capacious gateways, with 
 parallel corresponding folding doors be- 
 hind them on the four sides, face each 
 
16 
 
 other ; each extending in an eliptical arch 
 about 9 feet in breadth and the same in 
 height. On the tops and corners of the 
 balustrades of the building are several 
 small doric stone vessels in the shapes of 
 urns and water pots, 
 
 We cannot, perhaps* better conclude 
 our remarks on the House* than with the 
 following observations made by Mr. Gilpin 
 in his Tour to the Highlands, ;< Burghley 
 House/' he says, " is one of the noblest 
 monuments of British architecture in the 
 times of Queen Elizabeth, when the great 
 outlines of magnificence were rudely drawn, 
 but unimproved by taste. It is an im- 
 mense pile, forming rthe four sides of a 
 large court ; and though decorated with a 
 variety of fantastic ornaments according to 
 the fashion of the time, before Grecian ar- 
 chitecture had introduced symmetry, pro- 
 portion, and elegance into the plans of pri- 
 vate houses, it has still an august appear- 
 ance. The inside of the court is particu- 
 larly striking. The spire is neither, I 
 think, in itself an ornament ; nor has it 
 
17 
 
 any effect, except at a distance, where it 
 contributes to give this immense pile the 
 consequence of a town." 
 
 Having thus hastily noticed what is 
 most curious relating to the exterior of 
 Burghley House, we proceed to its inte- 
 rior, of the elegance and splendour of 
 which we cannot speak too highly. Those 
 who have, like ourselves, been spectators 
 of it, we are sure will agree with us when 
 we remark, that seldom will the curious 
 visitor, or the lover of the fine arts, meet 
 with more to indulge his research or gW* 
 tify and improve his taste, than in this 
 ancient and magnificent seat. 
 
 D 
 
Catalogue 
 
 OF 
 
 THE PICTURES, 
 
 THE GREAT HALL 
 
 Is usually the first room into which stran- 
 gers are conducted, the dimensions of 
 which are 68 feet long and 30 broad, ex- 
 clusive of a recess which is 13 feet by 9. 
 It is lighted by two large windows, one 
 pointed, the other square ; has a modern 
 flooring of Ketton stone ; and an arched 
 roof of oak springing from brackets, in 
 
20 
 
 the manner of Westminster-hall, and Par- 
 liament-house at Edinburgh. It has been 
 supposed to be more ancient than the 
 other parts of the House, but there is no- 
 thing in the style of it to warrant the sup- 
 position. The brackets of wood which 
 support the roof exactly correspond with 
 the keystone of the vaulted roof on the 
 great staircase. 
 
 In this room is an ancient ornamented 
 chimney-piece of stone, having in the 
 centre the arms of the Lord Treasurer 
 Burghley. The back of the fire-grate 
 contains the same arms in cast iron, dated 
 1571. It was found in a house at Rich- 
 mond, in Surry, in the possession of the 
 late George Selwin, Esq. and by him sent 
 to Brownlow the ninth Earl of Exeter. — 
 A music gallery, which was supported by 
 six pillars of the cloric order, is now re- 
 moved. This Hall contains the following 
 
 PAINTINGS, &c. 
 
 Large 'Bust of Bacchus, in white marble, Anon. 
 
 Three large Engravings of Ancient Rome, Gius. Vasi. 
 
 Two Pieces of Tapestry representing Autumn, frorii 
 designs by... ,. ,„.,.,, F. Albani. 
 
21 
 
 Tbree-quarter Portrait of Launceolet Brown, Esq, a 
 
 copy from Sir N. Dance Holland, Bart. 
 
 Mr. Brown, a popular horticulturalist and architect, 
 was born at Kirkhale, in Northumberland, in 1715. 
 Early in life he went to London, and was patronized by 
 Lady Cobham, who recommended him to his Grace the 
 Duke of Grafton, by whom he was employed at Wake, 
 field Lodge, where he directed the formation of, and sue* 
 cessfully executed, a large lake, which laid the founda- 
 tion of his future fame and fortune. He was engaged 
 at Stow till 1750, and afterwards at Richmond, Blen- 
 heim, Croom, Luton, Corsham, Trentham, Redgrave, 
 Wimbledon, Nuneham, Caversham, and Burghley. His 
 improvements at the last-mentioned place have been pre- 
 viously noticed and admired. — He was held in such esteem 
 by his sovereign, that he was thought worthy of enjoy- 
 ing the stations of head gardener at Windsor and Hamp- 
 ton-court. In 1770 he served the office of high sheriff 
 for the counties of Huntingdon and Cambridge. He 
 died suddenly in the streets of London, whilst he was 
 returning from a visit to his friend the Earl of Coventry, 
 and was buried in Fennystanton church-yard, Hunting- 
 donshire, in 1783. 
 
 Statue of Andromeda chained to a Rock, and a Sea 
 
 Monster, larger than life, Peter Steph. Monnot. 
 
 Brydges, in his History of Northamptonshire, vol. % 
 says, this statue was purchased by John the fifth Earl of 
 Exeter for ^£300. It is formed out of one block of 
 white marble, and is thus described by Peck : 
 Andromeda in all her charms expos'd, 
 The monster with his horrid fangs disclosM, v 
 Rises and gapes beneath the virgin's feet, 
 As if he would the very marble eat. 
 Andromeda was the daughter of Cepheus and Cassiopea : 
 her mother boasted that she excelled in beauty all the in- 
 habitants of the watery element. The Nereides, in re- 
 sentment, bound her to a rock to be devoured by a sea 
 monster: but Perseus, assisted by Medusa's head, slew 
 the animal ; and, after delivering the fair one, married her. 
 
 Statue of a Gladiator, in fine white marble, Anon* 
 
 Ditto of Apollo, in the same, , Axok. 
 
22 
 
 Large Bust of Bacchus in white marble, Anon* 
 
 Cast Bust of Clitie, in imitation of Mr. Townley's fine 
 
 original in marble, Anon* 
 
 Glide, the daughter of Orchamus, King of Babylon, 
 was beloved by A polio, but afterwards deserted ; which she 
 seeing, pined away. Her eyes were continually looking 
 up to the sun, and she was at last changed into a sun* 
 flower. 
 
 Venus de Medicis, as large as life, a Cast in plaster of 
 Paris, Anon. 
 
 Cast of Venus, in the same, Anon. 
 
 This work was copied from the original at Newby 
 Park, near Rippon, in Yorkshire, the seat of Lord Gran- 
 tham ; and is a beautiful naked Venus-antique, of the same 
 delicate workmanship, inimitable grace, and scientific pro- 
 portion, as the celebrated statue de Medicis. It is indeed 
 the jewel of the Weddel collection, and is said to have 
 been bought at so high a price that Mr. Weddel was un- 
 willing to tell his friends the sum this indulgence of his 
 taste for the arts had cost him. — At the left side of 
 Venus is the trunk of a tree, and Cupid leaning upon it. 
 Fruits and flowers of the most admirable sculpture en- 
 twine the trunk, which is crowned by a large shell, 
 another emblem of the goddess, in which she sailed to 
 Cyprus. 
 
 Venus, with Cupid riding upon a Dolphin, a Medal- 
 
 lion in plaster,., Nollikins. 
 
 Large white marble Bust of Ceres, Anon. 
 
 Nine Views of Burghley House, exterior and interior, 
 in oil, Garrard* 
 
 Axion on the Dolphin, an antique in marble, Anon. 
 
 The companions of Arion, (a lyric poet, ofMethymna, 
 in the island of Lesbos,) attempted to rob him of his wealth 
 as he was travelling from thence into Italy. He inlreated 
 the seamen to suffer him to play on his harp before they 
 executed their purpose of casting him into the sea : which 
 
£3 
 
 reqftiest being granted, he played so sweetly, that a dol- 
 phin, drawn thither by his exquisite music, received hiiu 
 On his back, and carried him to Tencdos. 
 
 " He on bis crouching back sits all at case, 
 With harp in hand, by which he calms the seas, 
 And for his passage with a song he pays." 
 
 Daedalus fabricating Wings for his son Icarus, who 
 stands by him looking on, a Medallion, Nollikins. 
 
 Daedalus was an excellent artificer of Athens, and the 
 first, it is said, who inrented the axe, saw, plumb-line, &c. 
 He, together with his son Icarus, being shut up in a laby- 
 rinth by Minos, for assisting Pasiphac to gratify her unna- 
 tural passion for a bull, made wings for himself and his 
 §.on with wax, and feathers of birds. Icarus fastened his 
 •wings on his shoulders, and flew out of Crete towards 
 Sicily; but neglecting his father's instructions, flew so 
 high that the sun melted the wax, and the wings broke to 
 pieces. He fell into the Icarian sea, so called from this 
 circumstance. Daedalus, by a proper management of his 
 wings, alighted in safety at Curaae. — He was the inventor 
 of sails, which in his age might pass at a distance for 
 wings. 
 
 Large marble Bust of Ariadne, _ Anon. 
 
 Ariadne was the daughter of Minos, King of Crete. 
 She was violently in love with Theseus, and delivered him 
 out of a labyrinth by means of a thread ; but he then per- 
 fidiously and ungratefully left her. Bacchus pitied her 
 miserable condition and married her, and gave her a 
 Crown that was illuminated with seven stars, which he 
 had before received from Venus. This crown was called 
 Gnossia Corona, and Ariadne herself was surnamed 
 Gnossis, from the city of that name in Crete. 
 
 Christ presenting the Keys to Peter. Matt.xvi. 19. An. 
 Peter and John restoring the Cripple at the Gate of 
 the Temple. Acts iii ....Anon. 
 
 Paul and Barnabas at Lystra. Acts xiv Anon. 
 
 The three last-mentioned pieces are of elegant Gobelin 
 tapestry, each 18 feet by 14, copied from the Cartoons 
 of Raphael, now at Windsor Castle, an account of which 
 will be found in the Appendix to this volume. 
 
24 
 
 Infant Jesus and John the Baptist, in oil colours, on 
 
 Sir Walter Raleigh, Knt. and his son Walter when a 
 
 This picture was given by Sir W. Skevington, Bart, to 
 Brownlow the ninth Earl of Exeter. — Sir Walter was 
 descended from an ancient Devonshire family, and has 
 been considered the most extraordinary genius of his 
 own, or perhaps any other age, — a penetrating statesman, 
 an accomplished courtier, a profound scholar, fine poet, 
 elegant historian, a brave soldier, and one of the ablest 
 seamen in the world. His introduction to his sovereign 
 was singular : her majesty was taking a walk, when, 
 stopping at a dirty place, Raleigh took off his new plush 
 cloak, and spread it on the ground ; the Queen stepped 
 gently over the footcloth, and soon rewarded the sacrifice 
 he had made by the present of a handsome suit. — In 1584 
 he discovered Virginia, to which place he made no less 
 than five voyages. ITe was also one of those officers who 
 distinguished themselves so peculiarly in defeating the 
 Armada. — He was constantly engaged in literary pur- 
 suits in all his naval and military expeditions, which con- 
 tributed to advance his knowledge of men and things : 
 and he became a better soldier, a greater sea-officer, an 
 abler statesman, and a more accomplished gentleman, in 
 proportion as he became a better scholar. He was Cap- 
 tain of the Queen's Guard ; Lord Warden of the Stan- 
 neries ; and Seneschal of the Dutchies of Cornwall and 
 Exeter; and in 1600 he was constituted Vice-admiral. 
 As a reward for his public services, he had conferred up- 
 on him by the royal beneficence, 12,000 acres of forfeited 
 ecclesiastical property in Ireland, and the manor of 
 Sherborne, in England, &c. which had belonged to the 
 see of Salisbury ; but his acceptance of these grants in- 
 Tolved him in the charge of atheism. — He incurred the 
 Queen's displeasure on account of an amour with Eiiz. 
 daughter of Sir N. Throgmorton, Knt. a maid of honour, 
 whom he afterwards married. On the accession of 
 James, his enemies impeached him of treason, for which 
 he was tried and condemned. On his being brought to 
 
 plaster, 
 
 Fine Head of Moses in the same, 
 
 Anon. 
 .Anon. 
 
 boy, whole lengths 
 
 Anon. 
 
 > 
 
25 
 
 the scaffold he received a reprieve ; but was remanded 
 back to the Tower, where he compiled his invaluable 
 History of the World, &c. During his confinement, 
 which was upwards of thirteen years, he said " that the 
 world itself was but a large prison, out of which some 
 were daily selected for execution." On his release from 
 the Tower, he was employed in an expedition to South 
 America, with a view to obtain possession of a gold mine, 
 but the enterprise proved unsuccessful, and his son Capt. 
 Walter lost his life whilst bravely fighting at the town of 
 St, Thome. He was beheaded on his former sentence, 
 October 29th, 1618, shortly after his return home. His 
 body was interred in St. Margaret's church, Westmin- 
 ster; but his head was preserved by his widow for twenty 
 years in a glass-case, and was buried with his sonCarcw, 
 at West IlorsJey, near Guilford, in Surry. — Raleigh has 
 these powerful lines on mankind : — 
 
 For what are we but lumps of walking clay ? 
 
 What are our vaunts? Whence should our spirits rise? 
 
 Are not brute beasts as strong ? And birds as gay } 
 
 Trees longer liv'd, and creeping things as wise ? 
 
 Only our souls receive more inward light, 
 
 To feel our weakness, and confess God*s might. 
 
 STUFFED BIRDS. 
 
 This fine collection of upwards of one hundred 
 and twenty different species of British Birds is arranged 
 in eighty-six glass-cases. They were principally col- 
 lected in Yorkshire, by Lieut. Bell, and by him sold 
 to the late Marquis. The ornithologist will observe, 
 amongst many others, the following, which are the most 
 curious. 
 
 Passenger Falcon. Palco Perigrinus. — Linnjeus. 
 Hobby. Falco Subbuteo. 
 
 Great Ash-coloured Shrike, Maundering Pie, or Great 
 
 Butcher Bird. Linius Excubitor. 
 Red-backed Shrike, Lesser Butcher Bird, or Flusher. 
 
 Linius Collurio. 
 
26 
 
 Long-eared Owl, or Horn Owl. Strix Otvs. 
 Tawny Owl, Common. Brown Ivy Owl, or Howlctt. Strix 
 Stridula. 
 
 White Owl, Barn Owl, or Screech Owl. Strix Flammed. 
 Fern Owl, Goat Sucker, Dorr Hawk, or Night Jar. Ca- 
 
 primulgus Europeus. 
 Green Woodpecker, Woodspite, Hewhole, or Pick-a-tree. 
 
 Picus Viridis. 
 
 Greater spotted Woodpecker, or Witwall. Picus Major. 
 Lesser spotted Woodpecker, or Hickwall. Picus Minor. 
 Golden-crested Wren. Motacilla Regulus. 
 Nuthatch, Nutjobber, or Woodcracker. Sitta Europa. 
 
 — Lin. La Site He ou le Torchepot. — Buff. 
 Mountain Sparrow. Fringilla Montano. 
 Black-headed Bunting, Reed Bunting, or Reed Sparrow. 
 
 Ember iza Schamiclus. 
 Tawny Bunting, Great pied Mountain Finch, or Bramb- 
 
 ling. 
 
 Siskin, or Aberdevine. Fringilla Spinus. 
 
 Fanvette, or Pettichaps. Motacilla Ilippolais. 
 
 White Throat, or Muggy. Motacilla Sylvia. 
 
 Stone Chat, Stone Smith, or Moor Titling. Motacilla 
 
 Rubecola. 
 Yellow Wagtail. Motacilla Ftava. 
 Wryneck. Jynx Torquilla. 
 Grosbeak, or Hawfinch. Loxia Coccothranstes. 
 Willow Wren. Le Figuier brun et jaune. — Buff. 
 Chimney Swallow, or House Swallow. Jlirundo Rustica. 
 Martin, Martlet, Martinet, or Window Swallow. Hirundo 
 i Urbica. 
 
 Sand Martin, Bank Martin, or Sand Swallow. Hirundo 
 Rap aria. 
 
 Swift, Black Martin, or Deviling. Hirundo Apus. 
 
27 
 
 Oyster Catcher, Sea Pie, or Olive. Hcemalopus Ostralegus. 
 Water Ouzel, Water Crow, or Dipper. Sturnus Cinclus. 
 Bittern, Bog-bumper, Bitter-bum, or Mire Drum. Ardea 
 
 Stellaris. 
 Curlew. Scolopax Arquata. 
 
 Redshank, Red-legged Horseman, Pool Snipe, or Sand 
 
 Cock. Scolopax Galidris. 
 Purre, Stint, Ox Bird, Sea Lark, or WagtaiL Tringa 
 
 Cinclus. 
 
 Water Hen, Common Galinule, or Moor Hen. Fulica 
 Chloropus. 
 
 Puffin, Mullet, Knife Bill, Sea Parrot, or Pope. Alca 
 Arc! tea. 
 
 Gullemot, Willock, Skout, Sea Hen, or Strany. Colym- 
 bus Troile. 
 
 Black-headed Gull, Black Cap, or Pewit Gull. Larus 
 
 Ilidibundus. 
 Smew, or White Nun, Mergus Albellus. 
 Goosander. Mergus Merganser. 
 Shoveler, or Broad Bill. Anas Clypeata. 
 Pin-tail Duck, Sea Pheasant, or Winter Duck. Anas 
 
 Acuta. 
 
 Golden Eye. Anas Clangula. 
 
 Corvorant, Cole Goose, or Black Cormorant. Pelicanus 
 Carbo. 
 
 Gannet, or Solan Goose. Pelicanus Bassanus. 
 Eider Duck, St. Cuthbert's Duck, or Great Black and 
 White Duck. Anas Mollissima. 
 
28 
 
 Visitors are next conducted through 
 the saloon, and up the ancient grand 
 vaulted stone staircase in the north-west 
 part of the House, to 
 
 THE CHAPEL ROOM. 
 
 The walls of this apartment (which is 
 20 feet long and 13 wide) are ornamented 
 by forty-nine paintings, the work of thirty-* 
 four different artists. 
 
 PAINTINGS, &c, 
 
 St. John Baptist's Head, Matt. xiv. II. Car. Dolci. 
 David dancing before the Ark, II. Sam. vi. 14. 16. 
 
 Domenichino, 
 
 Creation of the World, Lanfbanco. 
 
 Cupid Sleeping,.... , Franceschini. 
 
 Queen of Heaven,.... ...................Albert Durer. 
 
 St. Cecilia, cop.. ,..Domenichino. 
 
 Adoration of the Wise Men, Matt, ii. cop. F. Vanni. 
 Christ with a Garland of Flowers, cop........C. Dolci, 
 
 Jesus and the Samaritan Woman, John iv. Guercino. 
 
 Death of Elizabeth,........, .....And. Sacchi. 
 
 See Robert Devereux, Earl of Essex, in the West 
 Dressing Room. 
 
 Virgin and Child, pan Parmigiano. 
 
 St. Clara, cop. ................. ,, .A. Durer, 
 
29 
 
 Virgin in the Clouds, pan Ant. Caracci. 
 
 St. Phillippo Neri, Guido. 
 
 Titian's Wife and Son, .....Teniers. 
 
 Christ calling St. Peter when walking on the Sea, 
 Matt. xiv. 26, ..Tempesta. 
 
 Angel's Head, , Guido. 
 
 Prodigal Son, ...Fra. Cozza. 
 
 St. John, Parmigiano. 
 
 Conversion of St. Paul, Giulio Clovio. 
 
 Virgin and Dead Christ, R. Van Reni. 
 
 Small Landscape, cop , P. Bril. 
 
 Joseph and Mary, pan, Matt, i F. Baroccio. 
 
 Head of the Virgin, Guido* 
 
 Shepherds and Cattle, Bassan. 
 
 Mary, Jesus, and John Baptist, Matt. iii. C. Maratta. 
 
 Christ supported in the Clouds, Rubens. 
 
 Virgin, Jesus, and John......... Surcelo Farara. 
 
 Jacob's Dream, Gen.xxviii. II, 15 Cigole. 
 
 Passage of the Israelites over the Red Sea, Exod. xiv. 
 
 21. pan Agnolo Bronzino, 
 
 Mary and Jesus, Matt, ii Guido. 
 
 A Magdalen, pan.... ...... ...,.....Poelemburg, 
 
 Ditto,... Carlo Maratta. 
 
 Landscape,....., . F. Bolognese. 
 
 St. Peter, ....Guido. 
 
 Martrydom of St. Catherine, pan. Giulio Romano. 
 The Nativity, , John de Lis, of Breda, 
 
30 
 
 Flemish Portraits, pan Anon. 
 
 Ditto, pan. curious, Anon. 
 
 Monkeys in Capuchin Habits, ...Teniers. 
 
 Martrydom of the Saints, Matt, ii F. Trevisani. 
 
 Jesus and his Mother, Ibid. 
 
 Adoration of the Shepherds, Lukeii. 16 S. Ricci. 
 
 Two Boys, Lorenzo Credi. 
 
 Landscape and Figures, Verdizzotto. 
 
 Martrydom of St. Andrew, F. Trevisani. 
 
 Scourging of Christ, Matt, xxvii. 26 Ibid. 
 
 Descent of the Holy Ghost at Pentecost, Acts ii. 
 Carlo le Brun. 
 
 Adoration of the Wise Men, Matt. ii. pan. ...J. de Lis. 
 
 Model of the Temple erected over the Sepulchre of 
 
 our Saviour at J erusalem, Anon. 
 
 This beautiful and correct model stands upon the 
 commode in a glass-case, and is curiously inlaid with 
 mother of pearl, &c. 
 
 THE CHAPEL. 
 
 This beautiful apartment, ornamented 
 by festoons of fruit and flowers, carved by 
 Gibbons, is 42 feet long, 35 wide, and 18 
 high. The ceiling is of fretwork, and the 
 sides are wainscotted half way. The pul- 
 
31 
 
 pit, desk, and chairs are of mahogany, 
 and the communion table and rails of ce- 
 dar — all modern. — Arranged on the sides 
 are ten antique figures, as large as life, in 
 imitation of bronze, standing on altars, 
 and bearing lamps in their hands. 
 
 It is asserted, that Queen Elizabeth, 
 when a visitor at Burghley, regularly at- 
 tended divine service in the Chapel, and 
 that it was her custom to place herself on 
 the left side, nearest the altar, which has 
 ever since been distinguished by the ap- 
 pellation of Queen Elizabeth's seat. 
 
 There is a large anti-room, attached 
 to the west end and forming part of the 
 Chapel, which is 31 feet 6 inches in length 
 and 24 in breadth ; it is wainscotted from 
 the ground to the ceiling, and filled with 
 open seats for the use of servants. — That 
 part of the Chapel, which contains the 
 altar, pulpit, &c. exhibits the following 
 
 PAINTINGS. 
 
 Zebedee's Wife petitioning Jesus Christ to dignify her 
 t T .voSonsin Heaven, Matt. xx. 21. Paul Veronese. 
 This painting is over the altar. 
 
 Solomon's Idolatry, L Kings, ix. I. 8. ...Carlo Loti, 
 
32 
 
 Interview between Christ and Mary Magdalen after 
 his Resurrection, Luke ii. 16 , Liberi. 
 
 Saul and the Witch of Endor, I. Sam, xxviii. C. Loti. 
 
 Adoration of the Shepherds, Luke ii. 16 Liberi. 
 
 Jeptha's Vow, Judges xi. 40..., L. Giordano. 
 
 Finding of Moses, Ex. ii* 6 Carlo Loti. 
 
 The last six pictures are each 9 feet by 7§. 
 
 THE, BILLIARD ROOM 
 
 Is 34 feet by 21, and 15 in height, has 
 a stuccoed ceiling richly ornamented with 
 intersecting circles, and is lighted by six 
 embossed silver sconces. A modern wain-*- 
 scot of Norway oak impannels the following 
 
 FAMILY PORTRAITS. 
 
 Anne, Countess of Exeter, Sir G. Kneller. 
 
 She was the wife of John the fifth Earl, daughter of 
 William the third Earl of Devonshire, and widow of 
 Charles Lord Rich, son and heir of Robert Earl of War- 
 wick. She accompanied her Lord in his travels, studies, 
 and virtues ; and was present when he died in France, 
 whom she survived only three years. This lady had by her 
 first husband one son and three daughters, and by her 
 last four sons and one daughter. She died in 1709. 
 
 John the fifth Earl of Exeter, KnelLer. 
 
 An excellent genius, with the most refined manners, 
 and elegant literature, were the characteristics of this 
 
33 
 
 Earl. He travelled much through Europe and in various 
 nations, and brought home an extensive knowledge of 
 antiquities, languages, and polity : and when few were 
 better qualified to adorn a court, or manage the affairs 
 of state, he preferred retirement at his country seat, where 
 he lived elegantly and sumptuously, the liberal patron of 
 literature, and all the sciences,— remarkable for affability 
 to his friends and beneficence to the poor. He was the 
 principal contributor towards beautifying and furnishing 
 this House with its present numerous and valuable curi- 
 osities. — u John the fifth Earl of Exeter," says a modern, 
 author, <c had a great genius for painting and architec- 
 ture, and a superior judgment in both, as every part of 
 this noble structure (Burghley House) will testify ; for 
 he changed the whole face of the building, pulled down 
 a great part of the front next the garden, and turned the 
 old gothic windows into those spacious sashes which are 
 now seen there: and though the founder, who had also 
 an exquisite taste, (as the manner of building then was,) 
 had so well ordered the situation and avenues of the whole 
 fabric that nothing was wanting of that kind, and had 
 also contrived the House itself in a most magnificent man- 
 ner, — the rooms spacious, the ceilings lofty, and the deco- 
 rations just: yet the said Earl John found room for aU 
 terations, infinitely to the advantage of the whole ; as ? 
 particularly, a noble staircase, which leads to a range of 
 spacious rooms of state. — As the noble lord above-men- 
 tioned loved paintings, so he had infinite advantages in 
 procuring them ; for he not only travelled three times 
 into Italy, and staid every time a considerable while at 
 Florence, but his princely deportment and fine accom- 
 plishments procured him the personal esteem of the great 
 duke, who assisted him in the purchase of many excellent 
 pieces, and likewise presented him with several others of 
 great value." — Peck alludes to this Earl, (after noticing 
 some of the paintings, &c.) in the following lines : — 
 
 " Such, Burghley, are in part thy charms: but who, 
 
 Would he the wonderful detail go through, 
 
 Can all thy wealth and curious things repeat, 
 
 Or, but in catalogue, thy glories treat ? 
 
 Or who, had he the catalogue, could find 
 
 Leisure to view what once was here design'd, 
 
 Great Exeter, by thy capacious mind ? 
 
 F 
 
34 
 
 Those spoils, indeed, which now thy Burghley stores, 
 
 Were once the ornament of bur's shores. 
 
 But when, by thy command, they sail'd across 
 
 The seas, if Fame be true, Rome mourn'd the loss." 
 He died in returning from a journey to Rome, at 
 the village of Issy, near Paris, August the 29th, 1700; 
 and was buried in St. Martin's church, Stamford Baron, 
 near the splendid monument erected to his memory and 
 that of his consort, which was made by Monnot, and 
 brought from Italy in his lifetime. 
 
 Elizabeth, Countess of Exeter,.... Kneller. 
 
 This lady was daughter and co-heiress of Sir John 
 Brownlow, Bart, of Belton, Lincolnshire, and the second 
 wife of John the sixth Earl. By her he had five sons and 
 
 one daughter. She died in 1723. 
 
 Hon. Edward Cecil, Anon. 
 
 He was the fourth son of John the fifth Earl. He 
 died in 1723. 
 
 Lady Eliz. Aislabie, Anon. 
 
 She was the only daughter of the fifth Earl of Exe- 
 ter, and wife of William Aislabie, Esq. of Studley, in 
 Yorkshire. She died in 1733, aged 26 years, and was 
 buried at Ripon. 
 
 Brownlow the ninth Earl of Exeter, in a Vandyke 
 
 Dress, Hudson* 
 
 He died in 1793. 
 
 Letitia, Countess of Exeter, a copy, by Powell. 
 
 This lady was the wife of the last-mentioned Earl, 
 daughter of Hor. Towushend, Esq. and grand-daughter 
 of Horatio Lord Viscount Townshend. 
 
 William the first Duke of Devonshire, .....Anon, 
 
 He was brother to Anne, Countess of John the fifth 
 Earl of Exeter, 
 
 Rachael; Duchess of Devonshire, .Anon- 
 
 The wife of the last-mentioned Duke, 
 
35 
 
 Brownlow the eighth Earl of Exeter,... ..Richardson. 
 
 He died in 1754. 
 
 Hannah Sophia, Countess of Exeter, Mrs. Varelts, 
 This lady was the wife of the eighth Earl, and daugh- 
 ter and heiress of Thomas Chambers, Esq. of Derby and 
 and London. She died in 1765. 
 
 lion. William Cecil, Anon. 
 
 He resided at Snape, in the county of York, and was 
 a member for the borough of Stamford in three suc- 
 cessive parliaments. He was brother to John the sixth 
 Earl. 
 
 Barbara, Duchess of Cleveland, Sir P. Lely. 
 
 She was the sole daughter and heiress of William 
 Viscount Grandison, and wife of Roger Palmer, Esq. 
 afterwards created Earl of Castlemaine. Her person was 
 to the last degree beautiful; but she was enormously ra- 
 pacious, imperious, prodigal, passionate, and revengeful; 
 and had for the space of twenty-one years a great and 
 dangerous influence over the King. No woman of the 
 age she lived in was more likely to beggar and embroil 
 a kingdom ; and few royal mistresses continued their in- 
 fluence so long, amidst such numerous infidelities, and 
 over the heart of so fickle a sovereign. But Charles 
 loved her dearly, because she bore him several children , 
 She at length, however, lost his favour, in 1672, in con- 
 sequence of having a daughter by Mr. Churchill, after- 
 wards Duke of Marlborough ; which circumstance his 
 majesty never could forgive. — She was the most inveterate 
 enemy of the Earl of Clarendon, who thought it an in» 
 dignity to his character to shew even common civilities 
 much more so to pay court, to the mistress of his sove- 
 reign. On his going from court on his resignation of the 
 great seal, she insulted him from a window of the palace ; 
 whereupon he turned towards her and said, with a calm 
 but spirited dignity, " Madam, if you live you must grow 
 old." — Her frequent amours with the King's brother, 
 with rope-dancers, players, &c. occasioned violent alter- 
 cations, which generally closed with menaces of tearing 
 her olFspring into pieces, and setting the King's Palace on 
 fire. — She became Countess of Castlemaine in right of 
 
36 
 
 her first, husband ; and was created Duchess of Cleveland 
 in the year 1670, as a bond of reconciliation, after a fu- 
 rious quarrel with her royal keeper. She afterwards 
 married the noted beau, Robert Fielding, Esq. by whom 
 she was treated with such insolence and brutality as oc- 
 casioned his being prosecuted for bigamy, of which he 
 was found guilty, but was pardoned by Queen Anne. 
 She died of a dropsy in 1709. 
 
 Henry the tenth Earl and first Marquis of Exeter, 
 
 Countess Sarah, and Lady Sophia, whole lengths, 
 
 , Lawrence, 
 
 The Countess Sarah was the second wife of the tenth 
 Earl, and died in 1797, after bearing him Lady Sophia, the 
 present Marquis, and Lord Thos. Cecil. He died in 1804, 
 aged 50 years. — The singular courtship and union of the 
 above Earl and Countess, deserve notice. The following 
 extract from an article, entitled " Authentic aud Inte- 
 resting Memoirs of the late Countess of Exeter," will 
 not fail to amuse the reader : — The amiable woman whose 
 virtues lately gave a lustre to the title of Countess of Ex- 
 eter, and who died lamented by all who knew her, has 
 something so uncommonly interesting in the history of 
 her life, that a detailed sketch of it cannot but be accept- 
 able to every reader of sensibility. When the present 
 Earl was a minor, he married, at an early age, a lady, 
 from whom he was afterwards divorced. After the sepa* 
 ration had taken place, the Earl, his uncle, advised him 
 to retire into the country for some time, and pass as a 
 private gentleman. Mr. Cecil accordingly bent his course 
 into a remote part of Shropshire ; and fixing his residence 
 at an inn, in a little rural village, he amused himself there 
 for some months, passing by the name of Jones. As he 
 had plenty of money, and was extremely liberal to all 
 about him, some persons in the neighbourhood conceived 
 a notion that he had not come honestly by his riches, 
 grew suspicious of him, and shunned his company. They 
 took him for an Indian nabob ; and as he passed along, 
 he often heard the rustics exclaim, 44 There goes the Lon- 
 don gentleman." Taking a dislike to his situation at the 
 inn, he sought out a farm-house, where he might boanj 
 and lodge. Several families had refused to take him in, 
 
37 
 
 because he was f$ too fine a gentleman, and they could 
 not understand how he came by his money." At length 
 he found a situation which answered his purpose; and in 
 consideration of his liberal offers, and the knowledge of 
 his possessing money, a farmer fitted him up a room. 
 Here he continued to reside for about two years, going 
 up to London twice in the year, and returning with such 
 money as he had occasion for ; when he departed, the 
 country people thought he was gone to gather in his rents, 
 and became more assured of this from his always re- 
 turning with plenty of cash. Time hanging heavy on his 
 hands, he purchased some land, on which he intended to 
 build a house ; but neither stone-mason nor carpenter 
 would undertake the job, for the reasons already men- 
 tioned. He did not condescend to contradict the reports 
 of the villagers ; but offering to pay so much money be- 
 forehand, the tradesmen, after some grave consultation 
 together, agreed to finish his work. This was done ac- 
 cordingly, and every person was paid to the full extent of 
 his demands. The farmer, at whose cottage his lordship 
 resided, had a daughter, about seventeen years of age, 
 whose rustic beauties threw at an infinite distance all that 
 his lordship had ever beheld in the circle of fashion. 
 Although this charming maid was placed in the humble 
 lot of life, his lordship perceived that her beauty would 
 adorn, and her virtue shed a lustre on, the most elevated 
 situation. One day when the farmer returned home from 
 his plough, Mr. Cecil frankly told the cottagers that 
 he liked their daughter, and would marry her, if they 
 would give their consent— The matter was accordingly 
 made up, and Mr. Cecil married this charming rustic. 
 Masters of every kind were now procured, and, in twelve 
 months' time, Mrs. Cecil became an accomplished woman, 
 to the envy of the country girls around, and to the aston- 
 ishment of the villagers, who now began to be recon- 
 ciled to the supposed too fine a gentleman. It was not 
 long before the news arrived of his uncle's death, when 
 he found it necessary to repair to town. He accordingly 
 set out, taking his wife with him, and, on his journey, 
 called at the seats of several noblemen, where, to the 
 utter astonishment of his wife, he was welcomed in the 
 most friendly manner. At last, they arrived atBurghley, 
 in Northamptonshire, the beautiful patrimonial seat of 
 
38 
 
 his lordship. Here they were welcomed with acclama- 
 tions of joy. As soon as he had settled his affairs he re- 
 turned to Shropshire, discovered his rank to his wife's 
 father and mother, put them into the house he had built 
 there, and settled on them an income of seven hundred 
 pounds per annum. He afterwards took the Countess 
 with him to London, introduced her to the fashionable 
 world, where she was respected, admired, adored, until it 
 pleased the Great Dispenser of providential events, to 
 call the spirit of life to a more lasting region of happiness. 
 Her ladyship has left two sons and one daughter." 
 
 Duchess of Montrose, a copy, Powell. 
 
 Lucy, Duchess of Montrose, was the second daughter 
 and youngest child of John the second Duke of Rutland, 
 by his second wife, Lucy, daughter of Lord Sherard. 
 She was married to William Duke of Montrose, and died 
 in 1788, aged 71 years. Her remains were interred in 
 Scotland. 
 
 Lady Annabella Bennet, ~. Anon, 
 
 She was the daughter of John Bennet, Lord Ossuls- 
 ton, and first wife of John Lord Burghley, before he be- 
 came the sixth Earl of Exeter. Ob. s. p. 
 
 John the seventh Earl of Exeter, a whole length, 
 
 when a boy, Anon. 
 
 He died of a mortification in his bowels, occasioned 
 by a cold contracted when fishing in the pond in Burgh- 
 ley Park. His decease took place at Worthorpe House* 
 April 9th, 1722, to which neighbouring seat he had been 
 removed on account of the dampness of Burghley, whera 
 the late rains had raised the ponds and deluged the sur- 
 rounding meadows. 
 
 John the fourth Earl of Exeter, and Lady Frances, 
 
 Anon. 
 
 Lady Frances was his first wife, and daughter of 
 John Earl of Rutland. 
 
 William Aislabie, Esq.. Anon* 
 
 His residence was at Studley Park, in Yorkshire. 
 He had to his first wife Lady Eliz. sister to the sixth Earl 
 
4 
 
 39 
 
 of Exeter, and to his second, Elizabeth, daughter of Sir 
 Charles Vernon, Knight He was a member of parlia- 
 ment for Ripon 60 years; where he was buried in 1781 9 
 aged 81 years, leaving issue by both his wives. 
 
 Large inlaid Ebony Cabinet, Anon. 
 
 This beautiful cabinet was a present from the Grand 
 Duke of Tuscany to John the fifth Earl of Exeter. It is 
 inlaid with Florentine Mosaic of various rich colours, re- 
 presenting birds, fruits, flowers, &c. The drawers are 
 carved in mother of pearl, between each of which are 
 marble pillars surmounted by brass images and ballustrad- 
 ing. The whole is supported by marble statues. 
 
 Variety of curious old China Vases, Figures, &c. 
 
 Model of the new Church in the Strand, Anon. 
 
 This curious piece is carved in wood, 2i feet long 
 and the same in height. 
 
 THE BOW- WINDOW OR BALL 
 ROOM. 
 
 The principal decorations of this room, 
 (which measures 26 feet high, and 51 feet 
 long by 28 broad,) appear to have been 
 the work of Louis Laguerre. — On each 
 side of the lofty bow window, on a pedes- 
 tal of japan gilt, two feet from the ground, 
 are the effigies of two negro slaves, male 
 and female ; which, kneeling on one knee, 
 support upon their heads, about five 
 
40 
 
 feet high, a pair of glass chandeliers. 
 There are also four smaller lustres on pe- 
 destals of japan gilt, each side the room. 
 
 PAINTINGS, &c. 
 
 History of the Planetary System.... Laguerre. 
 
 The ceiling exhibits this extensive painting, which 
 is supported on the sides by a double row of marble 
 pillars. 
 
 Cupids in Armour, Laguerre. 
 
 These are represented supporting the cornice of the 
 elegant bow window. 
 
 Mark Antony and Cleopatra at a Banquet, in clara 
 
 obscura, Laguerre. 
 
 Cleopatra was an extremely voluptuous and extra- 
 vagant woman; and at one of the feasts she gave to 
 Antony at Alexandria, she is said to have melted pearls 
 in her drink to render her entertainment more sumptuous 
 and expensive. 
 
 Battle of Cannae, Laguerre. 
 
 Cannse was a small village of Apulia, near the Aufi- 
 dus, where Hannibal conquered the Roman Consuls, 
 P. iEmilius and Terentius Varro, and slaughtered 40,000 
 Romans, on the 21st May, B. C. 216. The spot where 
 this famous battle was fought is now shewn by the na- 
 tives, and denominated the field of blood. 
 
 Cleopatra and her Women drawing up Antony by 
 
 Cords into her Window, Laguerre. 
 
 This exhibition of one of the closing scenes of Mark 
 Antony's life, is in a supposed gold frame, supported 
 over the chimney-piece by images. — The increasing power 
 of Augustus, together with the disasters and jealousy of 
 Antony, induced Cleopatra to erect herself a place of se- 
 curity. Near the temple of Isis she had a building con- 
 structed, which appeared as if designed for a sepulchre : 
 
41 
 
 here she immured herself and her property, causing a re- 
 port to be spread abroad that she was dead. This intel- 
 ligence so aftected Antony, that he required his servant 
 to kill him ; but the attendant plunged the fatal instru- 
 ment into his own breast, and fell dead at his master's 
 feet Antony, at the sight of this, took the sword, and 
 immediately gave himself a mortal stab. He was then 
 conveyed to Cleopatra, who would not unbar her gates; 
 but by the help of her women drew him up the window 
 with cords into her retreat, where he soon after expired. 
 Cleop. — Here's sport, indeed ! — How heavy weighs my lord I 
 Our strength is ail gone into heaviness, 
 That makes the weight : Had I great Juno's power, 
 The strong-winged Mercury should fetch thee up, 
 And set thee by Jove's side. Yet come a little — 
 Wishers were ever fools ; — O, come, come, come !— 
 And welcome, welcome! die, where ffhou hastliv'd; 
 Quicken with kissing; had my lips that power, 
 Thus would I wear them out. Ant. and Cleopatra. 
 
 Cleopatra taking the fatal Asp out of the Basket, 
 
 ..Laguerre, 
 
 Shortly after Antony's death Augustus gave pressing 
 invitations to Cleopatra, and even made pretended decla- 
 rations of love to her ; but she, rather than fall into the 
 conqueror's hands, destroyed herself by the bite of an asp. 
 
 Cleop. Come thou mortal wretch, 
 
 With thy sharp teeth this knot intrinsicate 
 Of life at once untie : poor venomous fool, 
 Be angry and dispatch. 
 
 Ant. and Cleopatra. 
 
 Scipio's Conduct towards his Fair Captive, Laguerre. 
 
 In the 58th number of the Tatler this circumstance 
 is thus related : — i€ Scipio, at four and twenty years of 
 age, had obtained a great victory; and a multitude of 
 prisoners of each sex, and all conditions, fell into his pos- 
 session : Among others, an agreeable virgin in her early 
 bloom and beauty. He had too sensible a spirit to see 
 the most lovely of all objects without being moved with 
 passion : Besides which, there was no obligation of hon- 
 our or virtue to restrain his desires towards one who was 
 his by the fortune of war. But a noble indignation, and 
 a sullen sorrow, which appeared in her countenance, 
 when the conqueror cast his eyes upon her, raised his cu- 
 riosity to know her story. He was informed that sh« 
 
 H 
 
42 
 
 was a lady of the highest condition in that country, and 
 contracted to Indibilis, a man of merit and quality. The 
 generous Roman soon placed himself in the condition of 
 that unhappy man, who was to lose so charming a bride; 
 and though a youth, a bachelor, a lover, and a conque- 
 ror, immediately resolved to resign all the invitations of 
 his passion, and the rights of his power, to restore her to 
 her destined husband. With this purpose he commanded 
 her parents and relations, as well as her husband, to at- 
 tend him at an appointed time. When Scipio approached, 
 they all threw themselves on their knees, except the lover 
 of the lady : But Scipio observing in him a manly sul- 
 lenness, was the more inclined to favour him, and spoke 
 to him in these words : — c It is not the manner of the 
 Romans to use all the power they justly may : We fight 
 not to ravage countries, or break through the ties of hu- 
 manity ; I am acquainted with your worth, and your in- 
 terest in this lady : Fortune has made me your master ; 
 but I desire to be your friend. This is your wife ; take 
 her, and may the God3 bless you with her. But far be 
 it from Scipio to purchase a loose and momentary plea- 
 sure at the rate of making an honest man unhappy.' " 
 
 Celestial Globe, two Portraits, and Cupids flying 
 
 down to them, Laguerre. 
 
 This emblematic representation is on the wall be- 
 tween the chimney-piece and the window. The figures 
 are said to be William and Charles, the two brothers of 
 John the sixth Earl of Exeter. 
 
 Curious China Figures on the Chimney-piece. 
 
 THE BROWN DRAWING ROOM 
 
 Has an oak wainscot ornamented with 
 tapestry, and measures 29 feet by 21 feet 
 6 inches. Over the chimney-piece are 
 
43 
 
 birds, fruits, and flowers, beautifully carved 
 in wood by Gibbons. The ceiling is stuc- 
 coed, from which is suspended a grand 
 glass chandelier. This apartment is orna- 
 mented with a pier glass, with a beautiful 
 carved frame ; a set of mahogany chairs, 
 covered with silk needlework ; and other 
 curious and elegant works of art. 
 
 PAINTINGS. 
 
 Lady Dorothy Nevill, C. Janssen. 
 
 This lady was second daughter and coheiress to John 
 Nevill, Lord Latimer : and the first wife of Thomas the 
 first Eavl of Exeter, K. B. She had issue five sons and 
 six daughters. 
 
 Madame Valliere, Peters. 
 
 Mademoiselle de la Valliere, mistress of Louis XIV. 
 was the daughter of the principal maitre-d'hotel to the 
 lady of Gaston. Her mother, becoming a widow, took 
 for her second husband St. Reun, chief maitre-d'hotel to 
 Monsieur, (brother of Louis,) who introduced his daugh- 
 ter-in-law into the family of Henrietta, daughter of 
 Charles the first of England, as one of her maids of 
 honour. La Valliere is thus described by contemporary 
 writers: " She was a most lovely woman; the lucid 
 whiteness of her skin, the roses on her cheeks, her lan- 
 guishing blue eyes, and her fine silver-coloured hair, were 
 altogether captivating." To her person and face Choisy 
 applies the following line : 
 
 " And grace still more charming than beauty." 
 44 That La Valliere," says Anquetil, in his Memoirs, 
 M who was so engaging, so winning, so tender, and so 
 much ashamed of her tenderness ; who would have loved 
 Louis for his own sake had he but been a private man ; 
 and who sacrificed to her affection for him her honour 
 and conscientious scruples, with bitter regret and re. 
 
44 
 
 morse. The King is said to have first conceived a pas- 
 sion for her, from having accidentally heard her, from 
 the back of an arbour, confessing to one of her compan- 
 ions, the emotions which she felt in his presence, and 
 the impression which he had made on her heart.— Fou,- 
 quet, the superintendant of the finance, whose profligacy- 
 was equalled only by his prodigality in his pleasures, be- 
 came, during the time she was the sovereign favourite 
 with Louis, captivated by her charms, to whom he caused 
 it to be intimated, that he had at her service twenty thou- 
 sand pistoles. This offer was treated with becoming dis- 
 dain. Proofs at length exhibited themselves of the weak- 
 ness of La Valliere, who had yielded to love what interest 
 and ambition had demanded in vain : humbled at her si- 
 tuation, she retired in confusion from the public eye, 
 and injured her health by confinement, to avoid those ob- 
 servations which filled her with remorse and shame. Dis- 
 tressed beyond measure at her situation, she retired to the 
 monastery of St, Cloud ; but her love for the King over- 
 came her prudent resolutions, and she was conducted by 
 him back again to court. A cabal against her was shortly 
 afterwards formed, the instruments of which becoming 
 among themselves disunited it fell to the ground ; and 
 when Louis found out their treachery, he became suspi- 
 cious, reserved, and jealous; and the death of his mother 
 added to his griefs. But love soon healed the afflictions 
 of his fickle heart, and he consoled himself by en joying 
 the society of his mistress, whom he prevailed upon to ac- 
 cept the title of Duchess. This was, however^ almost 
 the last favour she received from his hands. Madame de 
 Montespan, one of the ladies of the Queen's train, insen- 
 sibly attracted the attentions of Louis ; and from this 
 time his conduct towards La Valliere became cold and 
 negligent. Upon this she retired again to the nuns of 
 Chaillot, but at the request of the King, who had still 
 some respect for a woman so affectedly devoted to him, 
 again returned. At length she broke from her fetters ; 
 and in her 30th year buried herself in the convent of the 
 Carmelites, where the year following she took the vows 
 in the presence of the Queen and the whole court, under 
 the name of Sister Louisa, of the order of Mercy. She 
 survived this sacrifice thirty-six years; and left one 
 daughter, Mad. de Blois 3 and a son, Louis of Bourbon, 
 Count de Vermandois. 
 
45 
 
 A Study, 
 
 Edward VI 
 
 Vandyck* 
 
 Holbein. 
 
 Virgin, Child, and Angel, 
 
 Guercino. 
 
 Two Imitations of Roman Paste, Reiffenstein. 
 
 Virgin, Child, and Angels Giulio Procaccini. 
 
 He saw his image reflected in a fountain, and became 
 enamoured of it, thinking it to be the nymph of the 
 place. His fruitless attempts to approach this beautiful 
 object so provoked him, that he grew desperate, and lan- 
 guished into a flower, since called by his name. 
 
 Ferdinand Alvarez, Duke of Alva, in gilt armour, a 
 
 half length, P. Veronese. 
 
 Ferdinand Alvarez, Dukeof Alva, aname u damnedto 
 everlasting fame" for his cruelty in the low countries, was 
 born of an illustrious family in Spain, in 1508, made his 
 first campaign at the age of 17, and afterwards became 
 general to Charles V. He performed prodigies of valour 
 at the siege of Mentz. In the war against the Pope he 
 was completely successful, and obliged the Pontiff to sue 
 for peace : He then hastened to Rome, fell on his knees, 
 kissed his holiness's feet, and solicited forgiveness. — He 
 was held in high esteem by the tyrannical Philip II. and 
 graced his train when he came into England and married 
 Queen Mary. He was employed to reduce the discon- 
 tented Netherlands to the Spanish yoke, where 100,000 
 families removed out of Holland on his account. Here 
 he established the bloody tribunal^ and filled the United 
 Provinces with terror and awful scenes of carnage; so 
 that the coincidence of Philip's counsels and Alva's con. 
 duct kindled such a war and revolution, as are scarcely 
 to be met with in the annals of the universe. He was en- 
 gaged in the wars of Portugal, in which he increased his 
 military renown, by driving Don Antonio from his throne 
 in 1581. He died in 15S2, aged 77 years. 
 
 Elisha and Widow, II. Kings iv. 1. 7 
 Henry VIII 
 
 Brandi. 
 
 Holbein. 
 
 Narcissus, 
 
 Carlo Maratta. 
 
46 
 
 Thomas the first Earl of Exeter, with a quilled Ruff, 
 
 a high-crowned Hat, and pendant George, half 
 
 length, . Janssen. 
 
 He was the eldest son of the Lord Treasurer, born 
 in 1542, and created Earl of Exeter in the third year of 
 the reign of King James, the same day his younger bro- 
 ther Robert was created Earl of Salisbury. He had two 
 wives, Dorothy Nevill, and Frances, daughter of William 
 Lord Chandos, widow of Sir Thomas Smith, Knt. He 
 died in 1622, and was buried in Westminster Abbey, 
 where a monument is erected to his memory, and that of 
 his two ladies. 
 
 Coriolan us and the Roman Matrons, D. Beccafumi. 
 
 When Coriolanus was banished from Rome, he re- 
 tired among the Volsci, whom he shortly after advised to 
 make war against the Romans, and headed their armies. 
 He pitched his tent within about five miles of the city; 
 and so inveterate was he against it, that had not his wife 
 Volumnia, and his mother Veturia, been prevailed upon 
 by the Roman matrons to appease his resentment, the 
 consequences must have been fatal. He remained long 
 inexorable; but at last the tears and entreaties of those 
 most dear to him prevailed over his stern resolutions, and 
 he marched the enemy from the neighbourhood of Rome. 
 This conduct displeased the Volsci so much that he was 
 summoned to appear before the people at Antium, where 
 he was murdered at the place appointed for his trial, 
 B. C. 488. The Roman matrons put on mourning for 
 his loss. 
 
 David with Goliah's Head, I, Samuel xvii. 51. 
 Franceschini. 
 
 Tullia driving over the Body of her Father Tullius, 
 
 Giuseppe Chiaiu. 
 
 Tullia married Tarquin the proud, after she had 
 murdered her first husband Arunx. She afterwards con- 
 sented to see Tullius. her father, assassinated that Tarquin 
 might be raised to the throne : it is further said of this 
 inexorable tyrant, that she ordered her chariot to be 
 
47 
 
 driven over the body of her aged sire, which had been 
 thrown all mangled and bloody in one of the streets of 
 Rome. 
 
 Landscape, John Both. 
 
 Marcus Curtius, * Luca Giordano. 
 
 A wide gap, called afterwards, Curtius Lucus, sud- 
 denly opened in the forum, and the oracle had said that 
 it never would close till Rome threw into it whatever 
 it had most precious. Curtius immediately perceived that 
 a human sacrifice was required ; he, therefore, armed 
 himself, mounted his horse, and solemnly threw himself 
 into the gulf, which instantly closed over his head. 
 
 Two Flower Pieces,.., Anon. 
 
 Battle, a Sketch, Rubens. 
 
 Olindo Und Soplironia, L. Giordano. 
 
 The history of these lovers is given in the second 
 book of Tasso's Jerusalem Delivered. — Aladine, a pagan 
 king of Jerusalem, transports an image of the Virgin 
 from the temple of the Christians, into the mosque, by 
 the advice of fsmeneo, who proposes thereby to form a 
 spell to secure the city. In the night the image is se- 
 cretly stolen away. The king, unable to discover the 
 author of the theft, and incensed against the christians, 
 prepares for a general massacre : 
 
 " Our wrath shall not be lost, (aloud he cries,) 
 
 The thief amidst the general slaughter dies, 
 
 Guilty and innocent, they perish all! 
 
 Let the just perish, so the guilty fall. — " 
 Sophronia, a beautiful christian maid, to avert from the 
 people the impending vengeance of the King, declares her- 
 self the offender, and that she is ready to receive the pun- 
 ishment decreed. She is therefore doomed to be burnt. In 
 the meantime, her lover, Olindo, (though he had not dared 
 to disclose his passion for her, dreading to meet her dis- 
 dain,) presses through the crowd to learn who is the victim 
 bound and sentenced to the dreadful flame. When the 
 youth distinguishes the face of his beloved, he cries aloud 
 to the King, — she is guiltless; the theft requires more 
 than a woman's power could effect ; lam the person that 
 conveyed the statue from the mosque! Sophronia, at 
 
48 
 
 this singular instance of devotedness, looks with pity on 
 the youth ; but the tyrant Aiadinc finding his power so 
 lightly prized, orders him also to be bound, and destine* 
 both to u the rising pyre.'* " Whereupon Olindo, now 
 emboldened by his critical situation, asks his fair partner, 
 M Are these the bands with which I hop'd to join, 
 In happier times, my future days to thine ? 
 And are we doom'd, alas ! this fire to prove, 
 Instead of kindly flames of mutual love?" 
 While in this situation, (the flame already kindling^the 
 guards are commanded by a stranger (Clorinda) to stop 
 the execution, and wait until she shall have seen their 
 prince. To him the u maiden warrior" immediately re- 
 pairs, deeply interested in the fate and conduct of the 
 victims, and proffers her services to his state in whatever 
 way she best can serve it. Being courteously received, and 
 having her offers gratefully accepted, she claims as a re- 
 ward the freedom of the two devoted christians. To this 
 the King consents : — 
 
 " Let both have life and freedom, (he reply'd,) 
 To such a pleader nothing is deny'd ! 
 If innocent, by justice let them live: 
 If criminal, I here their crime forgive. 
 
 Thus were they freed; and lo ! what blissful fate, 
 What turns of fortune on Olindo wait ! 
 His virtuous love at length awakes a flame 
 In the soft bosom of the generous dame. 
 Strait from the pile to Hymen's rites he goes, 
 Made of a wretch condemn'd, a joyful spouse : 
 Since death with her he sought, the grateful fair 
 Consents w ith him the gift of life to share." 
 
 Landscape, Gasper Poussin. 
 
 Madam de Maintenon, a copy from Le Brun. 
 
 Frances de Maintenon, born in 1635 of the noble 
 though reduced French family of D'Aubigne, was famed 
 for the loveliness of her person and the elegance of her 
 manners. She became the wife of the Abbe Scarron ; 
 after whose death Louis XIV. conferred upon her the 
 estate and name of Maintenon ; and, after the decease of 
 the Queen, privately married her, and treated her with 
 great affection. Her noble institution at St. Cyr for 
 the daughters of persons of rank and distinction, whose 
 fortunes were inadequate to their support, rendered her 
 very popular. It was for this society that Racine wrote 
 
49 
 
 his Esther. She survived her royal partner four years, 
 left several children by him, and died in 1719, and was 
 interred in the church of St. Cyr. 
 
 Herodias, with John Baptist's Head, Matt. xiv. 11. 
 
 Guido. 
 
 Flower Piece, , Baptist. 
 
 Landscape, Domenichino. 
 
 Virgin and Child, Peters. 
 
 Woman's Head, Rembrandt. 
 
 Adoration of the Shepherds, Lnke ii. 16. Tempesta. 
 Marriage of Boaz and Ruth, Ruth iv. 10. C. Ferrt. 
 
 Three Elements, F. Albano. 
 
 Mary and Jesus, Matt, ii Albert Durer. 
 
 Man's Head, Rembrandt. 
 
 Landscape, Domenichoo. 
 
 Fruit Piece, Cornelius de Heem. 
 
 Virgin and Child, Matt, ii Sasso Ferrato. 
 
 CURIOSITIES. 
 
 Fine Square Amber Mausoleum,.... Anon. 
 
 Curious Square Table, inlaid with every Variety of 
 coloured Wood and Ivory, representing Animals, 
 Flowers, &c Anon. 
 
 Large Bowl of Petrifaction, Anon. 
 
 This bowl stands upon a cabinet, and was made out 
 of the petrifaction from St. Michael's Cave, at Gibraltar. 
 It was presented to the Burghley family by Lieutenant 
 Napper, in 1796. 
 
 Complete Set of fine Dresden China, each Piece ele- 
 gantly painted with a different Landscape,.... Anon* 
 
 I 
 
50 
 
 THE BLACK BED CHAMBER 
 
 Measures 22 feet by 21, and is hung 
 with fine old tapestry. The ancient state 
 bed is of black satin, lined with yellow, 
 and ornamented by needlework. Over 
 the chimney in this room, are more of 
 Gibbons's fine specimens of carving. The 
 three following pieces are painted on panes 
 of the window : 
 
 Inside of a Church, , Anon. 
 
 Design from Teniers, Jervis. 
 
 Fine ancient Head of Archbishop Cranmer, Anon. 
 
 Thomas Cranmcr, afterwards Archbishop of Can- 
 terbury, was born at Aslacton, in Notts, in 1489. He 
 recommended himself to Henry yill. by his opinion con- 
 cerning his divorce with Catharine of Arragon, which he 
 afterwards completed, and married that monarch to Anne 
 Boleyne. He then began the reformation with much 
 earnestness, and procured an order for a translation of 
 the Bible to be publicly read in churches. In 1539 he 
 incurred Henry's displeasure by wishing to appropriate 
 the revenues of the monastic lands to the purposes of re- 
 ligion and improvement, which the King wanted for his 
 own use. His enemies about this time accused him of he- 
 resy, and had sent him to the Tower, had not Henry still 
 befriended him. On the "death ■ of that prince, he was 
 left one of the regents of the kingdom, and prosecuted 
 the reformation with increased vigour. But when Mary 
 came to the throne, he was committed to the Tower, and 
 afterwards tried and condemned for heresy, incontinency, 
 and blasphemy. While he was in prison he was prevailed 
 upon by false promises to sign his abjuration, whfch he 
 afterwards earnestly repented of. His enemies enraged 
 sit his recantation hurried him away to the stake in 1555^ 
 
51 
 
 where he endured the flames with all the simplicity and 
 fortitude of a christian martyr, holding his right hand 
 forth that it might be first consumed, often saying, " this 
 unworthy hand I" 
 
 PICTURES. 
 
 Christ giving the Keys to Peter, Matt. xvi. 9. 
 Old Palm a. 
 
 Charles XII. King of Sweden, Anon. 
 
 This aspiring and ambitious monarch came to the 
 throne at the age of 15, in 1697; and at his coronation 
 caught the crown from the Archbishop of Upsal, and 
 put it on his head himself. His youth presented a fa- 
 vourable opportunity to the sovereigns of Russia, Den- 
 mark, and Poland to form a confederacy against him. 
 Undaunted, however, by this alliance, he first attacked 
 Denmark, and made a peace with that power. In 1700 
 he attacked and slew 30,000 Russians at Narva, besides 
 taking 20.000 prisoners. His next enterprize was against 
 Poland, where he dethroned Augustus and substituted 
 Stanislaus. His ambition at length met w T ith a severe 
 check at Pultowa, in 1709, by Peter the Great, who 
 completely annihilated his whole army. After this de- 
 feat, he sought an assylum at Bender, in Turkey, where 
 he was well received by the grand seignior ; but being 
 unwilling to depart, and the Turks growing tired of him, 
 they were compelled to set fire to his house to drive him 
 from the place. He then went to Stralsund, where he 
 mustered an army, and entered Norway. In 1718 he be- 
 sieged Fredericshall, and was there killed by a cannon 
 shot, December 11, of that year. 
 
 Yenus and Cupid,.. ..Michael Angelo Bonaruoti. 
 
 Erminia discovering herself to the Shepherds, Lauhi. 
 
 This piece is taken from Tasso. — Erminia, a princess 
 of Antioch, is taken captive by the enemy, but rescued and 
 restored to her regal privileges by Tancred, (a leader of 
 the christian army,) with whose virtues and manly beau- 
 ties she becomes enamoured. She quits her conqueror 
 and her prison with regret, and with her aged mother 
 
52 
 
 visits the court of Aladine at Jerusalem. Tancred, drawn 
 thither with the christian forces, engages with Argantes, 
 a pagan, in single combat, and the fight is beheld by 
 Erminiafrom the walls of a castle. Distressed with fears 
 for her hero, she resolves to visit him, and disguises her- 
 self in Clorinda's armour, (a pagan princess beloved by 
 Tancred,) and leaves the city by night; but falling in 
 with an advanced guard of the christians, is assaulted and 
 flies. She travelled the whole night, and is at length re- 
 ceived by shepherds. 
 
 " Scar'd at the unusual gleam of armour bright, 
 The harmless band were seized with sudden fright, 
 But fair Erminia soon dispels their fears; 
 From her bright face the shining helm she rears, 
 And undisguised her golden hair appears." 
 After conversing with an aged shepherd, who relates to 
 her his happiness, and the comforts he enjoys in his re* 
 tirement, she resolves to share ihem with him. 
 
 " And now (her mail unbrac'd) the royal maid 
 In rustic weeds her graceful limbs array'd ; 
 But in her courtly looks and beauteous mein, 
 Appear'd no tenant of the sylvan scene. 
 No dress could veil the lustre of her eyes, 
 No outward form her princely air disguise : 
 A secret charm and dignity innate, 
 Each act exalted of her lowly state." 
 Still her passion is not alleviated by her solitude, nor by 
 her absence from the object of her love ; for 
 
 " Oft when beneath some shady grove's retreat 
 The flocks are shelter'd from meridian heat, 
 On the smooth beechen rind the pensive dame 
 Carves in a thousand forms her Tancred's name ; 
 Oft on a thousand plants inscribes her state, 
 Her dire distress, and love's disastrous fate ; 
 And, while her eyes her own sad lines peruse, 
 A shower of tears her lovely face bedews." 
 
 Beautiful Architectural Picture, Old Franck. 
 
 Countess of Desmond, with flaxen Hair, splendid 
 
 laced Ruff, and Jewels, Rembrandt. 
 
 This celebrated lady lived at lnchquin, near Mun- 
 ster, in Ireland, and was well known to Sir Walter Raleigh. 
 She was married in the reign of Edward IV. when she 
 danced with Richard Duke of York, afterwards Richard 
 III. whom she declared was a handsome genteel person. 
 She was not less remarkable for the yivacity of her dispo- 
 sition than the extended period of her life. After she 
 
53 
 
 had attained her 140th year, she travelled from Bristol to 
 London for the purpose of regaining some family estates 
 which had been forfeited. Sir William Temple says she 
 lived after this application several years, and enjoyed an 
 uninterrupted state of health. Lord Bacon asserts that 
 she twice, at least, renewed her teeth. She died in 1612, 
 aged 145 years. 
 
 Latona and the Countrymen, cop Elsheimer. 
 
 The rustics in the country of Lycia in Asia experi- 
 enced the anger of Latona with their ruin. She wandered 
 in the fields pregnant with twins, when the heat of the 
 weather, and the toil of her journey, made her almost 
 faint with thirst. At last discovering a spring in a valley, 
 she ran to it to drink the cool waters ; but was surlily- 
 refused by the neighbouring clowns. They endeavoured 
 to drive her away ; and, lest she should drink, they leaped 
 into the water and muddyed the stream. This great in- 
 humanity moved the indignation of Latona: 
 
 ii Her rage defers her thirst ; she scorns to sue 
 
 To the base-mannei'd and ungodly crew ; 
 
 But, goddess like, assumes a loftier tone, 
 
 Lifting her hands to the celestial throne, 
 
 In these few words their future fate imply'd, 
 
 May you for ever in this lake reside ! 
 
 Her wish succeeds ; in lakes they love to live, 
 
 Now play above, now to the bottom dive. 
 
 the daughter of Henry VIII. of England, and sister to 
 Philip III. 
 
 iEthra, daughter of Pittheus, King of Trcezene, had 
 Theseus by iEgeus. She was carried away by Castor 
 and Pollux, when they recovered their sister Helen, 
 whom her son had stolen. — Theseus signalized himself by 
 
 Lady's Head, unknown, 
 
 Painter's Head, « 
 
 JEthra and Theseus,....,.... 
 
 Anon. 
 
 Van Eyck. 
 
 Angelica Kauffman. 
 
54 
 
 encountering the clangers on the road leading fromTrcezene 
 to Athens, which was so much infested with robbers and 
 wild beasts, as to be considered impassable, He after, 
 wards slew the Minotaur at Crete, to whom seven chosen 
 youths were annually sacrificed by the Athenians. He 
 ascended the throne of Athens B. C. 1235, where he gov- 
 erned with mildness, and made new regulations and new 
 laws. He is said to have descended into the infernal re- 
 gions w r ith an intent to carry away Proserpine, but was 
 arrested by Pluto, By the favour of Hercules, and the 
 consent of the infernal deities, not, however, without suf- 
 fering the most excruciating torments, he again returned 
 upon earth. During his absence, Menestheus had ingra- 
 tiated himself so much in favour of the Athenians, 
 that, not being able to eject the usurper,, he retired to 
 Lycomedes, King of Scyros, who, either through jealousy, 
 or being bribed by Menestheus, carried him upon a 
 high rock and threw him down a precipice. 
 
 Ariadne abandoned by Theseus,..: ......A, Silla. 
 
 See description, page 23. 
 
 THE WEST DRESSING ROOM 
 
 Is in the north-west quadrangle of the 
 House, and is 23 feet 6 inches long, 
 and 18 feet broad. In the window recess 
 is a toilette table set out with rich gilt dress- 
 ing plate. It contains twenty 
 
 PICTURES, &c. 
 
 Woman taken in Adultery, L. Giordano. 
 
 Jupiter and Aniiope, S. Ricci. 
 
 Antiopc, a daughter of Nicteus, King of Thebes, 
 by Polyxo, was beloved by Jupiter, who, to deceive her, 
 
55 
 
 changed himself into a satyr. She became pregnant, and 
 to avoid the resentment of her father, stve lied to Mount 
 Ciihaeron, where she brought forth twins, Amphiou and 
 Zethus. 
 
 Lady Pembroke, a small three- quarters, in pan, 
 
 Ashfield. 
 
 Elizabeth Maria Villiers was the daughter of Geo. 
 Villiers, first Duke of Buckingham of that name. She 
 was married first to Charles Lord Herbert, son of Philip 
 Earl of Pembroke and Montgomery, secondly to James 
 Duke of Richmond and Lenox, and lastly to Thomas 
 Howard, brother to Charles Earl of Carlisle. Her por- 
 trait is in the famous family piece at Wilton, by Vandyck. 
 Walpole describes this one at Burghley as highly finished 
 and well painted. 
 
 Rocks between Naples and Puzzoli, Minderhout. 
 
 Carthusian Friar, H. Caracci. 
 
 Doris wounded by Silvio, G. Chiari. 
 
 Doris, being jealous of her husband Silvio, upon a 
 misapprehension that beloved other women, engaged emis- 
 saries to watch his conduct when he went from home. 
 These failing to bring the intelligence she expected, she 
 imprudently followed him herself one day when he was 
 hunting, and secreted herself behind a tree to observe if 
 he had any, and who were his companions. Silvio hear- 
 ing a rustling among the branches, and imagining it was 
 a wild beast, shot an arrow into the tree and killed her. 
 The same story is told of Cephalus and Procris, in the 
 seventh book of Ovid's Metamorphoses. 
 
 Landscape, * .....Elsheimer. 
 
 St. Jerome, cop Van Balen. 
 
 St. Jerome, a celebrated father of the church, was 
 born of christian parents, near Daimatia, about 329. In 
 378 he was ordained a priest by Paulinus, Bishop of An- 
 tioch. He built a number of monasteries in Bethlehem, 
 where he employed himself in works of piety, and in con- 
 troverting the opinions of Origen and his followers, against 
 
56 
 
 whom he wrote with great asperity. He died in 430. 
 The first edition of his works was published by Erasmus, 
 in folio, in 1526. 
 
 Satyr, S. Rosa, 
 
 Holy Family, on panel, D. Monna. 
 
 Landscape, Hendick Van Lint. 
 
 Esop's Fable, Castiglione. 
 
 Two Birds in Florentine Mosaic, * Anon. 
 
 Two Models in Wax, Filippo D'Angeli. 
 
 Robert Devereux, Earl of Essex, quilled Ruff and 
 short Beard, M. Gerards. 
 
 He was the favourite of Queen Elizabeth, and was 
 born in 1567, at Nether wood, his father's seat in Here- 
 fordshire. Essex was a celebrated soldier, courtier, and 
 scholar ; and although so much beloved by the Queen, 
 his impetuosity often offended her. He greatly irritated 
 her by a private marriage with Frances, only daughter 
 of Sir Francis Walsingham, and widow of Sir Philip 
 Sydney. But the greatest rupture between them was 
 caused by his opposing her choice of Sir William Knolles 
 to superintend the affairs in Ireland. He contended that 
 Sir George Carew was a much fitter man for the situation, 
 and so incensed her majesty by his contemptuous manner, 
 because she would not adopt the person of his choice, 
 that she gave him a box on the ear, and bid him u go and 
 be hanged. " He passionately withdrew from court, de- 
 claring 66 that his body suffered in every part of it by 
 the blow given by his prince; and that it would be a 
 a crime in him to serve a Queen who had given him so 
 great an affront." — It is recorded that Queen Elizabeth 
 gave Essex a ring in the height of her passion for him, 
 and promised him her pardon for whatever he should 
 commit, upon his returning her that pledge. Some time 
 after this he was condemned, and finding himself at the 
 last extremity, he delivered it to Admiral Howard's lady, 
 desiring her to present it to the Queen. But her hus- 
 band, who was one of the Earl's greatest enemies, and to 
 whom she told this imprudently, would not suffer her to 
 
57 
 
 acquit herself of the commission. Her majesty being full 
 of indignation at his haughty spirit, in refusing to implore 
 her mercy, consented to his death. Shortly after the 
 Admiral's lady fell sick, and before she died confessed 
 the circumstance to Elizabeth, who retired immediately, 
 overwhelmed with sorrow, refused her nourishment, and at 
 length died with hunger and grief because she had con- 
 sented to the death of her lover, who had applied to her 
 for mercy. The Earl was beheaded in his 34th year. 
 
 Lady Sophia Ann Cecil, whole length, pan. Janssen. 
 She was the only daughter of Thomas the first Earl 
 of Exeter, by his second wife, Frances, and was chris- 
 tened at Wimbledon, July 30, 1616, where Anne of 
 Denmark, Queen of James I. stood sponsor. She died 
 in her youth. 
 
 David and Bathslieba, II. Sam. xi L. Giordano. 
 
 Death of Adonis,. F. Baroccio. 
 
 Adonis was the son of Cinyras, King of Cyprus, 
 and Myrrha, and the beloved of Venus. He was fond 
 of Hunting, and was often cautioned by his mistress not 
 to hunt wild beasts for fear of being killed in the attempt. 
 But this advice he slighted. 
 
 " His sprightly soul beyond grave counsel flies, 
 While with yok'd swans the goddess cuts the skies. 
 His faithful hounds led by the tainted wind, 
 Lodg'd in thick coverts chanc'd a boar to find. 
 The callow hero show'd a manly heart, 
 And pierc'd the savage with a side-long dart. 
 The flying savage wounded turn'd again, 
 Wrench'd out the gory dart and foam'd with pain. 
 The trembling boy by flight his safety sought, 
 And now recall'd the lore which Venus taught ; 
 But now too late to fly the boar he strove, 
 Who in the groin his tusks impetuous drove ; 
 On the discolour'd grass Adonis lay, 
 The monster trampling o'er his beauteous prey. 
 
 Ovid's Met. 
 
 Venus, after shedding many tears at his death, changed 
 him into a flower called anemony. 
 
 Sketch of the Altar at Perugia, F. Baroccio. 
 
 Virgin appearing to St. Bruno, pan Van Eyck. 
 
 K 
 
38 
 
 Nymphs adoring the Statue of Pan, ....Domenichi#o* 
 Pan was the god of the shepherds and the guardian 
 of their flocks. The poets tell us of his pipe, that " as 
 often as he blew it the dugs of the sheep were filled with 
 milk." He was worshipped in Arcadia, for which reason 
 he is ofteu called Pan Dens Arcadice. 
 
 St. Jerome,.... - Passeri. 
 
 See page 66. 
 
 Countess Matilda on Horseback, pan. cur. CImabue. 
 
 THE NORTH-WEST DRESSING 
 ROOM 
 
 Measures If feet 6 inches long and 14 
 feet wide, and contains the following 
 
 PAINTINGS. 
 
 Smith's Forge....................... Margaret Pearson* 
 
 This fiue painting on one of the window panes was 
 Executed in 1789. 
 
 Neapolitan Girl................. Peters. 
 
 Beggars regaling............. Murillo. 
 
 Landscape, with Venus and Adonis,.... C. Lorraine. 
 See page 57. 
 
 Landscape.............. ..Giov. B<?lognese* 
 
 Domenichino's Mistress, Domenichino. 
 
 Jupiter painting, with Mercury and Diana attending, 
 
 „...w ...MOLA. 
 
59 
 
 Battle Piece, P. C. Veriioek, 
 
 Two Landscapes, Poussin. 
 
 Hunting Wild Cats, Koninck. 
 
 Venus and Cupid, encircled with a Garland of Flow- 
 ers, GUERCINO AND M. Da FlORI. 
 
 Spaniard with a Guitar,.... Valentino. 
 
 Venus and Satyr, L. Giordano. 
 
 Two Pieces of Still Life, Ang. Battaglio. 
 
 Hon. Charles Cavendish, asleep,...^. Maratta. 
 
 He was born in 1655, and was the second son of 
 William the third Earl of Devonshire, and brother of 
 William the first Duke of the same. He died in 1670, 
 and was buried in Ail Saints' church, Derby. 
 
 Poor Piece, L. Vagneer. 
 
 THE CHINA CLOSET 
 
 Is a square room whose side measures 
 10 feet 3 inches, and contains a glass-case 
 filled with a profusion of ancient curious 
 china from Turkey, 8fc. On a tea table, 
 set out with a singular assemblage of the 
 same ware, are nine tea pots of different 
 sorts. 
 
 PAINTINGS, &c. 
 
 Model of Virgil's Tomb at Pausilippo, Dr. Dubotj xlg. 
 This curious model, 9 inches high, is contained in a 
 glass-case, and is composed of cork and moss, 
 
60 
 
 Birds and Beasts, Koninck. 
 
 Holy Family, Passeri. 
 
 Fine Specimen of Penmanship, on Vellum, Langton. 
 For a description, see Langton in the Appendix. 
 
 Pantomime Figure in Wood and Ivory, from Sicily, 
 Anon. 
 
 Venus, carved in Box, ditto, Anon. 
 
 Curious Piece of cut Paper, , Anon. 
 
 Last Supper, alto relievo, in oak, Matt. xxvi. 26. 
 ....Gibbons. 
 
 Woman reading, in Silk, A Nun at Rome. 
 
 Virgin, Christ, and John Baptist, in Water Colours, 
 Matt, iii Patoun. 
 
 Parmigiano's Mistress, pan E. Pjgschi. 
 
 A copy from a picture by Parmigiano in the collec- 
 tion of the King of Naples. 
 
 Virgin and Child, finely executed, M. A. Caravagio. 
 
 Galatea and Attendants, made of Silk Flocks from 
 
 Venice, Anon. 
 
 Clitic, in Crayons, Lady H. Fitzgerald. 
 
 See page 22. 
 
61 
 
 QUEEN ELIZABETH'S BED 
 ROOM 
 
 Is 19 feet long and IJ feet 10 inches wide, 
 and contains an ancient state bed with 
 hangings of green velvet on a ground of 
 gold tissue, also a set of chairs with cov- 
 ered seats of the same manufacture. The 
 toilette is set out with a rich suit of dress- 
 ing plate, embossed with history. This 
 room is hung with three pieces of 
 
 TAPESTRY. 
 
 History of Acteon and Diana, Anon. 
 
 Actaeon the son of Aristaeus, a famous huntsman, 
 was caught looking upon Diana when she was naked in 
 the fountain, whereupon, sprinkling him with water, 
 she changed him into a deer, to be afterwards torn into 
 pieces by his own dogs. 
 
 Bacchus crowning Ariadne, Anon. 
 
 See page 23. 
 
 Acis and Galatea, v ..Anon. 
 
 Galatea passionately loved Acis, who was a shepherd 
 of Sicily; upon which Polyphemus, through jealousy, 
 crushed him to death with a piece of broken reed. The 
 gods changed Acis into a stream which rises from Mount 
 uEtna. 
 
 PAINTINGS. 
 
 V^nus and Adonis, ,..G. Chiahi. 
 
 See death of Adonis, page 57. 
 
62 
 
 Tobit and Angel, Tobit iii Mola. 
 
 Our Saviour in the Garden, Bass an. 
 
 THE BACK DRESSING ROOM 
 
 Is on the east side of Queen Elizabeth's 
 bed room, and leads from thence through 
 a doorway made in the tapestry. Its 
 dimensions are about 19 feet 6 inches by 
 10 feet, but from its containing so few 
 paintings, and those, with two or three ex- 
 ceptions, of scarcely any importance, it is 
 seldom shewn to strangers. 
 
 PICTURES, &c. 
 Marriage Procession of Othello and Desdemonn, 
 
 „ Cal^ot. 
 
 Two Cottage Scenes, Fa Bins* 
 
 Two fine Views near Naples, Ibid. 
 
 Una, , Miss Chaplin. 
 
 Spenser, in the 3d canto of the first book of his 
 Faery Queene, describes Una 5 or Truth, reclining on 
 the grass after an irksome journey : during her repose, 
 " It fortuned out of the thickest wood 
 A ramping lyon rushed suddenly, 
 Hunting full greedy after salvage blood ; 
 Soone as the royal virgin he did spy, 
 With gaping mouth at her ran greedily, 
 To have attonce devourd her tender corse ; 
 But to the pray whenas he drew more ny, 
 His bloody rage asswaged with remorse, 
 And with the sight araazd, forgat his furious forse.'* 
 
63 
 
 Lord Treasurer Burghley,. Anon-, 
 
 Bunch of Grapes and Flowers, Miss Gray. 
 
 Eruption of Mount Vesuvius, in 1767, ..Anon. 
 
 _ t , (Ann Wentworth, Countess 
 Poppy, worked, \ FitzwilliIm. 
 
 Fruit, ditto, Ibid. 
 
 Fruit, ditto, Lady Eliz. Archer. 
 
 Sibyl, copied from Guido, Hon. Miss Finch* 
 
 QUEEN ELIZABETH'S DRESSING 
 ROOM, 
 
 Or Western Centre Room, is 24 feet 
 9 inches long, and 17 feet 9 inches wide, 
 and contains the following 
 
 PAINTINGS. 
 
 Landscape, Ruysdaal. 
 
 Rose and Glass, ...Vandermin. 
 
 Earth; pan. 7 ft. 6 in. by 4 ft. 6 in Brueghel. 
 
 Fruit and Insects, Basschert. 
 
 Duck-hunting, «... David or Antwerp. 
 
 Landscape, Tempest a. 
 
 Two Flower Pieces, , Baptist. 
 
 Water, „ „ , Brueghel, 
 
64 
 
 Abelard presenting Hymen to Eloisa, Kauffman, 
 
 Eloisa suffered herself to be seduced by her lover, 
 whom she refused to marry, partly out of regard to the 
 interest of Abelard, whose profession bound him to celi- 
 b'acy, yet more from a notion that love like her's ought 
 not to submit to ordinary restraints. Her uncle and 
 guardian, Fulbert, meditated deep revenge on the seducer; 
 and employed some ruffians to enter Abelard's chamber 
 by night, to inflict upon his person a disgraceful and cruel 
 mutilation, which was accordingly perpetrated. Abe- 
 lard, unable to bear his mortifying reflections after this 
 circumstance, retired to a convent ; whereupon Eloisa 
 also devoted herself to religion. The correspondence be- 
 tween these lovers, which is still extant, took place 
 during their seclusion ; but in Abelard's letters he has not 
 the elegance, nor the harmony, nor the soul of his mistress. 
 A this death she sent for his body to the Paraclete, (where 
 he had some time previously placed her,) and had the 
 remains of her lover interred in the church with much 
 solemnity. She survived him 21 years, and her body was 
 deposited by her own orders in the tomb by his side. 
 Their bones have lain in the Abbey of the Paraclete, in 
 the diocese of Troyes, in France, ever since 1142 and 
 1163. 
 
 Charles I. with rich point Lace round the Neck and 
 Wrists, a Star, blue Ribbon, and a pendant George, 
 a half-length, Old Stone. 
 
 Charles II. and his Brothers and Sisters, when young, 
 Ibid. 
 
 Henrietta-Maria, Princess of France, and Queen of 
 Charles I. half-length, Vandyck. 
 
 Two Fruit Pieces, M. Ang. Campidogleo. 
 
 Head of Hannibal Caracci, Himself. 
 
 Head of Martin Luther, pan. fine,....CiiA. Kranach. 
 
 This illustrious German divine, and reformer of the 
 church, was born at Isleben, in Saxony, in 1483. He 
 studied at Erfurth, being designed for a civilian, but en- 
 
65 
 
 toted into the order of Augustine hermits, inconsequence 
 of witnessing one of his fellow students being struck dead 
 by lightning, whilst walking along with him in the fields. 
 Luther, soon after his retirement, observed the false mode 
 of worship adopted by the pontifical church, and from 
 that time he became active in the execution of his grand 
 plan of reformation. He travelled to several cities, and 
 had various controversies with the greatest contemporary 
 characters. He called a bull issued by the Pope M the 
 execrable bull of antichrist;" treated Henry VIII. with 
 no little severity for having published a book against 
 him on the sacrament ; and engaged in a dispute with 
 Erasmus upon the freedom of the human will. His pur- 
 poses were greatly forwarded by his translation of both 
 the Old and New Testament into the German language. 
 He died at Isleben, in 1546, and his body was removed 
 to Wittemberg, where it was interred with great pomp, 
 being attended by princes, earls, nobles, and a great 
 number of private gentlemen and students. 
 
 Landscape, ...Temfesta. 
 
 Two Flower Pieces, Baptist. 
 
 Fire, Brueghel. 
 
 Abelard and Eloisa, Kauffmax. 
 
 Cocks fighting, David Koninck. 
 
 Landscape,, Ruysdaal. 
 
 Air, Brueghel. 
 
 Death of Eloisa, Kauffmai^ 
 
 Dead Game, Vandermin, 
 
 CURIOSITIES. 
 
 Model of the Chinese Pagoda at Nankin, Anox. 
 
 This elegant model, 4 feet high, stands upon a fine 
 Pembroke table in a glass-case, and is chiefly composed 
 of mother of pearL: it consists of ten apartments, one 
 above another, each having a balustrade round it of the 
 most delicate pearl. 
 
 h 
 
66 
 
 Grand Cabinet, ornamented with beautiful China. 
 Four circular Pieces of Roman Delf or Raphael's Ware* 
 Large China Jars, with gilt Tops. 
 
 THE PURPLE VELVET BED 
 ROOM 
 
 Is 19 feet 6 inches long, and 17 feet 10 
 inches wide, and is hung with Bacchanalian 
 tapestry* The bed is very ancient, and 
 has hangings of purple velvet, from which 
 circumstance the room derives its name. 
 
 PAINTINGS, Sec. 
 
 Susannah and the Elders,.. Carravagio. 
 
 Lady Ann Cecil, a half-length, ..Vandyck. 
 
 She was the daughter of William the second Earl of 
 Salisbury, and was born in 1612. Algernon Percy, the 
 tenth Earl of Northumberland, took her to his wife. 
 She died in 1637. 
 
 Lady Warwick, . ....Ashfieli>. 
 
 This lady was the wife of Robert Earl of Warwick, 
 Lord High Admiral of England under the Long Parlia- 
 ment, and daughter and heiress of Sir William Hutton, 
 Knt. She was also the mother of Robert Earl of War. 
 wick, who married a daughter of the Earl of Devonshire. 
 This family appears to be elsewhere connected with the. 
 Cecils. 
 
67 
 
 Splendid Ebony Cabinet, Anon* 
 
 The front and sides of this elegant piece of furniture 
 are painted on copper : at one end are Rubens's three 
 wives, elegantly designed and richly coloured by that 
 eminent artist. 
 
 THE WEST DRESSING ROOM 
 
 Is hung with blue damask, and measures 
 22 feet 6 inches by 15 feet 9 inches. It 
 exhibits the following rich collection of 
 
 PAINTINGS, &c. 
 
 Reconciliation of Peter and Paul, G. Honthorst. 
 
 Susannah and the Elders, Lely. 
 
 Vision of St. Francis, on Slate, .Veronese- 
 
 Virgin and Child, G. B. Castiglione. 
 
 Ganganelli Pope Clem. XIV, commonly called the 
 Protestant Pope, presented this beautiful painting to 
 Brownlow the ninth Earl of Exeter, on the 18th July, 
 1774. His lordship being in the streets of Rome when 
 the pontiff was passing in procession on a public occasion, 
 joined in the adorations of the catholics, which so forci- 
 bly impressed his holiness, that he wished to shew some 
 token of respect to so polite a protestant nobleman. 
 Shortly afterwards, the Earl, amusing himself at the 
 Vatican, expressed his approbation of this picture, and 
 observed he had none of the works of Castiglione in his 
 collection at Burghley. This information no sooner 
 reached the ears of the Pope, than he ordered it to be 
 conveyed at an early hour the next morning to the Earl's 
 lodgings. — It measures 12 ins. by 18, and is painted on 
 metal. 
 
68 
 
 Holy Family,..^ Raphael, 
 
 This valuable piece was once the boast of the Jesuits' 
 College, at Rome, from whence it was stolen in 1774, 
 and a copy put in its place. When the fraud was disco- 
 vered, and the picture known to have been conveyed into 
 England, the circumstance occasioned great disturbance. 
 It is said to have cost Earl Brownlow £700. There is, 
 however, some controversy among the critics concerning 
 the integrity of this picture. The Marquis of Stafford 
 has one similar to it in Cleveland-square, of which there 
 seems to be reason to think this is a copy. 
 
 Victory introducing the Doge Simon Memmo, at 
 
 Venice, on pan.. P. Farinato. 
 
 Marriage of St. Catherine, Ang. Katjffman. 
 
 Head, .....Anon. 
 
 Shepherd, Dog, and Sheep, Teniers, 
 
 William Tell, small half-length, ..Rembrandt 
 
 William Tell was the restorer of the Swiss liberty in 
 1307. Geisler, the Austrian governor, obliged him to 
 shoot at .an apple placed on the head of his son. Having 
 fortunately cleft the apple without hurting the child, he 
 boldly told the tyrant, that, had he been less fortunate, 
 he had another arrow in reserve, which he should have 
 directed to hist heart. Animated by this instance of cou- 
 rage and example, the Swiss flew to arms, and completely 
 expelled the Austrians from the country. He died in 
 1354. 
 
 Joseph and Potiphar's Wife, Gen. xxxix. 7. 12, 
 
 V. Castelli. 
 
 Two Battle Pieces, Castiglione. 
 
 Fame decorating Shakespeare's Tomb,....KAUFFMAN f 
 Maria, from Sterne, ; Ibid. 
 
 " When we had got within half a league of Mou- 
 lines," says Sterne, " at a little opening in the road lead- 
 ing to a thicket, I discovered poor Maria sitting under a 
 
69 
 
 poplar — she was sitting with her elbow in her lap, and 
 her head leaning on one side within her hand — a small 
 brook ran at the foot of the tree. 
 
 * * # * * * 
 
 She was dressed in white, and much as my friend described 
 her, except that her hair hung loose, which before was 
 twisted within a silk net. — She had superadded likewise 
 to her jacket, a pale green ribband, which fell across her 
 shoulder to the waist; at the end of which hung her pipe. 
 — Her goat had been as faithless as her lover ; and she 
 had got a little dog in lieu of him, which she had kept 
 tied by a string to her girdle ; as I looked at her dog, 
 she drew him towards her with the string, — c Thou shalt 
 not leave me Sylvio,' said she." — Sent. Journey. 
 
 Landscape, with Cattle, I \ H. Carre. 
 
 Ditto, n N. Berchem. 
 
 Head of David...... , Guercino. 
 
 Sketch, ♦ ...L. Caracci. 
 
 Three Men at Dice,. , Mignard. 
 
 Jxion embracing the Cloud, Maratta. 
 
 Ixion was the son of Phlegas, King of the Lapitha?, 
 in Thessaly : he killed his father-in-law Deioneus ; but 
 was forgiven by the gods, and carried by Jupiter to 
 heaven. He then became enamoured of Juno, which 
 Jupiter having learned, he made a cloud in the shape of 
 the goddess, which the deceived lover embraced ; and 
 from thence those monsters the Centaurs were born. 
 
 jLeda and Swan, Maratta. 
 
 Jupiter became enamoured of Leda, the wife of 
 Tyndarus, King of Laconia, but could not succeed in 
 his amour till he had changed himself into a swau. In 
 this form he gained the mutual love of his mistress when 
 she was bathing; for having persuaded Venus to change 
 herself into an eagle, he, as if fearful of the tyrannical 
 cruelty of the bird of prey, fled through the air into the 
 arms of Leda, who willingly sheltered the trembling swan 
 from the assaults of his superior enemy. From their ca- 
 resses sprang the twin brothers Castor and Pollux. 
 
70 
 
 Rinaldo and Armida, Domenichino. 
 
 Rinaldo, (a leader of the christian army, assembled 
 for the recovery of Jerusalem from the Saracens,) slays 
 Gernando for his falsehood and calumnies. He is there- 
 upon summoned by Godfrey, the commander-in-chief of 
 the forces, to surrender himself; but refuses, and be- 
 comes a voluntary exile. In the meantime Armida, an 
 enchantress, is sentby Hidraotes, her father, to employ her 
 arts among Godfrey's army,from whom she obtains the suc- 
 cour of ten knights to attend her at her castle. She there 
 urges them to embrace the pagan faith, and revolt against 
 their commander, with which if they do not comply, she 
 threatens them with chains and imprisonment ; but u the 
 proffer'd terms their souls disdain'd :" they are, therefore, 
 surrounded by a numerous guard to attend them to Gaza, 
 
 ** When heaven's» high will unhop'd for aid prepar'd 
 and they effect their escape by the powerful assistance of 
 Rinaldo, who was passing that way bound to Antioch. 
 Armida feigns herself enamoured with the hero, and en- 
 tices him to a remote island, where he is lulled to sleep 
 by the delusive song of a syren. 
 
 *• Now fir'd with vengeance, issuing from the wood, 
 
 The false enchantress o'er the warrior stood : 
 
 But, when she view'd intent his manly face, 
 
 His features glowing with celestial grace, 
 
 Rapt in suspense, beside the youth she sate, 
 
 And as she view'd, forgot her former hate. 
 
 Low bending o'er his charms she hangs amaz'd ; 
 
 So once Narcissus in the fountain gaz'd. 
 
 Now from his cheeks she wipes the dews away ; 
 
 Now bids the fanning breeze around him play : 
 
 Now thro' the meads, that smil'd with various flowers, 
 
 She stray'd and wanton cropt the fragrant stores ; 
 
 The rose and lily with her artful hands 
 
 Together join'd, she form'd in pleasing bands: 
 
 With these the warrior's arms and legs enfolds, 
 
 And gently thus in flowery fetters holds. 
 
 Then, while in soft repose he senseless lies, 
 
 She lays him on her car, and cuts the skies." 
 
 He finds himself transported to an enchanted island, " in 
 ocean's vast profound," 
 
 " Where, in unfailing spring:, and shameful ease, 
 Th' imprison'd champion wastes his amorous days." 
 
 Hoole's Tasso's Jerusalem Delivered. 
 
 Flight into Egypt, Genxxxvii. 28 Zucchebo. 
 
71 
 
 Jupiter and Semele, Mauatta, 
 
 Semele was tenderly beloved by Jupiter ; but was 
 by the perfidy and artful jealousy of Juno persuaded to 
 entreat her lover to come to her arms with the same ma- 
 jesty as he approached Juno. Jupiter having previously 
 sworn by the Styx to grant her whatever she required, 
 came to her bed attended by the clouds, the lightning, 
 and thunderbolts. The mortal nature of Semele could 
 not endure so much majesty, and she was instantly con. 
 sumed with fire. 
 
 The Golden Shower, . ,.Maratta. 
 
 Danae, the daughter of Acrisius King of Argos, by 
 Eurydice, was confined in a brazen tower by her father, 
 who had been told by an oracle that his daughter's son 
 would put him to death. Jupiter, who was enamoured of 
 her, changed himself into a golden shower, and intro- 
 duced himself to her bed. Acrisius's endeavours to pre- 
 vent his daughter from becoming a mother were thus ren- 
 dered fruitless, — 
 
 " And the fair Danae felt the 9howV of gold 
 Stream into life, whence Perseus the bold." 
 
 Perseus afterwards inadvertently killed his grandsire. 
 
 Journey to Emmaus,Lukexxiv. 13. 15. Poelemburg, 
 
 St. Hubert, on pan Durer. 
 
 Adoration of the Shepherds, Lukeii. C. Appolonius. 
 
 Piece of Florentine Mosaic, Anon. 
 
 Ruins of the Temple at Tivoli, in Mosaic, Anon. 
 
 Bird, in modern Mosaic, Anon. 
 
 Boy's Head, ditto, Anon. 
 
 Amphitheatre at Rome, ditto, Anon. 
 
 The amphitheatres at Rome were generally built of 
 wood; Statilius Taurus was the first who made one with 
 stones, under Augustus. They were large round or oval 
 buildings, where the people assembled to see the combats 
 of gladiators, of wild beasts, and other exhibitions. 
 
72 
 
 Bird on a Branch, dug up at Tivoli, ancient Mosaic, 
 Curious triangular Perfumer, in Bronze, Anon^. 
 
 STATE BED DRESSING ROOM, 
 OR FIRST GEORGE ROOM, 
 
 Is the first of a suit of grand apartments 
 which extend through the south side of 
 the House. They are wainscotted in 
 panels with the finest Dutch wainscot of 
 its natural colour, which exhibits speci- 
 mens of carving remarkable for sharp- 
 ness and execution. They were finished 
 by Mr. Newton, Wardour-street, London, 
 in 1789 , under the express direction of 
 Brownlow Earl of Exeter, who selected 
 the whole of the ornaments from publica- 
 tions of ancient architecture, in the library 
 at Burghley. His lordship objected to 
 employ any professional gentleman in the 
 execution, alledging, as his reason, that 
 he should not then be allowed to finish 
 them in his own way. The whole is said 
 to have cost him o£2100. 
 
73 
 
 This apartment measures 21 feet by 
 13, and is 16 feet high ; the flooring is of 
 oak, inlaid with squares of walnut tree ; 
 and the chimney-piece, a modern struc- 
 ture, by Mr. Richter, of Newman- street, 
 London, is handsomely inlaid with scag- 
 liola. Above it are carved in white wood 
 birds, fruit, flowers, arms, and musical in- 
 struments, tastefully intermixed; Over 
 the doors are the cipher and coronet* 
 A superb suit of gilt dressing plate, for- 
 merly belonging to King William III. and 
 a commode variegated with tortoise-shell, 
 form part of the sumptuous furniture dis- 
 played in this room. — The cove ceiling 
 has a deep cornice with a golden ground, 
 and is highly embellished with the follow- 
 ing subjects from the heathen my thologists^ 
 by the exuberant pencil of Verrio. 
 
 PAINTED CEILING V 
 
 Four Seasons,..., Verrio. 
 
 Four Elements, in Colours, at each end, Ibid. 
 
 Hercules slaying the Dragon, on one side, Ibid, 
 
 One of the twelve labours of Hercules was to pro- 
 cure some golden apples from the gardens of the Hespe- 
 
 M 
 
74 
 
 rides, which were guarded by a watchful dragon that 
 never slept. — He slew the monster and performed his 
 task* 
 
 Apollo flaying Marsyas, on the opposite side, Verrio* 
 
 Marsyas, of Celaenae, in Phrygia, a skilful player on 
 the flute, had the imprudence to challenge Apollo to a 
 trial of skill as a musician. The god accepted the chal- 
 lenge, and it was mutually agreed, that he who was de- 
 feated should be flayed alive by the conqueror. The 
 Muses, with much difficulty, adjudged the victory to 
 Apollo, who tied his antagonist to a tree, and according 
 to his agreement flayed him alive. He afterwards changed 
 him into a river in Phrygia, which bore his name. 
 
 Daphne and Apollo, in Stone Colours, gilt, on one 
 
 end,.. Ibid, 
 
 The virgin Daphne, famous for her chastity, was 
 beloved by Apollo. He pursued her whilst she fled from 
 the violence of his passion ; but, fearful of being caught, 
 she intreatcd the assistance of the gods, who changed her 
 into a laurel. 
 
 Hyacinthus and Apollo, in the same, on the opposite 
 
 end, Ibid. 
 
 As Apollo, who was entrusted with the education 
 of Hyacinthus, once played at quoits with his pupil, 
 Eephyrus, who was incensed because the boy loved 
 Apollo better than himself, blew the quoit, as soon as it 
 was thrown by his tutor, upon the head of Hyacinthus, 
 and he was killed upon the spot. Apollo changed his 
 blood into a flower which bore his name. 
 
 Two Boys supporting Stone-work at each corner, Ibid. 
 
 Upon the Starry Mantle of Night the God and God- 
 dess of Sleep ; below them Morpheus, and Luna 
 just setting with her Buck ; and by her the Zephyrs 
 chasing aw r ay night. Three Zephyrs crowned with 
 and strewing Flowers ; and Phoebus just 'entering 
 his Chariot^ below the Horses of which are Cupids 
 
75 
 
 flying. On the opposite side Time seated with a 
 Child in one hand, and an uplifted Scythe in the 
 
 other, , ..Verrio. 
 
 This beautiful emblematical representation of morn- 
 ing chasing away night is painted on the centre of the 
 ceiling, and finishes the description of that part of the 
 room. 
 
 PAINTINGS, &e. 
 
 Venus and Cupid, Poussin* 
 
 Three Goddesses sending Mercury to Paris, Rubens. 
 
 Holy Family, on cop ...Schidone, 
 
 St, Peter, ., Veronese. 
 
 Virgin, Jesus, and Joseph, on cop Passeri, 
 
 Finding of Moses, Ex. ii. 6 Titian. 
 
 Rinaldo and Armida, H. Caracci* 
 
 This piece may be considered a continuation of Do- 
 menichino's noticed in the last room. — Charles and Ubald 
 hear of Rinaldo's retreat from a hermit, who gives them 
 instructions how to gain access to him, and adds, 
 " Nor shall you want a guide your course to lead, 
 Nor arms to assist you in th' adventurous deed." 
 They accordingly sail along the Mediterranean, pass the 
 Straits, and proceed to the Fortunate Islands. They 
 surmount all obstacles, and withstand all the various al- 
 lurements of pleasure, and at length arrive at the island 
 and palace of Armida. 
 
 " Through these alluring scenes of magic power 
 The virtuous warriors pass'd, and pass'd secure? 
 AVhen 'twixt the quivering boughs they cast their sighf s 
 And see the damsel and the christian knight. 
 There sate Armida on a flowery bed ; 
 Her wanton lap sustain" d the hero's head ; 
 Her opening veil her ivory bosom show'd : 
 Loose to the fanning breeze her tresses flow'd. 
 * * » * *^ 
 
 low in a braid she bound her flowing hair 
 
 £fow smooth'd the roving locks with decent care $ 
 
76 
 
 Part, with her hands, in sliinfxig cnrls she roji'd, 
 
 And deck'd with azure flowers the waving gold. 
 
 Her veil composed, with roses sweet she dress'd 
 
 The native lilies of her fragrant breast." 
 She at length, " with a kiss, the balmy pledge of love, 5 * 
 leaves her knight, and the two warriors rush from their 
 covert into the presence of the astonish'd Rinaldo. Ubald 
 warmly reproves him for his inglorious life, and arouses 
 him to a sense of shame ; whereupon he resolves to flee 
 from the fascinating powers of the enchantress. He is 
 strengthened in his resolution by the knights, and after 
 resisting many of her artful and seductive wiles follows 
 the guidance of his deliverers. 
 
 Boy and Pigeon, Guido, 
 
 Holy Family, Sen id one, 
 
 St. Paul, Veronese. 
 
 Judgment of Paris, on cop Rothenamer. 
 
 At the marriage of Peleus and Thetis, the goddess of 
 Discord, who had not been invited to partake of the en- 
 tertainment, shewed her displeasure by throwing into the 
 assembly of the gods, who were at the celebration of the 
 nuptials, a golden apple, on which were written the words 
 detur pulchriori. Juno, Venus, and Minerva wished to 
 dispute their respective right of beauty, and Paris was 
 appointed to adjudge the prize to the fairest of the god- 
 desses. They appeared before him without any covering 
 or ornament; and to influence his judgment Juno pro- 
 mised him a kingdom ; Minerva, military glory ; and 
 Venus, the fairest woman in the world for his wife. To 
 the latter he adjudged the prize, who, in consideration, 
 icscued him from the fury of Atrides, with whom he was 
 engaged in single combat, and afterwards rewarded him 
 
 with the matchless Helen. 
 
 Christ in the Garden, Matt. xxvi. 36 Tempesta. 
 
 Our Saviour sleeping, and Angels with the Emblems 
 of the Passion, Potjssin. 
 
 Virgin and Child appearing to St. Dominic, on cop* 
 i , Albako. 
 
77 
 
 The Nativity, Luke ii. 7 Tempesta, 
 
 Child Jesus, Baccici. 
 
 Head of St. John, a Sketch, Parmigiano. 
 
 Virgin and Child appearing to St. Clara, Guercino. 
 
 Salutation, on cop. Luke i. 28 Calvart. 
 
 Finding of Moses, Ex. ii. 6 Tempesta, 
 
 Virgin and Child, cop. from Raphael, ........Ferrari, 
 
 St. John, And. del Sarto. 
 
 Return from Jerusalem, Luke ii. S9....Spagnoletto. 
 
 St. Catherine, Ferri. 
 
 Samaritan Woman, John iv A. Caracci, 
 
 Virgin and Child, Corregio. 
 
 Christ amongst the Doctors in the Temple, pan. 
 Luke ii. 46 L. Vanuden. 
 
 Finding of Moses, on pan. Ex. ii. 6 Schiavone. 
 
 Flight into Egypt, Matt. ii. 13 ...C. Dolci. 
 
 Holy Family, on pan « Schidone. 
 
 Ditto...... V. Castelli. 
 
 J oseph and his Brethren, enamelled on a curious Cabinet, 
 
 St. Sebastian tied to a Tree, a Statue in Rice,.. ..Anon. 
 
 St. Sebastian was born at Narbonfie,and bred at Milan. 
 He was trusted by the Emperors Dioclesian and Maxi- 
 milian with the choicest of their troops; but when Mar- 
 cellianus and Marcus were imprisoned for their adherence 
 to the christian faith, he made a convert of the keeper, 
 and enlarged them. His infidelity being discovered, he 
 was seized and shot to death, as apprehended by the spec- 
 tators, with arrows; but recovering, he went to Diocle- 
 clesian, and represented to him the injustice of his per- 
 secution, whereupon he was beaten to death with clubs. 
 
73 
 
 THE JEWEL CLOSET 
 
 Is 1 1 feet long, 9 feet 8 inches wide, and 
 16 feet high. The wainscot is of cedar, 
 with carved and gilt mouldings, having the 
 cipher on the centre of each side : and the 
 floor, composed of oak and walnut-tree, is 
 inlaid the same as the last-mentioned room. 
 Round the chimney and window are dis- 
 played rich specimens of carving in festoons 
 and pendants of rabbits, partridges, and 
 other birds, shells, fruit, flowers, &c. 
 
 In the night of February 23d, 1786, 
 the Earl and the principal part of the ser- 
 vants being then in London, some villains 
 broke into this closet through the window, 
 and plundered it of several miniatures and 
 valuable antiquities, some of which were 
 afterwards found in a gravel pit, near Tin- 
 well, and others scattered about in different 
 parts of the adjacent country, 
 
 PAINTED CEILING. 
 
 At each of the four angles, a Cupid seated in a Shell, 
 supporting the Cornice, each in a different attitude ; 
 the spaces between them contain Crowns, Books, 
 Music, Arms, &c. In the centre, Fortune tied to a 
 
79 
 
 Wheel, and a Cupid mounted on a Swan pulling 
 her by the Hair ; below the Wheel, Crowns, Sceptres, 
 and Mitres ; Time ; Cupids playing with Clubs, 
 Armour, &c. — On one of their Trumpets, " Omnia 
 vincit Amor" 
 
 PAINTINGS, &c. 
 
 Marriage of St. Catherine, copied from Corregio, 
 Parmigiano. 
 
 Virgin, with the Infant Jesus sleeping, Maratta. 
 
 Our Saviour blessing the Elements,. ...Carlo Dolci. 
 
 This incomparable picture was brought from Italy 
 by John the fifth Earl of Exeter, and is the flower of 
 this diversified collection. The subject from which it ap. 
 pears to have been taken is expressed in fine copper-plate 
 characters, in a little ebony glass-case, which hangs on 
 the right of the picture, and runs in the following words: 
 — " Publius Lentulus, his letter to the Senate of Rome. 
 — u Conscript Fathers, — There appears, in these our 
 days, a man of great virtue, named Jesus Christ, who is 
 yet living among us; and of the Gentiles is accepted 
 for a prophet of truth ; but his own disciples call him 
 the Son of God. He raiseth the dead, and cureth all 
 manner of diseases : a man of stature somewhat tall and 
 comely, with a very reverend countenance, such as the 
 beholders may both love and fear ; his hair the colour of 
 a filbert full ripe to his ears ; whence downward, it is 
 more orient of colour, somewhat curling or waving about 
 his shoulders. In the midst of his head is a seam or par- 
 tition of his hair, after the manner of the Nazarites ; his 
 forehead plain and delicate ; his face without spot or 
 wrinkle, beautified by a comely red ; his nose and mouth 
 exactly formed ; his beard thick, the colour of his hair, 
 not of any great length, but forked ; his look is innocent, 
 his eyes grey, clear, and quick; in reproving awful, in 
 admonishing courteous, in speaking very modest and 
 wise ; in proportion of body well shaped ; none have 
 seen him laugh, but many have seen him weep j a man 
 
so 
 
 for his singular beauty surpassing the children of men.** 
 The painting exactly corresponds with this letter ; for 
 certainly never were serene sweetness and benevolence 
 more happily touched and displayed than in this portrait. 
 ft. His features," as is truly observed, a dawn nothing 
 but that gentle sort of contemplation, which associates 
 itself with the most holy devotion. The mouth, which 
 is beautifully small, and as the ruby red, gives us, by its 
 hollowness, the idea of a person in the act of adoration ; 
 while the eyes are cast upwards, with such a look of 
 sweet and sublime sincerity, as really to pluck down the 
 blessings and graces they implore. The divinity, which 
 seems to stir within it, has thrown a crown of light and 
 glory round it, which time may mellow but can scarce 
 decay ; and the artist's execution is, in every part, so 
 thoroughly in conformity with his conception, that this 
 master-piece of art may well be said to verify the sublime 
 • declaration contained in the epistle of Publius Lentulus 
 to the Conscript Father, that he was a man, who for his 
 singular beauty, was really surpassing the children of 
 men." — The glory or rather rays of this piece are painted 
 upon gold, the brightness of which is delicately softened 
 by the pencil of the artist. It has been copied, we un- 
 derstand, very successfully by Mr. B. Christian, of Tin- 
 well, formerly house-steward to the late Earl ; and also by 
 the celebrated Miss Linwood 5 ofLeicester-square,in needle- 
 work. 
 
 Bird carved in Wood, a Specimen of modern English 
 Art, . Anon. 
 
 CURIOSITIES IN THE GLASS-CASE. 
 
 Golden Plate, Bason, and Spoons used by Queen 
 Elizabeth at her Coronation, , Anon. 
 
 Busk used by ditto, Anon. 
 
 Rosary of Mary Queen of Scots, Anon* 
 
 Statue of Clara Eugenia, Governess of the Netherlands* 
 
81 
 
 Grand embossed Silver Bason and Ewer, C. V. Viex. 
 These were bought at the Duke of Somerset's Sale, 
 and are inscribed with the maker's name, and dated 1632. 
 
 Silver Ceres, with Cornucopia and ripe Ears of Corn, 
 about a Span high,. Anon . 
 
 Caesar's Head, carved in Onyx, Anon. 
 
 This choice antique is about 2i inches oval, and has 
 a superb gold and ornamented frame set in diamonds. 
 
 Henry VIII. and his Children, cut in a Sardonyx, 
 Richard Atsyll. 
 
 Head of the Lord Treasurer Burghley, fixed to the 
 back of an antique Intaglio of Caracalla ; appendant, 
 a small Head of Queen Elizabeth, both in Cameo, on 
 Onyx, Valerio Belli. 
 
 Enamelled Trinkets, small Vases in Gold Filigree, 
 Amber, Diamonds, Precious Stones, Pearls, Corals, 
 Spars, Minerals, Shells, &c. &c. 
 
 THE NEW STATE BED ROOM, OR 
 SECOND GEORGE ROOM, 
 
 Measures 23 feet 8 inches long, 23 feet 
 wide, and 24 high. This elegant apart- 
 ment contains a grand chimney-piece 
 composed of red and white marble, orna- 
 mented by a tablet exhibiting the sacrifice 
 of a goat ; it was brought from Italy by 
 
 N 
 
82 
 
 the late Earl Brownlow. The grate, fen- 
 der, &c< deserve particular notice, being 
 highly finished in burnished steel, with the 
 family crests, coronets, and other orna- 
 ments in massy silver* 
 
 The State Bed is considered by 
 travellers as the most magnificent in Eu- 
 tope. It is elevated on a platform two 
 steps from the floor ; and has a spacious 
 dome, forming the top of the structure, 
 supported at each angle by three lofty co- 
 lumns, elegantly carved and gilt, issuing 
 from a tripod pedestal ; over which is the 
 family crest, and in the centre of the cor- 
 nice an earl's coronet, — all in burnished 
 gold. The dome is surmounted by a 
 large plume of ostrich feathers, delicately 
 carved in wood, the edges of which are 
 tinged with gold. The bedstead stands on 
 tbe platform independent of the canopy, 
 &c. in the French style, with the family 
 arms at the head, which, with the whole 
 of the wood work, is richly carved and 
 gilt. The hangings contain 250 yards of 
 beautiful striped coral-coloured velvet of 
 British manufacture, and are lined, toge- 
 
83 
 
 ther with the tester, head, &c. with 900 
 yards of white satin, — -the whole tastefully 
 interspersed with ornaments in gold. Deep 
 black silk fringe, coral-coloured trimmings, 
 tassels, &c. enrich the draperies attached 
 to this superb and costly structure. It is 
 upwards of 20 feet high ; and was executed 
 under the direction of the late Marquis, 
 and the present Marchioness, by Mr. 
 Newton, who has been previously noticed 
 as the furnisher of this and the adjoining 
 rooms. 
 
 PAINTED CEILING. 
 
 In the upper centre circle, Mars presenting Romulus 
 tp Jupiter to be deified : Jupiter consulting Gany- 
 mede, with a Cup in one Hand, and the other about 
 an Eagle's Neck, whose Talons grasp the Thunder- 
 bolt ; Mercury holding out a Roll with these words, 
 " Sic virtus evehit ardens honor pulcherrirna merces 
 ipse sibi/' Fame, with her Trumpet ; an4 Bacchus, 
 with his Cup and Grapes* In the lower centre 
 circle, Venus and Vulcan ; Cupid presenting his full 
 Quiver ; Fate, with his Book and Inkhprn, writing oi^ 
 the Back of Time ; Apollo ; Diana ; and Hercules re- 
 clining on the Lion's Skin. Other parts of the His- 
 tory of Romulus are represented in ovals, held by 
 gilt Cupids and Images ; the latter also supporting 
 the supposed Marble Cornice, Verrio. 
 
84 
 
 Romulus, the founder of Rome, was the grandson 
 of Numitor, King of Alba, and born at the same birth 
 -with Remus. These children were thrown into the Tiber 
 by order of Aurelius, who usurped the crown of his bro- 
 ther Numitor, but they were preserved, and, according 
 to Florus, a she wolf came and nursed them, till they 
 were found by Faustulus, one of the King's shepherds, 
 -who brought them up as his own. When they discov- 
 ered their origin, they put Aurelius to death, and restored 
 their grandfather to his throne. They afterwards un- 
 dertook to build a city ; but the two brothers not agree- 
 ing, Romulus slew Remus, and collected a great number 
 of foreigners, who became his subjects. He was believed 
 to be taken up to heaven as he was giving instructions to 
 his senators, B. C, 714, after reigning 39 years. An 
 eclipse of the sun, which happened at that time, strength- 
 ened the rumour. A temple was raised to him, and dU 
 vine honours paid to him under the name of Quirinus. 
 
 TAPESTRY. 
 
 Air. — iEolus, God of the Winds ; a variety of Birds ; 
 and Two Goddesses of the Sky, one of which holds 
 out the Coat of Arms of the Earl of Exeter, inscribed 
 E. E, At the bottom the following Lines : 
 
 Aer. 
 
 Te natura parens varios formavit in usus 
 Fervida tu gelido recreas praecordia flatu ; 
 Tu plantas vegetas segetesq ; herbamq; virentem, 
 Laeta? in tespatiantur aves gravidasq; procelJis, 
 Nubes ventus agit vacuo difFusus aprico, 
 Liber ab iEolio quoties dimittitur antro. 
 
 F. H. 
 
 Fire. — Vulcan at his Anvil, with a variety of Smith's 
 Tools ; Helmets, Cuirasses, Armour, and Cannon ; 
 and J upiter, with his Eagle at his feet, seated by 
 
85 
 
 the side of Juno, and holding forth the same Coat 
 of Arms. At the bottom, this Inscription : 
 Ignis. 
 
 Quanto aestu incendis sylvas urbesq; domosq; 
 Quae subversa jacent, propriis raiseranda ruinis, 
 Inque vicem refoves quam grato membra calore, 
 Decoquis atque cibos flammis subigisq ; metalla, 
 Et prodes et obes nondum constare videtur 
 Utilior servus, dominusne ferocior ectes. 
 
 F. H. 
 
 Water. — Neptune, with his Trident, surrounded by 
 Sea-horses, and attended by Tritons ; and wild Sce- 
 nery, projecting Rocks, and marine Monsters. On 
 the right of Neptune, the Queen of the Deep, who 
 holds forth the same Device, E. E. and at the bot- 
 tom, the following Inscription : 
 Aqua. 
 
 Spumeus sequoris regnans Neptunus in undis, 
 Componit sceptro fluctus insignis opaco. 
 Plurimis pone natant siren nymphaeq; marinas, 
 Et pisces tremuli per stagna liquentia cauda, 
 Horrida caerulea nec non et monstra profunda, 
 Atq ; rates varia comitantur merce refertae. 
 
 F. II. 
 
 These three large pieces of tapestry, though about a 
 hundred years old, are still in an uncommon state of pre- 
 servation. They extend about 15 feet each way, and 
 reach from 3 feet of the floor quite up to the gilt cornice 
 at the top of the room. They are terminated on each of 
 the four sides by a most noble border of carved work, 
 out of the solid oak of the wainscot, executed by a per- 
 son of Stamford, in a style very little inferior to that of 
 the ingenious Gibbons. These pieces, according to Mr. 
 Peck, were designed by F. Albano. 
 
86 
 
 PAINTINGS, &c. 
 
 Cleopatra decorating M. Antony's Tomb, Kauffman. 
 
 Penelope over the Body of Ulysses, Kauffman. 
 
 Penelope was the daughter of Icarus, and wife to 
 Ulysses, King of Ithaca. Ulysses being obliged to go to 
 the Trojan wars, in consequence of a promise he had 
 made to the father of Helen, was absent there and else- 
 where twenty years. The suitors of Penelope told her 
 he was dead, and entreated her to declare for one of 
 them, which she, being under their power, promised to 
 do so soon as she had finished a certain piece of needle- 
 work. But to delude them she undid by night what she 
 had been doing by day, and by that means waved the im- 
 patience of her lovers till her husband returned. 
 
 Agrippina landing at Brundusium with the Ashes of 
 
 Germanicus, West. 
 
 A daughter of M. Agrippa, and grand-daughter to 
 Augustus. She married Germanicus, whom she accom- 
 panied in Syria ; and when Piso poisoned him, she car- 
 ried his ashes to Italy, and accused his murderer, who 
 stabbed himself. She fell under the displeasure qf the 
 Emperor Tiberius, who exiled her in an island, where 
 she died A. D. 26, for want of bread. 
 
 Love conquers Prudence, Kauffman. 
 
 Prudence resisting Love, Ibid. 
 
 Burghley House, dated 1700, Anon. 
 
 Worthorpe House, same Date, Anon. 
 
 Alexander, Anon. 
 
 Catiline, Anon. 
 
 Venus and Cupid, , ...Ano*. 
 
 Angel and Child, 
 Small Landscape,, 
 Ditto, 
 
 Dr. Peters. 
 Rath. 
 
 Ibid. 
 
87 
 
 Minerva, * » Anon* 
 
 These four fine figures, standing on the mantle- piece, 
 are carved in box, and are 18 inches high : they wcro 
 brought from Palermo. 
 
 Daphne transformed into a Laurel, Anon. 
 
 This piece, also standing on the chimney-piece, is 
 delicately carred in ivory. — See Apollo and Daphne, 
 page 74. 
 
 Two antique Heads in Porphyry, Anon . 
 
 THE GREAT DRAWING ROOM, OR 
 THIRD GEORGE ROOM, 
 
 Is 27 feet square and 24 feet high. The 
 chimney-piece, made by Barttoli, of Lon- 
 don, is of white and various-coloured mar- 
 ble, encompassing a fancy fire grate, fire- 
 irons, &c. of steel and silver. 
 
 PAINTED CEILING. 
 
 The Cornice is of Stone Colour upon a Golden Ground, 
 at the angles of which are Shells and Reeds, twenty- 
 seven stone-coloured Images, and two Dolphins,— 
 all gilt. In the centre of each side, two Boys seated, 
 playing with Swans, and supporting the Cornice 
 with their Heads. In the middle of the ceiling, 
 Flora, with a Garland of Roses, and two Swans at 
 her Feet ; three Nymphs presenting her with Gar- 
 lands of Flowers, and two Females holding Branches 
 
88 
 
 of Myrtle over her Head, whilst others are strewing 
 Flowers before her ; Apollo and the Muses, opposed 
 by Pan and the Rural Deities ; Cupid and Psyche, 
 with Mercury pulling her by the Hair ; Hymen 
 holding a Torch ; over their Heads Janus holding a 
 Crown of Myrtle ; Time and Janus conversing and 
 looking on; and Boys interspersed, and displaying 
 Garlands of Flowers, Verrio. 
 
 Psyche was a nymph, whose charms were so won- 
 derful as to rival those of Venus. This circumstance ex. 
 asperated the goddess so much that she commanded her 
 son to avenge her on her rival ; but while employed on this 
 design, Cupid became enamoured of the beautiful maiden, 
 and marrying her, carried her into a place of bliss, where 
 he long enjoyed her company. Being ever invisible, he 
 forbade her to endeavour to see him ; but she was tempted 
 to disobey this prohibition, on which account the en- 
 raged god flew from her presence, and left her a prey to 
 remorse and despair. The victim equally of the rage of 
 Venus and of her son, she roamed through all the regions 
 of the earth in search of the celestial lover, whose favour 
 she had forfeited. Jupiter at length took pity on her 
 misfortunes, endowed her with immortality, and confirmed 
 her union with her forgiving husband, — which event is 
 thus elegantly described by Darwin : 
 
 '* So pure, so soft, with sweet attractions shone 
 
 Fair Psyche kneeling at the ethereal throne, 
 
 Won with coy smile the admiring court of Jove, 
 
 And warmed the bosom of unconquered love. 
 
 Beneath a moving shade of fruits and flowen, 
 
 Onward they march to Hymen's sacred bowers; 
 
 With lifted torch he lights the festive train 
 
 Sublime, and leads them in his golden chain ; 
 
 Joins the fond pair, indulgent to their vows, 
 
 And hides with mystic veil their blushing brows. 
 
 Round their fair forms their mingling arms they fling, 
 
 Meet with warm lip and clasp wilh rustling wing." 
 The above painting beautifully represents this re-union, 
 on which occasion the sky, say the poets, was empur- 
 pled with roses ; the graces shed aromatic odours through 
 the celestial halls ; Apollo accompanied the lyre with his 
 voice ; the god of Arcadia touched his sylvan reeds ; and 
 the Muses joined in the chorus. 
 
89 
 
 PAINTINGS. 
 
 Landscape, A. de Sestri. 
 
 Venus, Cupid, Ceres, and Bacchus, D. Rutter. 
 
 Noble Venetian,.... Sophonisba Angusciola. 
 
 I know not the Man, Caravagio. 
 
 Resurrection of Lazarus, John xi. 41... Geminiani. 
 
 Rebecca at the Well, Gen. xxiv. 16, Veronese. 
 
 Salutation, Luke i. 28. ^...Franceschini. 
 
 Winter, Mola, 
 
 Christ bearing the Cross, John xix. 17....Maratta. 
 
 Wise Men's Offerings, Matt, ii Geminiani. 
 
 Flower Piece, Riccio. 
 
 Head of Joseph, a Sketch, ; Raphael* 
 
 Battle Piece, Anon. 
 
 Head of the Virgin, Raphael, 
 
 Pope Gregory the Great, fine, Sacchi. 
 
 Gregory, the first Pope of Rome of that name, and 
 who acquired the title of the Great, was descended from 
 an illustrious patrician family at Rome, where he was 
 born about the year 544. He was appointed praefect of 
 the city, and held other civil dignities ; but, being in- 
 clined to a religious life, he retired to the monastery of 
 St. Andrew, which he himself had founded. From this 
 retreat he was drawn by Pope Pelagius II. who employed 
 him in his affairs, and made him his secretary. He, how- 
 ever, obtained leave to retire again to his monastery, of 
 which he was made abbot. On the death of Pelagius, in 
 590, he was elected Pope. He conducted the affairs of 
 the pontificate with great ability and success till the year 
 604, when he died. It deserves to be mentioned, that 
 this Pope converted the English to Christianity. 
 
 Head, .....„,.„Guido, 
 
90 
 
 Battle Piece, Anon. 
 
 Head, Guido. 
 
 Flower Piece,.... Riccio. 
 
 St. Bruno's Vision,..., Mola. 
 
 Christ in the Garden, Matt. xxvi. 36 Maratta. 
 
 Lady, .... Janssen. 
 
 Judith with the Head of Holofernes, Judith xiii. 15. 
 Eliz. Sirani. 
 
 Adoration of the Shepherds, Luke ii. 16 Floris. 
 
 Ascension of the Virgin,...* , Poussin. 
 
 Our Saviour crowned with Thorns, Matt, xxvii. 29. 
 Trevisani. 
 
 Portrait of a Spaniard, , Vandyck. 
 
 Sleeping Venus, D. Rutter. 
 
 Landscape, Sal. Rosa. 
 
 ANTIQUITIES, &c. 
 
 Medusa's Head, in white Marble, Nollikins. 
 
 This piece was copied from a fine antique in the 
 Rodoni Palace, at Rome, in 1764. — When Neptune en- 
 joyed the beautiful Medusa, (whose hair was of gold,) 
 in the temple of Minerva, the goddess changed her locks 
 into Snakes, and caused that those who looked upon her 
 hereafter should be turned into stones. 
 
 Apollo, in white Marble, Giuseppe Claus. 
 
 A copy from the beautiful statue at the grand Duke's 
 Palace, on the Trinita di Monte, in Rome. 
 
 Venus Bel Fesse, in white Marble 3 Feet high, Ibid. 
 
 Imitation of the Portland Vase, in Plaster of Paris, 
 ...*.„. ..........mTasso, Leicester-fields, London, 
 
91 
 
 This accurate imitation of the celebrated Portland 
 Vase, is standing in a glass-case. — The original is the an- 
 tique and sepulchral urn, from the Barberini cabinet, at 
 Rome, which contained the ashes of the Roman Emperor, 
 Alexander Severus and his mother Mammea. They were 
 deposited in the earth about 235 years after Christ; and 
 dug up by Pope Barberini, named Urban VIII. between 
 the years 1623 and 1644. — The materials of which the 
 vase is composed emulate an onyx: the ground is a rich 
 dark amethystine colour, and the snowy ligures which 
 adorn it are in bas relief, of workmaaship above all en- 
 comium. It is 9| inches high and 21| inches in circum- 
 ference. The Duke of Portland purchased it of Sir 
 William Hamilton for 1000 guineas, and after the decease 
 of her Grace of Portland, it was sold for ^1029. in 
 April, 1786. 
 
 Two Children, supporting on their Shoulders a Fish, 
 in white Marble, in the Window, , Anon. 
 
 Two Porphyry Urns, s .Anon. 
 
 Two curious Vases, brought from Herculaneum by 
 Sir W. Hamilton, Anon, 
 
 THE FOURTH GEORGE ROOM 
 
 Is 31 feet 6 inches long and 24 feet wide, 
 and is ornamented by a wainscot of rich 
 Norway oak, supporting a beautiful carved 
 and gilt cornice, which together are said 
 to have cost ,£1300. The superb white 
 marble chimney-piece is inlaid with Scotch 
 granite. 
 
92 
 
 PAINTED CEILING. 
 
 Round the top is a Gallery with gilt Railing, and at 
 the four corners, Fruits, Flowers, Fowls, and Fish. 
 In the centre of each side, a set of Gold Plate, be-* 
 hind which is hanging from the Rails a purple Velvet 
 Cloth fringed with Gold. Within the Rails, Apollo, 
 and the Nine Muses, seated. In the centre, a long 
 Table, with Jupiter and Juno at the head, and Pluto 
 and Proserpine on one side, seated opposite to Nep- 
 tune and Amphitrite, who are crowned with Corals 
 and Pearls. At the bottom, Cupid and Psyche 
 crowned with Myrtle ; two Cupids holding Doves ; 
 Mercury flying to J upiter with a Paper ; Minerva 
 and Mars in waiting ; Ganymede kneeling on one 
 knee and presenting the Cup ; and Flora receiving 
 the Oil and Vinegar from a Cupid whilst Dinner is 
 serving up, A distant View of the Kitchen, where 
 Bacchus is pouring out Wine into a Vase ; Baccha- 
 nals drinking ; Ceres crowned with Corn, and hold- 
 ing a Sheaf in her Hand ; and opposite, Nereides, 
 with Reeds, Coral, and Fish. In the middle of the 
 lower end, Plenty seated with Cornucopias, from 
 which are issuing Bread, Fish, and Fowl. 
 
 *The feast which the Gods are enjoying in the above 
 representation, is in celebration of the nuptials of Jupiter 
 and Juno, at which, as the poets write, not only the 
 gods, but all mankind, and even the brute creation, at- 
 tended. 
 
 44 Here the blest gods the nuptial day prolong 
 In feasts ambrosial, and celestial song. 
 Apollo tun'd the lyre ; the muses round 
 With voice alternate aid the silver sound." 
 
 By her marriage with Jupiter, Juno became Queen of 
 all the gods, and mistress of heaven and earth. 
 
93 
 
 PAINTINGS. 
 
 Virgin and Child,.. L. da Vinci. 
 
 Landscape, Claude Lorraine. 
 
 St. Matthew, .....Guido. 
 
 St. Augustine,.. Veronese. 
 
 Christ's Charge to Peter, Matt, xxvii. 9. J. Bellini. 
 
 Holy Family, A. del Sarto. 
 
 Boys dancing, Parmigiano. 
 
 Prodigal's Return, Bassan. 
 
 Envy plucking the Wings of Youth, Vecchia. 
 
 St. James, Spagnoletto. 
 
 St. Peter, Domenichino. 
 
 Holy Family, Old Palma. 
 
 Gathering Manna in the Wilderness, Exod. xvi. 18. 
 , Bassan. 
 
 Jacob receiving Joseph's bloody Coat, Gen. xxxvii. 
 32, ;..^Guercino. 
 
 Francisco Baglione, Confessor to the House of Parma, 
 
 ScHIDONE. 
 
 Joseph of Arimathea, Guercino. 
 
 Roman Matrons, Beccafumi. 
 
 See page 46. 
 
 Mary Magdalen, , „.Baroccio. 
 
 Adoration of the Shepherds, Luke ii Caravagio. 
 
 St. Jerome, Guido. 
 
 See page 55. 
 
 St. Andrew, ,.,„., Domenichino. 
 
94 
 
 St. Sebastian; A lb an o. 
 
 See page 77. 
 
 St. James,.... Veronese* 
 
 Landscape, Claude Lorraine. 
 
 Virgin reading, Garofalo. 
 
 ANTIQUITIES, &c. 
 
 Danae, in the Golden Shower, Anon, 
 
 On the tablet of the chimney-piece. — See fable, p. 71. 
 
 Apollo, in Bronze,... Anon. 
 
 Pefsius, • Anon. 
 
 Cicero, Anon. 
 
 Lucretia, Anon. 
 
 Cleopatra, Anon. 
 
 These four figures, standing upon the chimney-piece, 
 arc carved in box, each 14 inches high, and were brought 
 from Palermo. — Persius, a Tuscan gentleman, was an emr- 
 nent poet who satirized Nero in some of his pieces. 
 Cicero, a Roman, born A. R. 648, has been called the 
 greatest orator the world ever produced. The characters 
 of Lucretia and Cleopatra are given in other parts of the 
 volume. 
 
 Infant Hercules strangling the Snake, upon a Pedestal, 
 
 in Bronze, Algardi. 
 
 This piece was purchased from the famous Dr. Mead's 
 collection, in 1755. 
 
 Laocoon and his Two Sons encompassed with Snakes, 
 
 in Bronze, Anon. 
 
 Laocoon dissuaded the Trojans from bringing into 
 the city the fatal wooden horse, which the Greeks had 
 consecrated to Minerva, for which reason he was squeezed 
 to death in the complicated wreaths of serpents. 
 
95 
 
 " First roand the tender boys the serpents wind. 
 
 Then with their sharpened fangs their limbs and bodiea grind. 
 
 Their wretched father, running to their aid 
 
 With pious haste, but vain, they next invade ; 
 
 Twice round his waist their winding volumes rolled 5 
 
 And twice about his gasping throat they fold. 
 
 The priest thus doubly choked— their crests divide 
 
 And towering o'er his head iu triumph ride. 
 
 With both his hands he labours at the knots ; 
 
 His holy fillets the blue venom blots j 
 
 His roaring fills the flitting air around." 
 
 Virqil, /En. 2d. 
 
 John the fifth Earl of Exeter, a Bust in white Marble , 
 
 ...Monnot. 
 
 Countess of the same Earl, Lady Anne Cavendish, 
 
 a Bust in white Marble, Ibid. 
 
 These two busts are placed upon a square black in- 
 laid marble slab. 
 
 Statue of the Empress Livia, seated, Anon, 
 
 This small statue was also purchased from Dr. Mead's 
 collection. The sable beauty whom it represents was the 
 wife of T. C. Nero, by whom she had the Emperor Tibe. 
 rius. She afterwards was married to Augustus, and mur- 
 dered him, it is said, to hasten the elevation of Tiberiut. 
 She died A. D. 29, aged 86 years. 
 
 Two Chelsea China Jars, with Covers, Anon. 
 
 There are two beautiful jars, exactly like the above 
 in the British Museum : they are each twenty inches high. 
 
 Two square Mosaic Tables, variegated with Vesuvian 
 Lava, in polished Circles, Anon. 
 
 Two large Roman Vases, Anon. 
 
 Two antique Urns, in white Marble, ornamented in 
 
 basso relievo, ... Anon. 
 
 These curious antiques are each about a foot square. 
 One of them, when first discovered, contained the ashes 
 of the dead ; the other, which has not been opened, is 
 inscribed " Ossa Metelli Aretis." 
 
 Boy and Rabbit, an Antique, 18 inches high,..., Anon. 
 
96 
 
 Two sleeping Infants, in white Marble, in the Win- 
 dows, MoNNOf . 
 
 Gladiator, in Bronze, Anoi*. 
 
 Cupid and a Dove, on a white Marble Altar,. ...Anon. 
 This ancient sculpture, about 2 feet high, was found 
 in Adrian's villa, near Rome, in 1630: it is inscribed, 
 
 D. M. 
 
 QVINTIAE SATVRNINAE 
 
 G. VALERIIS TERMINALIS CONIVG 
 
 SVAE CARISSIMAE. FF. 
 
 THE FIFTH GEORGE ROOM, OR 
 HEAVEN, 
 
 Is 39 feet by 27, and 24 feet high ; and is 
 decorated with a sumptuous display of 
 paintings, the subjects of which are taken 
 from the heathen mythology. 
 
 PAINTED CEILING AND WALLS. 
 
 On the ceiling, Jupiter and Juno seated, with the Zo- 
 diac over their Heads. Below them, Ganymede, the 
 Eagle, and Peacock ; Cybele crowned with a Tower, 
 and drawn by Lions ; and Ceres crowned with Corn, 
 and drawn by Dragons. On the left, Minerva rest- 
 ing on her Shield ; Apollo, Diana, Bacchus, and 
 Ariadne, Hercules, Castor and Pollux, the Goddess 
 of Sleep, &c Mt • Verrio. 
 
97 
 
 On the west wall, Mars and Venus on a Bed, caught in 
 a Net by Vulcan, who is attended by Envy ; the 
 God of Sleep strewing Poppies on the Head of Mars ; 
 Cyclops peeping at them ; Mercury flying down ; 
 and Time and Janus overlooking them,.... Verrio. 
 
 On the north wall, the Graces observing the Lovers ; 
 a Nymph at a distance taking their Pictures; Hus- 
 bandmen looking and laughing at them from between 
 lofty Pillars ; View of the Sea, with Neptune and 
 Attendants approaching, having left their Chariot 
 on the Waves; and Bacchus bestriding a Tun on 
 the Shore, Verrio. 
 
 The east wall exhibits Vulcan's Forge, and the Cyclops 
 
 at work,.... Verrio. 
 
 The history of Mars and Venus, the chef d'oeuvre 
 in this room, is greatly celebrated. The god of war 
 gained the affections of Venus, and obtained the gratifica- 
 tion of his desires; but Apollo, who was conscious of 
 their familiarities^ informed Vulcan of them, and awakened 
 his suspicions. Indignant at the idea of such infidelity, 
 46 A wond'rous net he labours., to betray 
 The wanton lovers, as entwin'd they lay, 
 Indissolubly strong ! Then instant bears, 
 To his immortal doom the finish'd snares. 
 Above, below, around, with art dispread, 
 The sure inclosure folds the genial bed ; 
 "Whose texture ev'n the search of gods deceives, 
 Thin as the filmy threads the spider weaves." 
 Vulcan, after making this preparation to imprison the 
 adulterers, pretends to take a journey to Lemnos, during 
 which absence Mars thus entreats the wanton goddess : 
 44 4 Come my belov'd ! and taste the soft delights : 
 Come to repose the genial bed invites : 
 Thy absent spouse, neglectful of thy charms. 
 Prefers his barb'rous Sintians to thy arms V — 
 Then, nothing loath, th' enamour'd fair he led, 
 And sunk transported on the conscious bed. 
 Down rush'd the toils, inwrapping as they lay 
 The careless lovers in their wanton play % 
 In vain they strive, th' intangling snares deny 
 {Inextricably firm) the pow'r to fly.'* 
 
 0©yssey 3 b.. 8. 
 
 P 
 
98 
 
 The husband, returning home, burns with rage at finding 
 the lovers caught in his snare, and calls upon Jove, and all 
 the gods, to witness the scene. They attend his sum- 
 mons, 
 
 M And unextinguished laughter shzfkes the sky." 
 Vulcan at length, at the solicitations of Neptune, sets 
 them free. 
 
 The artist, in the grouping, has introduced a striking 
 portrait of himself near the forge, and has employed his 
 favourite lady in taking a drawing of the lawless lovers. 
 The head of the lusty Bacchus is also said to represent a 
 certain Dean of that day, remarkable for his love of wine. 
 
 Jupiter and Semele, over the Door, Verrio. 
 
 See fable, page 70. 
 
 ANTIQUITIES, SCULPTURE, &c. 
 
 JNfiobe and Nine of her Children, Models, Nollikins. 
 These figures are each about 2 feet high, and are 
 standing upon a large Egyptian marble slab ; they were 
 copied from the originals in the Florentine Gallery. — 
 Niobe was the daughter of Tantalus King of Lydia, by 
 Euryanassa or Dione. She married Amphion, the son of 
 Jasus, by whom she had a numerous offspring ; but her 
 pride rousing the anger of the gods, 
 
 " Six youthful sons, as many blooming: maids, 
 In one sad day beheld the Stygian shades : 
 Those by Apollo's silver bow were slain, 
 These Cynthia's arrows stretched upon the plain. 
 So was her pride chastis'd by wrath divine, 
 "Who match'd her own with bright Latona's line." 
 
 The bodies of her children were left unburied in the 
 plains nine successive days ; but on the tenth the gods 
 gave them interment. Niobe, struck at the suddenness 
 of her misfortunes, was turned into stone. 
 
 M Herself a rock, (for such was heav'n's high will,) 
 Thro* desarts wild now pours a weeping rill ; 
 "Where round the bed whence Achelous springs, 
 The wat'ry fairies dance in mazy rings, 
 There high on Sipylus his shaggy brow, 
 She stands her own sad monument of woe: 
 The rock for ever lasts, the tears for ever flow," 
 
 Iliad, b, 24, 
 
99 
 
 Bust of William Cecil, Esq. Brother to John the fifth 
 Earl, 1701, Monnot, 
 
 Figure of a Lion, found at Ostia, 1725, .....Anon, 
 
 Roman Urn, of Alabaster Pecorilla, .Anon, 
 
 It was dug up in a vineyard, near the Porto Salerno, 
 at Rome, and contains ashes. 
 
 Roman Lamps and Two Boys' Heads, in Bronze. 
 Fine antique circular Urn of white Marble, ornamented 
 
 with Sea-horses, &c. in alto relievo, Anon. 
 
 Bust of Sir Joseph Banks, Gerrard, 
 
 Ditto of Dr. Willis, .. Ibid. 
 
 Ditto of Gilpin, . Ibid, 
 
 Sawrey Gilpin, a late artist, and a descendant of 
 Bernard Gilpin, an eminent English divine called the 
 " Apostle of the North," was born in Carlisle in 1733, 
 from whence he removed to London, and was appren* 
 ticed to a ship painter. His abilities introduced him to 
 the patronage of the Duke of Cumberland, in whose stud 
 he acquired that knowledge of the horse, which he after- 
 wards displayed with so much spirit and beauty. His 
 historic compositions, namely, the Triumph of Camillus, 
 the Election of Darius, the story of Phaeton, &c. render 
 it lamentable that such superior talents should have been 
 so much occupied in the meaner employment of horse 
 portrait painting. A group of tigers, in the possession 
 of S. Whitbread, Esq. is considered his chef d'oeuvre. — 
 Although none of his works are in Burghley, he was the 
 companion of Gerrard, when the latter executed some of 
 his elegant busts there ; and it is probable he assisted his 
 friend in making sketches for the models of the various 
 animals under-mentioned. He died in March, 1807. 
 
 Nine Glass-cases, containing accurate Models in Plaster 
 of Paris of Thirty -three different Species of English 
 Sheep, Cattle, &c...,* 3 Gerrard* 
 
100 
 
 THE GRAND STAIRCASE, OR 
 HELL, 
 
 Usually called by the latter name, in 
 consequence of the painted ceiling, which 
 represents the poetic Tartarus of the hea- 
 thens. The dimensions are 44 feet by 25, 
 and 43 in height. The grand double geo- 
 metrical staircase of Ketton stone, was 
 erected in 1786, and has a handsome iron 
 balustrading, made by a Mr. Johnson, 
 King-street, Golden-square. The fine stone 
 pillars, which now support the landing 
 place, above, were substituted, through 
 unavoidable disappointment, in the place 
 of more expensive and magnificent marble, 
 
 PAINTED CEILING AND WALLS. 
 
 Surrounded by Flames, in the centre of the ceiling, are 
 seated, the Three Judges of Hell, Minos, Rhada- 
 manthus, and iEacus ; Death with his Scythe and 
 Mask, crowned with Cypress ; Rape of Proserpine, 
 and the Car drawn by Four Horses ; the Three Fatal 
 Sisters, Clotho, Lachesis, and Atropos ; Danaus T s 
 Forty-nine Daughters filling the bottomless Tub^ 
 and Envy tormenting them ; Ixion upon the perpe- 
 tually turning Wheel; Prometheus gnawed by 
 Eagles ; Laocoon and his Two Sons killed by Ser* 
 
101 
 
 pcnts ; Scylla and Charybdis ; Erisichthon devour- 
 ing his own Flesh; Sisyphus rolling his Stone.: 
 Tantalus tormented with eternal Hunger and Thirst ; 
 and Hecate behind a Cloud drawn by Hinds. On 
 the right of the J udges, the Furies dragging Kings 
 io Judgment : on the left. Dido upon the Funeral 
 Pile; Cleopatra with her Asp; Lucretia with her 
 Dagger ; and Medea with her Wand and Book. 
 The Mouth of Hell is seen open crowded with People 
 suffering different Torments; and at the door sits 
 Theseus tied to a Stone, from which Hercules res- 
 cues him, Verrio* 
 
 A brief notice of some of the characters and inci- 
 dents exhibited in this extensive painting may afford the 
 reader some amusement. The King and Queen, for eour« 
 tesy's sake, may first claim attention. The rape of Pro- 
 serpine, daughter of Ceres and Jupiter, was committed 
 by Pluto, who stole her from the fields of Enna, and sunk 
 with her into the earth at Syracuse, Ceres, distressed at 
 the event, obtained from Jupiter the favour of permitting 
 her daughter to live half the year with her in heaven, and 
 the other half with her husband. — The power of the 
 Fates, or Parcae, which are next mentioned, is thus re- 
 corded : Clotho, the youngest of the sisters, presided 
 over the moment in which we were born, and held a dis- 
 taff in her hand ; Lachesis spun out all the events and 
 actions of our lives; and Atropos, the eldest of the three, 
 cut the thread of human life with a pair of scissars. — The 
 torments here endured, are thus given by the poet : 
 
 " There Tityus might be seen, his breast displayed, 
 
 His monstrous bulk o'er nine huge acres laid j 
 
 His liver by a thousand vultures torn, 
 
 Still new to their repeated tortures born. 
 
 There Tantalus with thirst in water dies, 
 While bobbing fruit still from his hunger flies. 
 
 There Sisyphus rolls up the weighty stone, 
 
 "Which, when he hopes to lodge, is slipt and gone, 
 
 Himself Ixion to the wheel fast bound, 
 
 Still flies and follows in an endless round : 
 
 And Danaus' daughters too, whose barbarous hands 
 
 Gould murder those, whom all the sacred bands 
 
102 
 
 Of blood and marriage to themselves had joinM, 
 To fill th' unboUom'd cask with ceaseless pains confinM.'* 
 
 Ovid's Met. 
 
 Scylla and Charybdis are described by Virgil as follows; 
 
 " Far on the right her dogs foul Scylla hides : 
 Charybdis roaring on the left presides, 
 And in her greedy whirlpool sucks the tides : 
 Then spouts them from below ; with fury driv'n. 
 The waves mount up, and wash the face of heav'n ; 
 But Scylla from her den, with open jaws 
 The sinking vessel in her eddy draws, 
 Then dashes on the rocks : a human fare, 
 And virgin bosom, hide the tail's disgrace. 
 Her parts obscene below the waves descend, 
 With dogs enclos'd, and in a Dolphin end."— 
 After observing the Fates, — 
 
 " Endu'd with windy wings to fleet in air, 
 With serpents girt alike, and crown'd with hissing hair, 
 In heav'n the Dirae called," — 
 the next object which engages our attention is the faithful 
 Dido, Queen of Tyre. This princess married Sichaeus, 
 the priest of Hercules, who was afterwards murdered by 
 Pygmalion that he might obtain his riches. The widow 
 became disconsolate for the loss of a husband whom she 
 dearly loved ; and being pressed by many admirers, her 
 subjects wished to compel her to marry Iarbus King of 
 Mauritania, who threatened them with a dreadful war. 
 Dido begged three months to decide upon the offer, during 
 which time she erected a funeral pile, as if wishing by a 
 solemn sacrifice to appease the manes of Sichaeus. When 
 all was prepared, she stabbed herself on the pile in the 
 presence of her people. — Similar to the above sacrifice, 
 though unlike the cause, is that recorded of Lucretia. 
 Sextus, the eldest son of Tarquin, became enamoured of 
 her, and paid her a visit at Rome in the absence of her 
 husband Collatinus. He was treated with all the civility 
 due to his rank, but at night he arose, and went armed 
 to Lucretia's room, and made use of all the efforts possi- 
 ble to prevail over her virtue, in which he succeeded 
 by menacing her life, and that of a slave, both of 
 -whom, he told her, he would lay together, and report 
 that he had murdered them for having caught them in the 
 act of adultery. Lucretia next day sent for her father 
 and her husband, to whom she related the horrid circum- 
 stance, and instantly drawing forth a dagger she plunged 
 it into her breast. — Medea displaying her wand and book 
 
103 
 
 by the side of Lucretia, was a celebrated magician. She 
 assisted Jason in procuring the golden fleece from iEtes, 
 her father. When she found he pursued them, she tore 
 her brother Absyrtus, who went with her, in pieces, and 
 scattered his limbs on the road, that her father might be 
 detained in gathering them up* — Hercules, to whom the 
 attention is next called, is rescuing Theseus from Hell, 
 where he had been detained by Pluto, for assisting Peri- 
 thous in an attempt to steal away Proserpine. — And lastly 
 must be noticed the falling nymph, whom the artist has 
 placed among the demons to endure an eternity of hell 
 torments. She was a female servant of great beauty, and 
 resented the gallantries of Verrio, who thereupon imme- 
 diately consigned her in this mimic hell to imaginary 
 perdition. 
 
 Mark Antony at Cleopatra's expensive Banquet, 
 on the north Side of the Room, Stothard. 
 
 Orpheus and Eurydice, on the west Wall, .Ibid. 
 
 Orpheus was the son of Apollo, and a most eminent 
 musician and poet. His strains were so powerful, that 
 rivers stopped their courses, and rocks, trees, and moun- 
 tains followed to hear him. The most savage wild beasts 
 grew tame at his music. He went down into hell, in or- 
 der to bring back his wife Eurydice from thence; and 
 tjie sweetness of his melody so softened the hearts of 
 Pluto and Proserpine, that she was suffered again to fol- 
 low him into life, on condition that he did not look back 
 upon her in the way. Not being able to resist the force 
 of his love, he broke the condition, and she instantly 
 Tanished from his eyes. 
 
 Horrors of War, on the east Wall, SjotharDo 
 
 BUSTS, fee- 
 Boy and Dolphin, Nollikins. 
 
 This excellent sculpture is of the finest statuary 
 marble, exquisitely polished, and supported by a trian- 
 gular corinthian pedestal. It was copied from an antique 
 in the Barberini Palace, at Rome, which was purchased 
 by the late Empress of Russia for «s£300. 
 
104 
 
 Bust of the Empress Agrippina, in Plaster, Anon. 
 
 Marble Bust, Anon. 
 
 Stothard, a half-length Portrait, Himself. 
 
 THE DINING ROOM. 
 
 Visitors are next conducted down the 
 grand staircase into a saloon, the east end 
 of which opens into the Great Hall, and 
 its opposite one into the present room, 
 which is the first of the extensive suite of 
 apartments on the ground floor, leading 
 westward, under the George Rooms, and 
 measures 39 feet by 26, and 15 feet high. 
 The ceiling is supported by four elegant 
 fluted corinthian pillars, richly gilt; and 
 the white marble chimney-piece is beauti- 
 fully inlaid and supported by Sienna mar- 
 ble, and lighted by a fine bronze satyr and 
 satyress. 
 
 In this room are two magnificent 
 sideboards, which contain a rich profusion 
 of costly gilt crown plate of large dimen- 
 sions, among which is the largest silver cis- 
 
105 
 
 tern in England ; it weighs 3400 ounces, 
 and cost £825. : there is also a smaller 
 one that weighs 656 ounces avoirdupoise 
 which cost £\65. : both of them are orna- 
 mented with lions m solid silver. Upon 
 the sideboards also are four large round 
 dishes, being coronation plate,* given to 
 the family by King James II. Queen Anne, 
 and George I. ; several large cups ; and 
 an Ewer, engraved with the family arms, 
 &c. A beautiful fountain is also attached. 
 
 * Hugh de Beauchamp, when he attended the Conque- 
 ror in his expedition into England, had given to him forty- 
 three lordships in the counties of Bedford, Bucks, &c. 
 Bedford Castle, the head of his barony, was held of the 
 crown, by the service of performing the office of almoner to 
 the Kings of England on the day of their coronation. His 
 grandson, William, possessed forty-five knights' fees and a 
 half, and was almoner at the nuptials of Henry III. This 
 family ended in three co-heiresses, Maud, Ela, and Beatrix. 
 Maud became the wife of Rod. Mowbray, whose descend- 
 ants, the Dukes of Norfolk, possessed a moiety of the ba- 
 rony of Bedford. Ela, who was married to Baldwin Wake, 
 left three daughters and co-heiresses ; the eldest, Joan, be- 
 came the wife of Michael Picot, from whom, by the Gas- 
 coignes, descended the Blundells, who also had a part of 
 the barony of Bedford. Beatrix was married to Thomas 
 Fitz Oates, and afterwards to William de Munchensi,' 
 whose daughter and heiress, Maud, married into the family 
 of Botetourt. Elizabeth, daughter and heiress of Lord 
 Botetourt, became the wife of William Baron Latimer, 
 whose descendant and heiress, Elizabeth, was second wife of 
 John Lord Nevill, of Raby. Several of the Nevills were 
 summoned to Parliament as Barons Latimer, till the family 
 ended in four daughters, Dorothy, the second daughter 
 
106 
 
 PAINTINGS, &c. 
 
 Stilf Life,...., H. Van. Ravesteyk. 
 
 Triumph of Time, 10 ft. 6 in. by 9 ft M. Preti. 
 
 Wise Men's Offerings, Matt. ii. 11 Bassan. 
 
 Landscape, Hobbina, Figures, Ostade. 
 
 Four Ladiesof the Houseof Parma, Schidone. 
 
 and co-heiress of John Nevill, Lord Latimer, became the 
 first wife of Thomas Cecil, first Earl of Exeter, who had in 
 her right, amongst other property, the manor of North 
 Crawley, in Buckinghamshire, being part of the ancient 
 barony of Bedford ; by the possession of which estate, the 
 Cecils, in their turn, are entitled to the honourable service of 
 almoner, at the coronation of our British sovereigns. Pre- 
 vious to the coronation of Henry IV. proclamation was 
 made at Whitehall, 66 that what nobleman or other, that 
 could claime any office that day of the solemnizing the 
 King's coronation, they should come and put in their bylles 
 comprehending their demandz ; whereupon diverse offices 
 and fees were claimed as well by bylles, as otherwise by 
 speech of mouth. " Among the claimants, John Lord Lati- 
 mer, who for himself, and the Duke of Norfolk, by his 
 attorney, claimed, and had, the office of almoner, with the 
 perquisites; by reason of certain lands, which sometime be- 
 longed to the Lord William Beauchamp, of Bedford. They 
 had the silver bason, or alms-dish; the distribution of all 
 the silver therein ; the fine linen cloth prepared to put in 
 the silver that was appointed to be given in alms ; and like- 
 wise the distribution of the cloth, that covered the pavement 
 and floors from the King's chamber to the pulpit in West- 
 minster Abbey, spread for their majesties to walk on. Also 
 a tun of wine, &c. — At the coronation of James II. John 
 the fifth Earl of Exeter, Sir George Blundell, and Thomas 
 Snaggs, Esq. as being owners of different estates, parcel of 
 the barony of Bedford, claimed to execute the office of al- 
 moner and the fees : their claim being referred to the King, 
 he appointed the Earl pro hac vice, with a salvo jure to 
 the other two claimants. The silver dish, and the cloth in 
 Westminster-hall to the wc*t door of the abbey church, 
 only, were allowed. 
 
107 
 
 Diogenes throwing away his Cap, ........*Murillo. 
 
 This celebrated cynic philosopher was the son of 
 a banker, who was banished from his native country, 
 Si nope, for coining false money. He early determined 
 to distinguish himself by his contempt of riches and 
 honours, and by his indignation against luxury. He 
 wore a coarse cloak; carried a wallet and a staff; made 
 the porticos and other public places his habitation ; and 
 depended upon casual contributions for his daily bread. 
 A friend whom he had desired to procure him a cell, not 
 executing his order so soon as he expected, he took up 
 his abode in a tub, or large open vessel, in the Metroum. 
 When Alexander once visited him in this retreat, he 
 asked Diogenes if there was any thing in which he could 
 gratify or oblige him. Get out of my sun-shine, was the 
 only answer wjiich the philosopher gave. Such an inde- 
 pendence of mind so pleased the monarch, that he turned 
 to his courtiers, and said, if I were not Alexander, f 
 would be Diogenes. — The above painting represents the 
 cynic dashing his cup from his wallet, because he would 
 carry no superfluities about him. He had been led tp 
 this action from observing a boy drink water out of tlie 
 hollow of his hand. Various accounts are given concern- 
 ing the time and manner of his death. It seems most pro~ 
 babie that he died at Corinth, of mere decay, in the 90th 
 year of his age, and in the 104th olympiad. 
 
 Passage of the Israelites, Ex. xiv. 21. 10 feet 6 inches 
 by 9 feet, Castiglione. 
 
 Dead Game, Koninck 
 
 Two Horses and a Boar, in Bronze, on the Chimney- 
 piece, m ...Anon% 
 
108 
 
 THE MARBLE HALL 
 
 Is 29 feet long and 24 wide, and is sump- 
 tuously furnished. On the projecting 
 parts of the wainscot and at the entrances 
 to the room are placed several neat and 
 elegant mahogany book-cases. 
 
 PAINTINGS. 
 
 Frances Countess of Exeter, a half-length, seated, 
 
 Giovanni Battista Medina. 
 
 She was one of the seven daughters of John Man- 
 ners, Earl of Rutland, and wife of John the fourth Earl 
 of Exeter. 
 
 Pluto, Orpheus, and Eurydice, Gennari. 
 
 See page 103. 
 
 John Lord Burghley, the sixth Earl of Exeter, whole 
 
 length, and a Greyhound, Wissing. 
 
 Prior's third volume of poems contains a genuine 
 copy of verses addressed to the Countess Dowager of 
 Devonshire on this picture, The following lines relate 
 to Lord Burghley : 
 
 If in dear Burghley's gen'rous face we see 
 Obliging truth, and handsome honesty ; 
 "With all that world of charms which soon will move, 
 Kev'rence in man, and in the fair ones love: 
 His ev'ry grace, his fair descent assures, 
 He has his mother's beauty — she has your's." 
 
 There is a half-sheet mezzotinto of this picture, by 
 J. Smith, 1686. 
 
 John the fifth Earl of Exeter, Anon. 
 
 Anne Countess of Exeter, a half-length, '.Anon, 
 
 She was the Countess of the fifth Earl, and daughter 
 of William Earl of Devonshire. 
 
109 
 
 John the sixth Eurl of Exeter, the Hon. Charles Cecil, 
 his Brother, who died in 1720, and his Sister, Lady 
 Elizabeth, who was married to Charles Boyle, Earl 
 of Orrery, 4 feet by 7, D'Agar. 
 
 John Lord Burghley, afterwards the fifth Earl of Ex- 
 eter, with his Hand upon a Greyhound ; his Brother 
 David, who died young ; and Lady Frances, their 
 Sister, who afterwards was married to John Viscount 
 Scudamore 3 4 feet by 7, D'Agar. 
 
 William Duke of Devonshire, in Armour, with a Baton 
 in his Hand, a half-length, Anon. 
 
 William Cecil, Lord Ross of Holderness, in a Roman 
 
 Dress, and large Wig, a half-length, Lely. 
 
 He was the only son of William the second Earl of 
 Exeter, by his first lady, Elizabeth, sole daughter and 
 heiress of Edward Earl of Rutland. He married, in 1616^ 
 Elizabeth, the daughter of Sir Thomas Lake of Channons, 
 in Middlesex, Knt. principal secretary of state ; and was 
 sent ambassador to the Emperor Matthias by James I. 
 The next year his title of Lord Ross was disputed, 
 although it had been allowed him in his credentials by his 
 royal master. This title he enjoyed by right of descent 
 from Elizabeth, his mother, daughter and heiress of Ed- 
 ward Earl of Rutland, who also had it by right of descent 
 from Eleanor, his grandmother, sister and heiress of Ed. 
 mund Lord Ross. The claimant was his cousin, Francis 
 Earl of Rutland, who was brother of Earl Rodger, the 
 son of Earl John, who was brother of Edward Earl of 
 Rutland, his mother's father. The affair was examined 
 before the lords commissioners for the Earl Marshal, who 
 adjudged the title to him, and he had his majesty's decla- 
 ration for the same. In consideration of the Earl of 
 Rutland being the possessor of the lands and barony 
 of Hamlake, it was declared at the same time that he 
 should have the title of Lord Ross of Hamlake. He 
 died at Naples in 1618 without issue, but not without 
 suspicion of being poisoned. 
 
110 
 
 Lady Elizabeth Chaplin,..., Hudson. 
 
 She was the sister of Brownlow the ninth Earl of 
 Exeter, and the wife of Charles Chaplin, Esq. of Blank- 
 ney, in Lincolnshire. 
 
 Henry the first Marquis of Exeter, , Shee. 
 
 A Duke of Tuscany in Armour, about 1690, with one 
 Hand upon a Baton, which rests upon a Marble 
 Pedestal, Anon. 
 
 Sea Piece, taken in 1795, Wm. Anderson. 
 
 Child and Dolphin...... Patoun. 
 
 Flower Piece, , Anon. 
 
 Ditto,. Anon. 
 
 Dr. Willis, in Crayons, Russel. 
 
 The Rev. Francis Willis, D. D. justly celebrated 
 for his success in curing the greatest affliction in human 
 life, insanity, was born in 1717. He was of Brazen-nose 
 College, Oxford, M. A. 1740, and D. D. 1759. For 
 the professional service he some years ago rendered to 
 this country 3 in the person of the sovereign, he had, in 1790, 
 an annuity granted to him of «s£ 1000. for twenty-one years. 
 The fame he thus obtained induced l>is attendance to be 
 sought for the Queen of Portugal, to whom he went, and 
 who was for some months his patient. A great number 
 of afflicted persons of family and respectability were un- 
 der his care at Grcatford and Shillingthorpe, where the 
 Doctor had the largest establishment of the kind in the 
 kingdom. It is now conducted by his eldest son, Doctor 
 John Willis, who has been a regular attendant on his 
 majesty during his existing protracted malady, and who 
 had an annuity of ,s£500. granted him for attendance on 
 a prior occasion. Doctor Willis died December 5, 1807, 
 and left five sons by his first wife, who was sister to the 
 Rev. Peregrine Curtis, of Brinstone, near Lincoln, and 
 who died in 1787, aged 73 years. His second wife was 
 a, Mrs. Storer, by whom he had no issue. 
 
 Mrs* HauchecornC; ditto,.,. «.Ibid* 
 
Ill 
 
 Madame Valliere, Anon* 
 
 See biography, page 43. 
 
 Captain Pierrepoint, ...Shee, 
 
 THE RED DRAWING ROOM 
 
 Is 27 feet square, and is hung with crimson 
 damask. The chimney-piece is very ele- 
 gant, and exhibits on the tablet a piping 
 shepherd ; over which is placed one of the 
 finest and largest pieces of plate glass ever 
 manufactured in England, being 7 feet by 4. 
 
 PAINTINGS, &c. 
 Holy Family, B. Gennari. 
 
 Jupiter and Europa, L. Giordano. 
 
 Europa was the daughter of Agenor, King of Phoe- 
 nicia, and Telephassa. She was so beautiful that Jupiter 
 became enamoured of her, and the better to seduce her, 
 he assumed the shape of a bull, and mingled with the 
 herds of Agenor, while Europa, with her female attend- 
 ants, were gathering flowers in the meadows. Europa 
 caressed the beautiful animal, and at last had courage to 
 sit upon his back. The god took advantage of her situ- 
 ation, and with precipitate steps retired towards the sea. 
 
 " Through storms and tempests he the virgin bore, 
 
 And lands her safe on the Dictean shore ; 
 
 Where now in his divinest form array'd. 
 
 In his true shape he captivates the maid ; 
 
 Who gazes on him, and, with wond'ring eyes, 
 
 Beholds the new majestic figure rise ; 
 
 Yiew9 his bright features, aud his native light, 
 
 And all the God discovered to her sight/' 
 
 Ovid's Met, 
 
112 
 
 Marcus Curtius leaping into the Gulph, 9 feet by 
 
 6 feet 3 inches,.., L. Giordano. 
 
 See page 47. 
 
 Catherine Empress of Russia, Anon. 
 
 This fine miniature, set in gold, was given by the 
 Empress, in 1787, to Lord St. Helens, then ambassador 
 at the Russian court. His lordship made a present of it 
 to the Earl of Exeter, in 1795. — This great Princess was 
 the daughter of Christian Augustus, of Anhalt Zerbst, in 
 Upper Saxony, and was born in 1729. Her education 
 was suitable to her rank, and she particularly excelled in 
 needle-work. At the age of 14 she became the wife of 
 the Duke of Holstein Gottorp, afterwards Peter III. 
 Her husband was devoid both of personal and menial ac- 
 complishments, and she succeeded in wresting the sceptre 
 from his hands, and possessed the imperial throne without 
 a partner. She commenced her ambitious course by de- 
 posing the Duke of Courland, and giving that title to 
 Biron, one of her own creatures. In 1763 the King of 
 Poland dying, she sent an army to the Poles, and com- 
 pelled them to elect Poniatowski, one of her paramours, 
 to the vacant throne. She now engaged in a war with 
 the Turks, which lasted ten years, and ended greatly in 
 favour of Russia. Hostilities again broke out, but at 
 length a peace was concluded in January, 1792, yet the 
 blood shed at Ismael will ever remain a horrid blot in 'the 
 history of this war. The rapacious Catherine now had 
 time to turn her attention to European politics ; and her 
 first object was the partition of Poland, an event which 
 will always be recorded with indignation. This northern 
 Semiramis was liberal to her paramours, who were nume- 
 rous and of all ranks, and magnificent to men of letters 
 and science. She died suddenly, of an apoplectic fit ? 
 Nov. 10, 1797. 
 
 Diana and Acfaeon, L. Giordano. 
 
 See page 61. 
 
 Death of Seneca, 11 feet by 10, L. Giordano. 
 
 The celebrated stoic, whose approaching dissolution 
 is represented in the above piece, was a native of Cordu- 
 ba : in Spain. He was carried to Rome in his infancy, 
 
113 
 
 where he was educated by the best masters ; and in time 
 he became questor, praetor, and even consul. The Em- 
 press Agrippina afterwards engaged him to take care of 
 her son, Nero, who succeeded to the empire, and so long 
 as the advice of Seneca was attended to, Rome enjoyed 
 tranquillity, and believed herself safe and happy under 
 the administration of his pupil. Nero, however, became 
 anxious to shake off the yoke of his preceptor, and found 
 an opportunity of sacrificing him to his secret jealousy. 
 He accused him of being an accessary in the conspiracy 
 of Piso, and ordered him to destroy himself. The latter 
 words the stoic heard with philosophical firmness, and 
 even with joy ; and observed that such a mandate might 
 have long been expected from a man who had murdered 
 his own mother, and assassinated all his friends. He told his 
 weeping kindred, that since he was not allowed to leave 
 them what he believed his own, (Nero having deprived 
 him of his possessions,) he would leave them at least his 
 own life for an example, an innocent conduct which they 
 might imitate, and by which they might acquire immor- 
 tal fame. Nero having given him the choice of the man- 
 ner of his death, Seneca caused his veins to be opened, but 
 the blood flowing slowly, he was removed into a hot 
 bath to accelerate the operation. This was attended 
 with no better success, and as the soldiers were clamour- 
 ous, he was carried into a stove, and suffocated by the 
 steam, in his 53d year. — The artist has pourtrayed the 
 philosopher bleeding in the bath, in the above performance, 
 and in so excellent a manner, that it is reported Louis 
 XVI. offered the Earl 6000 pistoles for it. " The muscles 
 of a spare old man," observes a writer on this painting, 
 u whose life has been in subjection to the principles of 
 of the most severe philosophy, are very finely and very 
 faithfully expressed. The painter seems to have taken 
 him, if not at a moment in which life was ready to vanish, 
 yet surely at that when, by the loss of blood, in so old a 
 subject, reason and sensibility must naturally have been 
 supposed to end. His eyes seem to sink in his head ; and 
 his approaching dissolution is foretold by the ghastly 
 darkness which appears to lower over his whole face. 
 Like a stoic and a philosopher, however, he dictates to 
 the last; and points out his sentiments with his hand, 
 when it is evident he has scarcely strength to support his 
 
 R 
 
114 
 
 body. But his pupils, who zealously kneel by him, are 
 all attention ; and while their eyes swell with tears, con- 
 vey the idea of that infirmity, which the soul of their 
 more rigid master spurns with disdain." — Of the intro- 
 duction of the dog, which has been supposed by many to 
 ]essen the^randeur and effect of the painting, the same 
 writer observes, — u While the artist has done all possible 
 justice to the piece, in his fine and affecting description 
 of the philosopher and his pupils, he intended by this 
 stroke, no doubt, a tacit satire upon the error of human 
 wit, as well as upon the doctrine of human pride. Spec- 
 tators, therefore, must be greatly deceived, if they ima- 
 gine any expression in this animal but that which is of 
 the true stoical and insensible kind. The dog is now be- 
 holding the philosopher expire, with the same unconcern, 
 with which the philosopher would have seen the dog ; 
 and, without reason, either to quicken or subdue his feel- 
 ings, is just as profound a stoic as himself." 
 
 Virgin and Child, Guercino. 
 
 Superb Cabinet in Silver and Tortoise-shell,.. ..Anon. 
 
 THE BLUE DRAWING ROOM, 
 
 Hung with blue damask, is 23 feet square, 
 having a ceiling wrought in fine fretwork. 
 
 PAINTINGS, Sec. 
 
 Magdalen, Maratta. 
 
 Virgin, Child, and St. John, Matt. iii....L. Caracci. 
 
 Ditto, F. Francia. 
 
 Holy Family, a Sketch, Parmigiano. 
 
 Good Samaritan, Luke x. 33 Bassan, 
 
115 
 
 Virgin and Child, Titian. 
 
 Samaritan Woman, John iv G. Romano. 
 
 Holy Family, R. Ghirlandaio. 
 
 Magdalen, Pasinelli. 
 
 Rebecca at the Well, Gen. xiv. 15. 45. ...A. Caracci. 
 
 Noli me Tar?gere 9 St. John xx. 17 Maratta. 
 
 Entombing our Saviour, Markxv. G. Tintoretto. 
 
 Death of Joseph, Gen. 1. 26 C, Cignani. 
 
 Virgin, Child, and St. Catherine,.... Old Palma. 
 
 Adoration of the Shepherds, Luke ii. 16 Cignani. 
 
 Virgin and Dead Christ, .Maratta. 
 
 Marriage of St. Catherine, Schiavone. 
 
 Sybil, Guido. 
 
 Adam and Eve lamenting over Abel, Gen.iv. Celesti. 
 
 Samaritan Woman, John iv Maratta. 
 
 China Figures, personifying the Four Quarters of the 
 Globe and the Seasons of the Year, Anon. 
 
 Lion and Horse, in Bronze, Anon. 
 
 The elegant china pieces, and the two figures in 
 bronze, are placed on the chimney-piece, 
 
 THE GREEN DRESSING ROOM, 
 
 Hung with green cut velvet, is 19 feet 8 
 inches long, and 17 feet 9 inches wide, 
 
116 
 
 and is most elegantly furnished. The toi- 
 lette table exhibits a complete set of fili- 
 gree dressing plate, &c. 
 
 PAINTINGS, &c. 
 
 Jupiter and Juno, Parmigiano. 
 
 Juno was the daughter of Saturn and Ops, and sister 
 to Jupiter, who was not insensible to her many charms. 
 That he might be enabled to gain her confidence, he 
 changed himself into a cuckoo, raised a great storm, 
 and made the air unusually chill and cold. Under this 
 form he went to the goddess, starved and shivering. Juno 
 pitied the cuckoo, and took him into her bosom. When 
 Jupiter had gained these advantages, he resumed his ori- 
 ginal form, and obtained the gratification of his desires 
 after he had made a solemn promise of marriage, which 
 was accordingly celebrated with the greatest solemnity. 
 
 Mary Magdalen anointing our Saviour's Feet, John 
 
 xii. 3 E. Le Sueur. 
 
 Holy Family, Parmigiano. 
 
 Tribute Money, in Two Colours, Matt. xvii. 27. 
 G. Mutiano. 
 
 Charles V. doing Penance, A. Sacchi. 
 
 Nativity, Lukeii. 6. 7... Tempest a. 
 
 Assumption of the Virgin, on copper,. ...A. Caracci. 
 
 Joseph and our Saviour, ..F. Baroccio. 
 
 Queen Elizabeth, with flaxen Hair, rich laced Ruff, 
 
 and a Profusion of Jewels, pan Gerards. 
 
 Virgin and Child, F. Lauri. 
 
 Nativity, Lukeii. 6. 7 ! C Dotxi. 
 
 Last Supper, Luke xxii. 19 A. Sacchi. 
 
117 
 
 Angels appearing to the Shepherds, Luke ii. 9. 10. 
 C. Tempesta. 
 
 Virgin in Agony, on copper, copied from Raphael, 
 C. Maratta. 
 
 The Three Marys at the Sepulchre, Matt, xxvii. 61. 
 E. Le Sueur. 
 
 Holy Family, Schidone. 
 
 Joseph, Virgin, and Bambino, G. Andr. de Ferrari. 
 
 Cupid pulling Fortune by the Hair, P. Liberi. 
 
 Virgin, S. Ferrato. 
 
 Perspective View of the Inside of a Chapel, Stenwyck. 
 Adoration of the Wise Men, Matt. ii. Diepenbeke. 
 Christ bearing the Cross, Matt. xvi. 24... ..A. Sacchi. 
 
 Nativity, H. Bless. 
 
 Virgin and Child, Titian. 
 
 Ditto and St. John, Domenichino. 
 
 Angel's Head, Maratta. 
 
 Assumption of the Virgin, Domenichino. 
 
 Marriage in Cana, St. John ii. 1. &c A. Sacchi. 
 
 Magdalen in the Desert, on copper, copied from Cor- 
 regio, Raffaelino. 
 
 Holy Family, S. Bourdon. 
 
 Hiring the Labourers, Matt.xx. 2 D. Fetti. 
 
 Virgin adoring our Saviour, F. Baroccio. 
 
 Pygmalion first offering to Venus, P. Liberi. 
 
 Pygmalion was a celebrated statuary, of the island 
 of Cyprus. Considering the great inconveniences of 
 marriage, he resolved to live single : but afterwards mak- 
 
118 
 
 ing an elegant statue of a most beautiful woman, he fell 
 so much in love with his own workmanship, that at his 
 earnest request and prayers, according to the mycolo- 
 gists, Venus changed the statue into a woman. His wishes 
 being thus granted, he married her, and had by her a son 
 named Paphos, 
 
 44 From whom the island doth its name receive. " 
 
 Holy Family, V. Castelli. 
 
 Adoration of the Shepherds, Luke ii. De Ferrara. 
 
 Mary with the Dead Christ, on copper,. ...Vandyck. 
 
 Fortune kissing Prudence, P. Liberi. 
 
 Virgin and Child, Guido. 
 
 Superb Dresden China Figures, on the Chimney-piece, 
 representing the Four Seasons, and Two River 
 Deities, Anon. 
 
 Sophia Countess of Exeter, enamelled, Zinche. 
 
 . This fine miniature, is suspended on the arm of 
 Time, who stands on the centre of the chimney-piece. 
 
 Fine old Japan Cabinet supporting a filigree Temple. 
 
 THE JAPAN CLOSET, 
 
 Hung with green cut velvet, is 10 feet 
 9 inches long and 10 feet wide, and con- 
 tains two glass-cases, in which is an ex- 
 tensive collection of fine miniatures, curi- 
 osities, &c. The walls of this room are 
 hung with the following 
 
119 
 
 PAINTINGS. 
 
 Christ walking on the Sea, Matt. xiv. G. Lanfranco. 
 
 Virgin, Child, and St. John, Parmigiano. 
 
 Lot and his Two Daughters, Gen. xix. 30, &c. 
 C. Mantegna. 
 
 Bacchus and Ariadne, B. Luti. 
 
 See fable, page 23. 
 
 Jupiter and Juno, F. Lauri. 
 
 See fable, page 116. 
 
 Galatea combing her Hair over a Shell, with Bracelets 
 
 on her Arms, and Gauze flung carelessly about her, 
 
 F. Albano. 
 
 George II. had a copy of this painting in his snuff 
 box. 
 
 Venus, Satyr, and Cupids, F. Lauri, 
 
 Judgment of Midas, .....Ibid. 
 
 Midas, a King of Phrygia, had the imprudence to 
 support that Pan was superior to Apollo in singing and 
 playing upon the flute, for which rash opinion the of- 
 fended god changed his ears into those of an ass, to shew" 
 his ignorance and stupidity. 
 
 44 Punish'd iu the offending part, he bears 
 Upon his skull aslow-pac'd ass's ears." 
 Midas attempted to conceal this degradation from his 
 subjects and servants, but one of the latter having seen 
 the long ears, (although being enjoined to secresy by his 
 roaster,) opened a hole in the earth, and whispered there 
 that Midas had the ears of an ass. On that place, as the 
 poet mentions, 
 
 44 In time, of trembling reeds a plenteous crop 
 From the confided furrow sprouted up ; 
 "Which, high advancing with the ripening year, 
 Made known the tiller, and his fruitless care : 
 For then the rustling blades, and whispering wind, 
 To tell th' important secret both combin'd." 
 
 Spaniard 
 
 D. D. Velasquez* 
 
120 
 
 Dejanira and the Centaur, L. Giordano. 
 
 Dejanira was the daughter of (Eneus, King of iEto- 
 lia, and wife of Hercules. As she was once travelling 
 with her husband, they were stopped by the swollen 
 streams of the Evenus, but the centaur Nessus, with the 
 consent of Hercules, carried her to the opposite shore. 
 He there attempted to offer her violence, and carry her 
 off. Hercules, upon this, aimed a poisoned arrow at the 
 seducer: 
 
 *' The centaur's back admits the feathered wood, 
 And through his breast the barbed weapon stood ; 
 Which, when in anguish through the flesh he tore, 
 From both the wounds rush'd forth the spumy gore 
 Mix'd with Lernasan venom ; this he took, 
 Nor dire revenge his dying breast forsook. 
 His garment in the reeking purple dy'd, 
 To rouse love's passion, he presents the bride." 
 
 Dejanira accepted it, being informed that it had the 
 power of reclaiming a husband from unlawful loves ; and 
 when Hercules proved faithless to her bed, she sent him 
 the centaur's tunic, which instantly caused his death. 
 Dejanira was so disconsolate at the death of her husband, 
 which she had ignorantly occasioned, that she destroyed 
 
 herself. 
 
 Mercury and Venus teaching Cupid, B. Luti. 
 
 Approach of Day, F. Lauri. 
 
 Venus rising from the Sea...., ...C. Gherardi. 
 
 Venus and Adonis, F. Lauri. 
 
 See fable, page 57. 
 
 Apollo flaying Marsyas, Ibid. 
 
 See fable, page 74. 
 
 Mary Queen of England, with rich laced Head-dress, 
 small quilled RufF, and splendid Chain round her 
 Waist, a small three-quarters, on pan Holbein. 
 
 " Give place ye ladyes and begone, 
 
 Boast not yourselves at all, 
 For whye ? behold there cometh one, 
 
 Whose face will stayne you all," 
 
 He v wood, in Harleian MSS. 
 
121 
 
 Martrydom of St. Lawrence, 
 
 Roman Ruins, 
 
 Landscape and Figures, 
 
 Cat and Dead Game, 
 
 St. Sebastian, 
 
 F. Lauri. 
 
 VlVIANI. 
 
 Vander Meulen. 
 d. koninck. 
 
 C. Dolci. 
 
 See page 77. 
 
 Lord Treasurer Burgliley in Robes of the Garter, on 
 
 William Cecil, Lord Burghley, being justly consi- 
 dered the chief of that family, in raising it to its present 
 elevated rank, and also the principal founder of the 
 House, (the history of which is now before the reader,) 
 it may be necessary to give his memoirs at some length. — 
 He was a descendant from the ancient and honourable 
 family of Sitsilt, or Cecil, of Alterennes, in Hereford- 
 shire, and the son of Richard Cecil, master of the robes 
 to Henry VIII. by Jane, daughter and heiress of William 
 Heckington, Esq. of Bourn, in Lincolnshire. He was 
 born in the house of his grandfather, David Cecil, at 
 Bourn, September 3d, 1520, and was first educated at 
 Grantham, afterwards at Stamford, and lastly at St. 
 John's College, Cambridge. His early thirst for learning 
 soon caused him to endow himself with a great store of 
 general knowledge. In 1541 he entered Gray's-inn for 
 the purpose of studying the law, during which occupation 
 he disputed with two chaplains about the power of the 
 Roman Pontiff, and proved his great superiority over 
 them in the discussion. This circumstance introduced 
 him to the knowledge of Henry VIII. who gave him the 
 office of custos brevium, which he took possession of in 
 the beginning of the reign of Edward VI. shortly after 
 his marriage with the sister of Sir John Cheke. He took 
 to his second wife Mildred, daughter of Sir Andrew 
 Cooke, and was made master of requests in 1547, in 
 which year also he attended the Duke of Somerset at the 
 battle of Musselburgh, where he narrowly escaped a can- 
 non shot. Edward afterwards made him secretary of 
 state ; but in 1549 he was imprisoned by the party 
 formed against the protector; and accepted his libera* 
 
 pan. fine, 
 
 Gerards. 
 
 s 
 
122 
 
 iron, and regained his offices, under the Dake of Nor- 
 thumberland, the destroyer of his old patron, the Duke 
 of Somerset. — Although a rigid protestant, his abilities 
 were estimated at so high a rate by Mary, that he retained 
 all his official duties and privileges upon her accession to 
 the throne,- — and also procured liberty of conscience 
 from her majesty. During her reign he corresponded 
 with the Princess Elizabeth, by whom he was afterwards- 
 made privy counsellor and secretary of state, in which 
 stations he continued the remainder of his life. He be- 
 came a great favourite with Elizabeth when she ascended 
 the throne, and was always consulted by her in her most 
 important affairs. By his advice she protected the re- 
 formed religion in Scotland, for which, in 1561, he ob- 
 tained the situation of master of the wards. — A plot to 
 overthrow him was about this time attempted by his ri- 
 val, Leicester, from which he narrowly escaped through 
 the interest of the Queen, who was privy to the designs 
 of his enemies ; and who, to shew them the estimation in 
 which she held her counsellor, raised him to the peerage, 
 by the title of Baron of Burghley. Another conspiracy 
 was shortly afterwards formed against him, which being 
 discovered to be headed by the Spanish ambassador, he 
 was immediately ordered to leave the kingdom. — The fa- 
 vours of the Queen continued to shower upon him; for 
 in June, 1572, he was honoured with the order of the 
 garter ; and in September following, was appointed lord 
 high treasurer. — The easy discharge of his great variety 
 of duties rendered him an inestimable courtier in the eyes 
 of Elizabeth; and his engagement in the trial of the 
 Queen of Scots, although a measure highly condemned 
 by most of his historians, tended to augment her high 
 opinion of him. She would sometimes, however, reproach 
 him : once when he left court through illness, she called 
 him M a froward old fool;" and another time she treated 
 him as a miscreant and coward for having on a particu* 
 lar occasion supported the Earl of Essex's claim in oppo- 
 sition to her wishes. — In 1589 he lost his wife, whose 
 learning, benevolence, and piety, caused him to mourn 
 her death with the deepest regret. He wished now to re- 
 sign his public duties ; but that the Queen would not 
 allow; and her unwillingness was naturally to be ex- 
 pected, so long as she conceive^ him to manage the eccle- 
 
123 
 
 siastical, financial, admiralty, and other important affairs 
 of the country, with such great wisdom and moderation* 
 The maxim to which he adhered, and which carried him 
 through his complicated concerns, was this, that u the 
 shortest way to do many things was only to do one thing 
 at once." — When eager to make peace with Spain, the 
 lord treasurer was warmly opposed by the youthful sol- 
 dier, Essex, upon which he pointed out to him these 
 words in his prayer book, — " Men of blood shall not 
 live out half their days." Thi3 was his last memorable 
 act ; for, worn down with age, he departed this life 
 August 4th, 1598, and was buried in the family vault, in 
 the church of St. Martin's, Stamford Baj^rrj where a sump- 
 tuous monument is erected to his memory. — Theobalds 
 was his favourite residence, where he lived in a style suited 
 to his rank ; but besides this house he built another in the 
 Strand, where Exeter-change now stands; and a third, 
 as has before been stated, he founded upon an old man- 
 sion on his family estate at Burghley. — His character as a 
 landlord may justly be held forth as an example : he nei- 
 ther raised his rents nor displaced his tenants, and many 
 enjoyed under him estates for .=£20. a year which might 
 have been let at *£200. At his death he left ^4000. a 
 year in land, <£1 1,000. in money, and ^14,000 in effects. 
 
 Lady's Head, Guido. 
 
 Pigeons,.. Koninck. 
 
 Landscape and Figures, .Yander Meulen. 
 
 Landscape, ' R. Savery. 
 
 Martrydom of St. Stephen, on cop. Acts vii. 59. 
 F. Lauri. 
 
 Head of Charles IX. of France, with a black Bonnet, 
 
 Feathers, and Band of Jewels, quilled Ruff, and 
 
 close Jacket, on board, Holbein. 
 
 A most perfidious and cruel king, who was crowned 
 in his 10th year, in 1560. He made peace with the Hu- 
 gonots, and then slaughtered 30,000 of them, Aug. 24th, 
 1572. He was of a lively genius, composed a book on 
 
124 
 
 hunting, and valued himself on his skill in phisiognomy ; 
 but he thought courage consisted in swearing and taunt- 
 ing his courtiers. He died in 1574. 
 
 Dead Christ and the Three Marys, on copper, 
 P. Da Cortona. 
 
 Head, Titian, 
 
 Virgin, Dead Christ, and Angels, Van Remee. 
 
 Lord Treasurer Burghley's Mother, in a quilled black 
 Hood, and Fur Gown, on board, Anon. 
 
 She was the daughter and heiress of William Heck- 
 ington, Esq. of Bourn, in Lincolnshire, and lived a widow 
 35 years. She died in 1587, aged 87, and was interred 
 at St. Martin's, Stamford Baron. 
 
 NORTH GLASS-CASE, OR CABINET. 
 
 1 Landscape, Anon. 
 
 2 Wise Men's Offerings, Matt. ii. 11. very fine, 
 Dixon. 
 
 3 Landscape, Anon. 
 
 4 Charles II , Anon. 
 
 5 Hon. Charles Cavendish, in Armour,... .Hoskins. 
 
 He was the second son of William the second Earl 
 of Devonshire, and brother of the third Earl ; and served 
 as lieutenant-general under his cousin, the Marquis of 
 Newcastle. He fell at Gainsborough in the civil wars, 
 on the 30th July, 1643, aged 23. After a period of 30 
 years his body was removed to the family vault at Derby. 
 The following beautiful epitaph was composed to his 
 jnemory by Waller : 
 
 " Here lies Charles Ca'ndish : let the marble stone 
 That hides his ashes, make his virtue known. 
 Beauty and valour did his short life grace, 
 The grief and glory of his noble race : 
 Early abroad he did the world survey, 
 As if he knew he had not long to stay ; 
 
125 
 
 Saw what great Alexander in the east, 
 
 And mighty Julius conquer'd in the west ; 
 
 Then, with a mind as great as their's, he came 
 
 To find at home occasion for his fame ; 
 
 Where dark confusion did the nations hide, 
 
 And where thejuster was the weaker side. 
 
 Two loyal brothers took their sovereign's part, 
 
 EmpIoyM their wealth, their courage, and their art. 
 
 The elder did whole regiments afford, 
 
 The younger brought — his conduct and his sword. 
 
 Born to command, a leader he begun, 
 
 And on the rebels lasting honour won : 
 
 The horse, instructed by their gen'ral's worth, 
 
 Still made the King victorious in the north : 
 
 Where Ca'ndish fought the royalists prevailed, 
 
 Neither his courage nor his judgment faiPd : 
 
 The current of his victories found no stop, 
 
 Till Cromwell came, his party's chiefest prop ; 
 
 Equal success had set these champions high, 
 
 And both resolv'd to conquer, or to die : 
 
 Virtue with rage, fury with valour strove; 
 
 But that must fall, — which is decreed above ! 
 
 Cromwell, with odds of numbers and of fate, 
 
 Remov'd this bulwark of the church and state; 
 
 Which the sad issue of the war declar'd, 
 
 And made his task, to ruin both, less hard. 
 
 So when the bank neglected is overthrown, 
 
 The boundless torrent does the country drown. 
 
 Thus fell the young, the lovely, and the brave ; 
 
 Strow bays and flowers on his honour'd grave." 
 
 He was the son of John the fourth Earl of Exeter, 
 by Frances, his first wife: he died in his youth. This 
 portrait was taken in 1644. 
 
 He was an accurate and learned Flemish critic, born 
 near Brussels, in 1547, and became professor of history 
 and the belles-lettres at Lorraine, Cologne, and Lcyden. 
 His changes in religion were very remarkable; being 
 first a catholic, then a lutheran, afterwards a calvinist, 
 and lastly a catholic again. He died in 1606. His works 
 were published at Antwerp, in 6 vols, folio, in 1637. 
 
 9 Thomas Chambers, Esq. of London and Derby, 
 
 Anon. 
 
 J. Hoskins. 
 
 7 David Cecil, 
 
 8 Justus Lipsius, 
 
 Anon. 
 
 10 Sir Robert Cecil, Knt 
 
 Cooper. 
 
126 
 
 He was the son of the Lord Treasurer, by his second 
 wife, born June 1, 1563, and educated at St. John's, 
 Cambridge. At the age of 22, he was elected M. P. for 
 Westminster, and afterwards served in many parliaments 
 for Hertfordshire. In 1591 he received the honour of 
 knighthood, and was sworn into the privy council; and 
 was afterwards chancellor of the duchy of Lancaster and 
 keeper of the privy seal. In 1599 he succeeded his fa- 
 ther as master of the court of wards; in 1603 he was 
 created Baron Cecil, of Essendine, in the county of Rut- 
 land ; in the following year Viscount Cranbourn ; and in 
 1605 Earl of Salisbury and K. G. having precedency of 
 his brother Thomas, who was the same day created Earl 
 of Exeter. He was chosen chancellor of the university 
 of Cambridge, in 1608, and succeeded Thomas Earl of 
 Dorset in the office of lord high treasurer of England. 
 He died May 24, 1612. He was of a delicate constitu- 
 tion, and deformed in person, but his understanding com- 
 pensated for his bodily defects, and it was greatly im- 
 proved by a most liberal education. His father took 
 pains to instil into him the knowledge requisite for a 
 courtier and statesman, which qualified him to discharge 
 his high offices with great ability. In industry and capa- 
 city he was little inferior to his parent, but more artful, 
 more insinuating, and far more insincere. King James 
 called him his u little beagle^ alluding to the many dis- 
 coveries he made, of which he sent him intelligence* 
 
 11 Sir Isaac Newton, Knt. fine, Lewis Crosse. 
 
 This celebrated philosopher and mathematician was 
 born at Woolsthorpe, in Lincolnshire, on Christmas day, 
 1642. He was one of the greatest geniuses that the 
 world ever produced. Of his numerous works, the two 
 following are the most esteemed abroad as well as in his 
 own country; his u Treatise on Optics," and his 
 iC Naturalis Philosophise Principia Mathematical' The 
 following couplet, ascribed to Pope, is a high eulogiuni 
 on his intellectual character : 
 
 " Nature and Nature's laws lay hid in night ; 
 God said, let Newton he, — and all was light." 
 He enjoyed remarkable good health till the period of his 
 dissolution, owing to his great temperance, and, perhaps, 
 to the equanimity of his temper; which was hardly ever 
 
127 
 
 fcnown to be ruffled. An anecdote is told of him which 
 strikingly proves this mildness of disposition. He had 
 been for a number of years employed upon some philo- 
 sophical discovery, and consequently had amassed nume- 
 rous papers, and books, wherein he had noted down his 
 remarks. When nearly at the completion of his labour, 
 he one day had occasion to leave his study, wherein he 
 accidentally shut up his favourite little dog. On his re- 
 turn he found the whole room in flames, caused by the 
 animal having thrown down a candle amongst the papers. 
 " Ah ! Dido," said the philosopher, on this mortifying 
 circumstance, u thou little knowest the injury thou hast 
 done me." Sir Isaac added to his other great qualities a 
 thorough belief in reyelation, and spent a good part of 
 his time in studying and explaining the prophetical scrip- 
 tures. The following anecdote of this great man may be 
 useful, and, therefore, merits a place here. Dr. Halley 
 was an unbeliever, and was once speaking rather freely on 
 the subject of revelation, in company with Sir Isaac, who 
 pointedly said to him — " Dr. Halley, I am always glad 
 to hear you when you speak about astronomy, or other 
 parts of mathematics, because that is a subject you have 
 studied, and well understand ; but you should not talk of 
 Christianity, for you have not studied it; I have, and 
 know you know nothing of the matter." Sir Isa?c was 
 never married, and perhaps had never time to think of it, 
 being constantly immersed in the profoundest studies, and 
 not being willing to have them broken by domestic con- 
 cerns. He died at the age of 85, in 1727, and his re- 
 mains were interred, after lying in state in Jerusalem- 
 chamber, in Westminster-abbey, where a noble monu- 
 ment has been erected to his memory. 
 
 12 Virgin and St. John, in Enamel, Petitot. 
 
 13 Diana and Actoeon, Anon. 
 
 This piece is set in shagreen studded with gold, and 
 is 274 inches high and 5 inches broad. See fable, page 61. 
 
 14 Sibylla Persica, h ...Silvia Stern. 
 
 One of the heathen virgins that prophesied concern- 
 ing Christ. The Romans had a great veneration for the 
 oracles of the Sibyls, and kept what they could procure 
 
128 
 
 of them in the capitol, to which they had recourse in 
 cases of difficulty. There are now eight sibylline verses 
 extant, but they are universally reckoned spurious. 
 
 15 Venus, Macpherson of Florence. 
 
 16 Virgin, Christ, and St. John, in Enamel, Petitot. 
 
 17 Letitia Countess of Exeter, Rocquet. 
 
 18 Virgin, Christ, and St. John, on a Bloodstone. 
 
 19 The Hon. Robert Boyle, J. Pool. 
 
 Robert Boyle, a most distinguished philosopher and 
 chemist, and an exceedingly pious man, was the seventh 
 son of Richard Earl of Cork, and born at Lismore, in 
 * Ireland, in 1626 — 7. He was principal founder of the 
 Royal Society, invetited the air pump, and secured him- 
 self immortal fame by his numerous philosophical writings. 
 Throughout his life he was also actively employed in ex- 
 tending the christian religion, and translated and pub- 
 lished several works to further his intentions. He died 
 in 1691. 
 
 20 Lady Elizabeth Essex, Anon; 
 
 Elizabeth was the daughter of Algernon Percy, Earl 
 of Northumberland, by Anne, daughter of William Cecil, 
 K. G. the second Earl of Salisbury. She was the wife 
 of Arthur Capel, Earl of Essex, and died in a good old 
 age, and was interred at Watford, Herts, the 5th of Fe- 
 bruary, 1718. 
 
 21 A Head, Anon. 
 
 22 Brownlowthe Eighth Earl of Exeter, Anon. 
 
 23 Oliver Cromwell, Walker. 
 
 This portrait is said to have been given to the Earl 
 of Exeter by Cromwell himself. 
 
 24 Hannah-Sophia Countess of Exeter, Anon. 
 
 25 Brownlow the ninth Earl of Exeter,. Anon. 
 
 26 Lady Exeter, 
 
 Anon. 
 
129 
 
 B7 Titian, Miss Stern. 
 
 28 Guido, Ibid* 
 
 29 Lady Elizabeth Cecil, Wife of John Chaplin, Esq. 
 
 SpENCEK* 
 
 30 Madam Sevigne, Anon* 
 
 This was a French lady, of a noble family, who 
 rendered herself deservedly popular by her letters on his- 
 torical, moral, and miscellaneous subjects, written to her 
 daughter, the Countess de Grignan, which are spoken of 
 with much approbation by Voltaire. She is also said to 
 have decided the famous dispute between Perrault and 
 Boileau, respecting the ancients and the moderns. " The 
 ancients," said Madame Sevigne, " are the finest, and we 
 are the prettiest." Although thus amiable and enlight- 
 ened, she exulted in the extirpation of protestantism ia 
 Provence, by the power of her son-in-law, Count de 
 Grignan ; and even speaks with levity of the sufferings 
 of the Hugonots, dragooned into the bosom of the true 
 church. She died in 1696, aged 70. 
 
 31 Louis XIV....... Petitot; 
 
 32 Indolence, U. Ubbane. 
 
 33 Louisa de Queroualle, Coopeii. 
 
 A French lady, and one of the mistresses of Charles II. 
 She was sent into England by Louis XIV. in 1670, in the 
 train of the Duchess of Orleans, the King's sister, to bind 
 our monarch to the French interest, which she did most 
 effectually. She occasionally dissembled love, the va- 
 pours or sickness, and rarely or ever failed of working 
 the easy monarch to her point. Her polite manner and 
 agreeable temper riveted the chains which her personal 
 charms had imposed upon him. She had the first place in 
 his affections, and he continued to love her to the day of 
 his death. He created her Baroness Petersfield, Countess 
 of Farnhara, and Duchess of Portsmouth ; and prevailed 
 on the King of France to confer upon her the title of 
 Duchess of Aubigny, in France. She left a son, Charles 
 Lenox, the first Duke of Richmond. Her beauty ? which 
 
 T 
 
130 
 
 was not of the most delicate kind, seemed to be very little 
 impaired at seventy years of age. She died at Paris, in 
 1734, aged 89 years. 
 
 Pascal Paoli was born of a good Corsican family in 
 1726, and was, at the age of 29, made commandant-gene- 
 ral of the island. He established a regular administra- 
 tion among the undisciplined Corsicans, and formed a 
 considerable body of regular troops. He instituted an 
 university, with the view of softening the manners by 
 cultivating the sciences. Pascal supported the Corsicans 
 for some time against the gold of the Genoese, and the 
 arms of France, but at length the latter prevailed, and 
 he was compelled to retire, in 1769, to England, where 
 he took up his abode in the capital. 
 
 36 Pigeons, from the Mosaic, dug out of Adrian's 
 Villa, at Trivoli,.. Byers. 
 
 37 Vertumnus and Pomona, ... P. Butlini. 
 
 Pomona, a nymph at Rome, was particularly de- 
 lighted with the cultivation of the earth ; she disdained 
 the toils of the field, and the fatigues of hunting. Many 
 of the gods of the country endeavoured to gain her affec- 
 tion, but she received their addresses with coldness. 
 Vertumnus, a deity who presided over the spring, amongst 
 the rest, became her suitor. 
 
 To gain her sight, a thousand forms he wears, 
 And first a reaper from the field appears ; 
 Sweating he walks, while loads of golden grain 
 O'ercharge the shoulders of the seeming swain. 
 Oft' o'er his back a crooked scythe is laid ; 
 And wreaths of hay his sun-burnt temples shade 5 
 Oft' in his barden'd hand a goad he bears, 
 Like one who late unyok'd the sweating steers. * { 
 Sometimes his pruning hook corrects the vines, 
 And the loose stragglers to their ranks confine?, 
 Now gathering what the bounteous year allows, 
 He pulls ripe apples from the bending boughs. 
 A soldier now, he with his swoid appears ; 
 A fisher next, his trembling angle bears ; 
 Each shape he varies, and each art he tries, 
 On her bright charms to feast his longing eyes. 
 
 31 Female Figure, 
 35 General Paoli,. 
 
 Giorgione, 1775. 
 x4lnon. 
 
131 
 
 A female format last Vertumnus wears, 
 With all the marks of rev'rend age appear^, 
 His temples thinly spread with silver hairs: 
 Prop'd on his staff, and stooping as he goes, 
 A painted mitre shades his furrow'd brows.'* 
 
 In this disguise the god enters the gardens, addresses the 
 maid on her happiness, and in glowing language praises 
 her many charms. He recommends her to taste the joys 
 of the connubial state, and to fix on Vertumnus for kjr 
 mate, — on whom he dwells in high strains of encomium 9 
 and who, he assures her, lives for her alone. In vain, 
 however, he thus plies her with his amorous persuasion; 
 but at length changing himself into his natural form, 
 44 The nymph surveys him, and beholds the grace 
 Of charming features, and a youthful face, 
 In her soft breast consenting passions move, 
 And the warm maid confess'd a mutual love." 
 
 38 Anne Countess of Exeter, Daughter to the Earl of 
 Devonshire, . Petitot. 
 
 39 Venetia-Anastatia Stanley, Anon. 
 
 She was the daughter and co-heiress to Sir Edward 
 Stanley, K. B. of Tonge-castie, Shropshire, and the 
 wife of Sir Kenclm Digby, Knt. She was a lady of ex- 
 traordinary beauty and fame: she wore different hair- 
 dresses, and different coloured eyebrows, to see which 
 suited her complexion best. Sir Kenelm was so enam- 
 oured with her beauty, that he attempted to raise her 
 natural charms, and preserve her health, by a variety of 
 whimsical experiments; he fed her with capons, fattened 
 by the flesh of vipers, and introduced into England the 
 great snail pomatia> as a medicine, for the use of his lady. 
 He was perpetually inventing new cosmetics, and it is 
 thought she fell a victim to these unnatural arts, for she 
 was found dead in her bed. May 1, 1638, in the 33d year 
 of her age. There is a portrait of her at Althorp, done 
 after she was dead, by Vandyck. 
 
 40 Landscape, , Anon, 
 
 41 Virgin, R. Mangoni. 
 
 42 Two Heads, in Pencil, A. Bosse. 
 
 41 Henry VIII, in Enamel, Anon* 
 
132 
 
 45 Piece of Japan, ......Anon, 
 
 46 Our Saviour on the Cross, done with a Pin, 
 
 ....VoLINGNY, 
 
 47 Jupiter and Io, copied from Corregio, Ibid. 
 
 Io was the daughter of Inacus and Ismene, and be- 
 loved by Jupiter, who, to conceal her from Juno, changed 
 her into a white cow. Juno, discovering the cheat, 
 begged her of Jupiter, who dared not to refuse her re- 
 quest, least he^hould by that means increase her jealousy. 
 
 " The goddess then to Argus straight convey'd 
 Her gift, and him the watchful keeper made* 
 Argus's head an hundred eyes possessed, 
 And only two at once reclin'd to rest ; 
 The others watch -d, and, in a constant round 
 Refreshment in alternate courses, found." 
 
 Jupiter sent Mercury in the disguise of a shepherd tq 
 Argus, who, being lulled to sleep with the music of the 
 rustic's pipe, was immediately beheaded by him. Junq^ 
 enraged at the death of Argus, committed Io to the 
 Furies, who was afterwards restored to her former shape, 
 and worshipped under the name of Isis by the Egyptians. 
 
 EAST GLASS-CASE, OR CABINET. 
 
 1 Virgin and Child, ....Anon. 
 
 2 Venus and Adonis, in Water Colours, very f}ne, 
 from a Design of Titian's,.... Oliver, 1631. 
 
 See fable, page 57. 
 
 3 Virgin and Child............. Anon. 
 
 4 Elizabeth Countess of Devonshire, a three-quarters, 
 
 in white and red Ribbons, 6 inches by 4, enamelled 
 
 on Gold,.... ♦ Cooper. 
 
 She was the second daughter of William Cecil, the 
 second Earl of Salisbury, and wife to William Cavendish, 
 the third Earl of Devonshire. She died Nov. 16, 1669, 
 and was buried in Westminster-abbey. 
 
133 
 
 i Ernestus Augustus, and Sophia, his Wife,.... Anon* 
 He was the first Elector of Hanover, and his wife 
 was the daughter of Frederick King of Bohemia, by Eli- 
 zabeth, daughter of James I. of England. They were 
 the parents of George I. 
 
 6 Charles- Edward Stuart, Aj*on. 
 
 He was the son of James Stuart, (commonly called 
 The Pretender, and son of James II. who died 1766,) 
 born at Rome, 1720, and was called Prince of Wales as 
 long as his father's pretensions to the crown of England 
 were kept alive ; afterwards, from courtesy, the Count 
 of Albany. He made an unfortunate expedition into 
 Britain, in 1745, and died of an apoplexy at Florence, 
 without legitimate issue, in 1788. He was buried in the 
 cathedral church at Frescati, of which See the Cardinal 
 Duke of York, his brother, was bishop. 
 
 7 Maria-Matilda,.... , , Anon. 
 
 She was a princess of the house of Strolberg, born 
 1752, and was married, at St. German's, in 1772, to the 
 above Charles Stuart. She died at Rome in 1797, aged 
 71. s. p. 
 
 8 Dutch Landscape, , Anon. 
 
 9 John the fourth Earl of Exeter, Hoskins. 
 
 10 Countess Elizabeth, Anon. 
 
 She was the daughter of John Earl of Bridgewater, 
 and wife of David the third Earl of Exeter. 
 
 11 Lady Ann Cecil...... Hoskins, 
 
 This lady was the second daughter of the second 
 Earl of Salisbury, and was baptized at the chapel-royal, 
 Whitehall, Feb. 23, 1612. She was the first wife of 
 Algernon Percy, the tenth Earl of Northumberland, and 
 died in 1637, leaving issue five daughters. 
 
 12 Lady Elizabeth Percy, Cooper. 
 
 She was cousin-german to the last-mentioned lady, 
 the second daughter of Theophilus the second Earl of Suf- 
 folk, and second wife of Algernon Percy, the tenth Earl 
 
134 
 
 of Northumberland, by whom she had Joceline the 
 eleventh Earl. She survived her lord nearly forty years, * 
 died in 1704, aged 97, and was buried at Petworth. By 
 this alliance, the Percys became possessed of Northum- 
 berland-house, in the Strand, London, originally built 
 by Henry Howard, Earl of Northampton, who gave it 
 to his nephew, Thomas Earl of Suffolk, by whose grand- 
 daughter, Elizabeth, it was transferred as above. 
 
 13 Our Saviour crowned with. Thorns, Anon. 
 
 14 A young Lady, her Brother, and black Servant, 
 in Water Colours, 6 inches by 8, Dixon. 
 
 15 Guido's Sibyl, in the Welbrakens Collection, a 
 copy,.. Mrs. Muron. 
 
 16 William Cecil, Lord Ross, in Armour, 3 inches 
 oval, P. C. 1677. 
 
 17 Sir Edward Cecil, Knt Hoskins. 
 
 He was the second son of Thomas the first Earl of 
 Exeter, born in 1571, and became one of the most con- 
 siderable generals in his time. He served in the Nether- 
 ands thirty-five years, with great applause, and com- 
 manded as admiral in the fleet employed in the unsuccess- 
 ful expedition against Cadiz. In 1625 he was advanced 
 to the dignity of Baron Cecil, of Putney, and the follow- 
 ing year created Viscount Wimbleton. After his return 
 from the wars, he was made one of the privy council, 
 lord-lieutenant of Surrey, and governor of Portsmouth. 
 He was thrice married, and died at Wimbleton, in 1638, 
 
 18 Silvia Stern, painted at Rome, Anon. 
 
 19 Rapbael, square, Miss Stern, 
 
 20 Venus and Cupid, Anon. 
 
 21 Small Landscape^ Anon. 
 
 22 Luca Giordano, on a Card, Himself. 
 
 23 Master Cecil, i Hoskins. 
 
 24 Mrs, Ann Kirk, lk inch oval, /.Ibid. 
 
She was dresser to ITcnrief la-Maria, Queen of Charles 
 I. and was a competitor for this situation with Mrs. Ne- 
 Till, to whom she was preferred. When the King with- 
 drew from Hampton-court, he ordered Col. Whalley to 
 send her the Queen's picture, in which she was painted 
 in blue satin, sitting on a chair. 
 
 25 A Cardinal, on Ivory, Anon. 
 
 26 Ditto, Anon, 
 
 27 Henrietta- Maria, Hoskins* 
 
 This lady was the daughter of Henry the Great, 
 King of France, and married to Charles I. of England. 
 She returned to the latter place in 1660, after an absence 
 of about nineteen years, and was shortly afterwards se- 
 cretly married to Harry Jermyn, Earl of St. Albans. On 
 the breaking out of the plague, she went back again to 
 France, where she died, in August, 1669, in the 60th 
 year of her age. Her body was interred in the church 
 of St. Denis, at Paris, and the oration spoken by Father 
 Scnault, who imputed the troubles of her unfortunate 
 husband to his infidelity. 
 
 28 Christ taken down from the Cross, Anon, 
 
 29 Mercury, Venus, and Cupid, ....Hoskins* 
 
 THE CRIMSON VELVET BED 
 ROOM, 
 
 Whose dimensions are 19 feet 8 inches 
 long, and 17 feet 10 inches wide, is hung 
 with ancient tapestry, ornamented with 
 figures from iEsop's Fables, and wove in 
 France, by Jaunt. 
 
136 
 
 PAINTINGS. 
 
 Hebe, copied from Hamilton, *A. Kauffman,, 
 
 Hebe, the daughter of Juno, was the goddess of 
 youth, and cup-bearer to Jupiter. She afterwards mar* 
 ried Hercules, when he was raised to the rank of a god, 
 and bore him two sons. As Hebe had the power of re- 
 storing gods and men to the vigour of youth, she, at the 
 instance of her husband, performed that kind office to 
 Iolas, his friend. She is generally represented as a young 
 virgin, crowned with flowers, and arrayed in a variegated 
 garment. 
 
 Abraham's Dismission of Hagar and Ishmael, Gen. 
 xxi. 14 A, Celestu 
 
 Death of Rachael, Gen. xvi, 19 Ibid. 
 
 Thomas Howard, with a small RufF, S S Collar, pen- 
 dant George, and white Staff of Office, Corregio. 
 
 Thomas Howard was the third Duke of Norfolk^ 
 and lord treasurer of England in the reign of Henry VIII. 
 He died in 1554, aged 66 years. 
 
 Inside of a Cottage, F. Baroccio. 
 
 Head of Thomas Cromwell, Earl of Essex, Anon. 
 
 He was the son of a blacksmith, at Putney, but be- 
 ing a man of great natural parts, he obtained the notice 
 of Cardinal Wolsey. His first place at court was master 
 of the King's jewel-house ; he was afterwards created a 
 peer, made master of the rolls, and keeper of the privy 
 seal, and was the chief instrument of Henry VIII. in the 
 dissolution of the monasteries. At length he was attainted 
 for heresy and high treason, and beheaded on Tower-hill, 
 July 28th, 1540, 
 
 Ancient small three-quarter Portrait, in a close black 
 Jacket and Bonnet, and Collar of the Garter, Anon, 
 
137 
 
 THE CRIMSON VELVET DRESS- 
 ING ROOM 
 
 Adjoins the Hall in the west front, and 
 is 19 feet 8 inches long, and 17 feet 10 
 inches wide. It exhibits the following 
 
 PAINTINGS. 
 
 William Cavendish, Duke of Newcastle, with a Star 
 
 and pendant George, Vandyck. 
 
 William Cavendish was the son of Sir Charles Caven- 
 dish, by Catherine, daughter of Lord Ogle, born in 
 1592. He rendered great services in a military capacity 
 to Charles I. but the destruction of the royal cause 
 obliged him to go abroad. While he was in exile he 
 wrote a 61 Treatise on Government, and the Interest of 
 Great Britain with respect to the other Powers of Eu- 
 rope." He accompanied Charles II. on his return to 
 England, and was shortly afterwards created Duke of 
 Newcastle. He also wrote a celebrated u Treatise on 
 Horsemanship," and several plays and poems; and died 
 in 1676. 
 
 Battle of the Boyne, Vander Meulen. 
 
 The Boyne is a river in Ireland, rendered famous by 
 the battle fought there in 1690 between King James II. 
 and King William III. The troops headed by the latter 
 monarch were ordered to force a passage over the river, 
 which, after an obstinate resistance they effected, and 
 caused the enemy to flee with precipitation. The Irish 
 lost about fifteen hundred men, and the protestants about 
 one-third of that number. 
 
 Virgin and Child,.... Leonardo da Vinci. 
 
 Virgin, Child, Elizabeth, and Joseph, P. Lauri. 
 
 Garland of Flowers, ..D. Segers. 
 
 IT 
 
138 
 
 Landscape, Morning,.. Tempests. 
 
 Ditto, Evening, Ibid. 
 
 St. Stephen, ...Ibid. 
 
 Christ and the Samaritan Woman, John iv. from the 
 Zingera of Corregio, Valentino. 
 
 Venus and Adonis, G. Chiarl. 
 
 Virgin and Child, Guido. 
 
 Jacob's Dream, Gen xxviii. II. 15 D. Fetti. 
 
 Holy Family, * ....C. Maratta. 
 
 Four Evangelists, « L. da Vinci. 
 
 These were given to Lord Exeter in 1798, by Gen. 
 Leland, M. P. for Stamford. 
 
 Birds, D. Koninck, 
 
 Animals, Ibid. 
 
 Portrait of a Boy, Velasquez.* 
 
 Oliver Cromwell, in Armour, R. Walker. 
 
 John Lord Burghley, afterwards the sixth Earl of 
 
 Exeter, with a Dog and Gun, a whole length, 
 
 ..Wissing* 
 
 There is an engraved half-sheet mezzotinto of this 
 painting by J, Smith, dated 1686. 
 
 PRIVATE ROOMS, HALLS, &c. 
 
 A suit of apartments, elegantly fitted up, 
 and occupied by the late Marquis, also 
 
m 
 
 contains some excellent paintings, but as 
 they are not shewn to the visitors of the 
 House, it will be unnecessary to give more 
 than a cursory notice of them. The names 
 therefore, of the pieces, and of the artists, 
 will, it is believed, amply suffice, (except- 
 ing where the descriptions are of particu- 
 lar interest, and afford information, not 
 undesirable, even though the painting may 
 be unknown.) The biography of the fa- 
 mily portraits is given as elucidating, and 
 forming a part of the history of the House. 
 In one of the north drawing rooms are 
 exhibited the following paintings. 
 
 Lady Rachael Russel, j£L Vandyck. 
 
 Landscape, Tempest a. 
 
 Two Sketches, .....Bass an* 
 
 Mrs. Pelham, Romnev. 
 
 Mrs* Bates...... A. Kauffman. 
 
 Lucretia, , Guido. 
 
 Elizabeth Countess of Exeter, Dobson. 
 
 She was interred in Clerkenwell church, London, 
 where a black marble tomb is thus inscribed to her me- 
 mory Here lyeth Elizabeth Countess Dowager of 
 Exeter, daughter of Sir William Drury, of Haustead, in 
 the county of Suffolk, Knt. and co-heiress of Sir Robert 
 Drury, her brother. She was married to William Cecil, 
 Knight of the most Noble Order of the Garter, Lord 
 
140 
 
 Burghley, Earl of Exeter, sonne to Thomas Lord Burghley, 
 Earl of Exeter, and grand-child to the illustrious William 
 Lord Burghley, lord treasurer to Queen Elizabeth. By 
 the said Earl she had three daughters and heirs. Eliza- 
 befh married to Thomas Howard, Viscount Andover, 
 Earl of Berkshire : Diana married first to Henry Lord 
 Vere, Earl of Oxenford; after his death she married 
 Thomas Lord Bruce, Baron of Whorleton, Earl of EI* 
 gin; Anne married Henry Lord Gray, of Grooby, Earl 
 of Stamford. She died at her house called St. John's, 
 the 26th day of February, 1658 * her age was about 80 
 years, leaving behinde her an example for piety, wisdom, 
 bounty, charity, and all goodness fit for the imitation of 
 all ladies of honour and virtue." 
 
 Lady Williams, Smith* 
 
 A bed chamber, hung with tapestry 
 of blue and silver, delineating parts of the 
 heathen mythology, by Vanderbank, con- 
 tains three paintings. 
 
 Honourable William Cecil, with a Dog and Parrot, 
 
 , Wissing, 
 
 Fruit and Flowers,.... ,....Vander Cabel. 
 
 Animals, &c „. M Ibid. 
 
 The Dressing Room adjoining is hung 
 with crimson brogadilla, and displays the 
 undermentioned paintings, &c, 
 
 Fine whole-length of Eve, ...Veronese, 
 
 Curious View of Old London Bridge, Anon. 
 
 Landscape and Figures,. ...John and Andrew Both. 
 Landscape and Ruins ; .,... P. Panini. 
 
141 
 
 Barbara Villiers, Sir P. Lely. 
 
 This picture was given by Lionel Duke of Dorset, 
 at Knowle, in 1754, to Sir William Hamilton, Knight, 
 and by Sir William to the Earl of Exeter. 
 
 Print of St. Hubert, Durer. 
 
 Elizabeth Countess of Exeter, daughter of John Earl 
 of Bridgewater, Sir P. Lely* 
 
 Venus and Satyr, Liberi. 
 
 Pascal Paoli and Sir William Hamilton, in Wax. 
 
 Catherine Empress of Russia, and an old Head from 
 Jlembrandt, done at a Manufactory, near Birming- 
 ham, Cleg. 
 
 A number of paintings is also exhi- 
 bited in the Breakfast Room, or Anti- 
 library. 
 
 Solomon and the Queen of Sheba, A. Tassi. 
 
 Mount Blanc, in Switzerland, Edema. 
 
 Verrio, r Himself. 
 
 Sir Godfrey Kneller, Knt. and Bart Himself. 
 
 Sir Isaac Newton, Anon. 
 
 Earl of Gainsborough, Anon. 
 
 Baptist Noel, the Earl of Gainsborough, succeeded 
 his cousin in the title and estates in 1690, and married 
 Lady Dorothy Manners, the second daughter of John 
 Duke of Rutland, and niece to Frances, Countess of 
 John Earl of Exeter. He died of the small-pox, in 1714, 
 in his 28th year. 
 
 Thomas Hobbes, Anon* 
 
 Dr. Haschard, Dean of Windsor, Riley* 
 
142 
 
 Fine Print of the Interview of Henry VIII. with Fran- 
 
 cis h near Calais, in 1520, denominated the " Champ 
 
 de Drap d'Or" Anon. 
 
 The original is thus described in the Beauties of 
 of England and Wales. It is 5 feet 6 inches in height, 
 and 11 feet 3 inches in width. " This interesting and 
 elaborate picture contains a representation of almost every 
 circumstance in progression from the outset to the con- 
 clusion of the interview. Historical and local truth arc 
 particularly observed in every part of the picture; and 
 the extraordinary vigilance of the painter is manifested 
 by his minute delineation of the various circumstances 
 transacted during the twenty days which the Kings of 
 England and Frauce passed in each other's company. 
 The principal characters are faithful portraits ; and the 
 detail of the transactions is so full and accurate, as to 
 render it almost impossible to be executed by any other 
 than an eye witness. The interview took place on the 
 7th of June ; and the remainder of the time that it con- 
 tinued was spent in reciprocal visits, splendid banquets, 
 tilts, tournaments, and other martial exercises. Both 
 Kings strove to outvie each other in the sumptuousness 
 of their apparel, and the magnificence of their treats. 
 The tents and pavilions destined for the conference be- 
 tween the sovereigns, and the others appropriated for 
 their repose, were covered with cloth of gold, and the 
 embroidered and splendid habits of the nobility and at- 
 tendants were so excessively rich, that the place of meet- 
 ing has ever since been called the Field of Cloth of Gold. 
 Immense crowds of people from both kingdoms attended 
 the interview, and partook of the luxuriant entertainment 
 which the liberality of Henry and Francis had provided. 
 In the front of a magnificent temporary palace, were two 
 superb conduits, flowing with various coloured and costly 
 wines, gushing from the mouths of lions. Here all comers 
 were permitted to indulge without restraint. The two 
 Kings, with seven knights of each nation, undertook, in 
 the tournament, to encounter all challengers; andthejust- 
 ings, which continued for five days, were reported to have 
 been the most splendid of the age. These and various other 
 particulars, that occurred during this singular festival, are 
 represented in the painting, which not only presents us 
 
143 
 
 with a prospect of the scene of action, but also, if the eit- 
 pression may be permitted, with a birds-eye view, of the 
 actions themselves. — A very curious anecdote is connected 
 with the history of this picture. After the execution of 
 Charles I. the parliament appointed commissioners to 
 dispose of his effects, and an agent from France began a 
 treaty with them for this painting. Philip, Earl of Pem- 
 broke, an eminent admirer of the arts, who considered 
 this picture as a valuable appendage to an English palace, 
 resolved, if possible, to prevent the bargain being con- 
 eluded, and went privately to the royal apartments, cut 
 out the head of King Henry from the canvass, placed it 
 in his pocket-book, and retired unnoticed. The agent 
 finding the picture so materially mutilated, declined to 
 purchase, and it remained in its station till Cromwell, 
 having obtained the supreme command, prevented any 
 further disposal of the collection. On the restoration 
 the then Earl of Pembroke delivered the dissevered frag- 
 ment to Charles II. who ordered it to be reinstated in its 
 place." This painting now hangs in the council cham- 
 ber of the Society of Antiquaries, to whom it appears to 
 have been given by his present majesty. 
 
 In the New Library there is a variety 
 of scarce and valuable books, and a curious 
 manuscript life of the Lord Treasurer, by 
 a contemporary author, together with his 
 diary, written in his own hand. Among 
 the books is an antique translation of the 
 New Testament, by one Richard, a her- 
 mit, who probably lived in the reign of 
 Henry II. This room contains the fol- 
 lowing paintings* 
 
 Elizabeth Marchioness Dowager of Exeter, a whole- 
 length, , Lawrence. 
 
144 
 
 She was daughter of the late Peter Burrell, Esq. of 
 Beckenham, in Kent, and sister to Lord Gwydir, the 
 Duchess of Northumberland, and the Countess of Beverly. 
 She was first married to Douglas Hamilton, Duke of 
 Brandon, April 5th, 1788, and afterwards re.married, 
 August 19th, 1800, to Henry the late Marquis of Exeter. 
 This portrait has been engraved by Reynolds. 
 
 David Garrick, A. Kauffman. 
 
 Angelica Kauffman, Herself. 
 
 The large old Library, although not 
 adjoining the one above mentioned, will 
 not be improperly noticed here. It is si- 
 tuated at the end of the wing of the House, 
 (which extends north from the north-east 
 corner of the quadrangle,) and contains a 
 number of Roman altars, brought from 
 Italy by the fifth Earl. Among about 
 4000 volumes of rare books, are a valu- 
 able collection of our best English his- 
 torians ; the works of Archimedes with 
 other curious MSS. ; and a number of 
 Latin, French, and Italian authors all 
 relating to the history and antiqui- 
 ty of ancient Rome, which were chief- 
 ly purchased by the above Earl. The 
 cornices are adorned with a variety of ex- 
 cellent busts ; and the furniture of this 
 apartment is completed by an excellent 
 
145 
 
 collection of coins, medals, &c. principally" 
 made by the same hand ; the latter ar- 
 ranged in chronological order. From the 
 following extract from the Lord Treasurer's 
 MS. diary, he appears to have commenced 
 this collection : " Memorandum quod habeo 
 decern vetustas Monetas Imperatorum Ro- 
 manorum in Argent o puro ; unam, Neronis, 
 inAuro ; novem in JEre" " Two of these/' 
 says Mr. Peck, iC Augustus, a god in brass, 
 and Nero, a devil in gold, as the donor 
 himself calls them, were given his lordship 
 by the famous Roger Ascham. And the 
 brass one alone, as Don Diego de Men- 
 doza (afterwards the Spanish embassador 
 in England, and a great critic in those 
 things) assured Ascham, was a present fit 
 for an Emperor/* 
 
 Exclusive of the apartments previ- 
 ously noticed, those adapted for the use 
 of the steward, housekeeper, &c. abound 
 with paintings, though principally copies. 
 The total number of rooms, all of which 
 are furnished in a suitable manner to the 
 purposes for which they were intended, is 
 one hundred and forty-five. 
 
146 
 
 Mr. Peck speaks of an elegant piece 
 of tapestry, which, it would seem, is now 
 placed in one of the private apartments, 
 as we do not recollect having seen it among 
 the other curiosities. " But what sur- 
 passes all the tapestry I ever yet saw, 
 either here or any where else/' says our 
 antiquary, " is one little piece in one of 
 the best rooms over the chimney, repre- 
 senting a ball at the French court, with 
 their late grand monarch, Louis XIV. in 
 the middle of it, leading up a lady to 
 dance, and an infinite number of nobility 
 of both sexes looking on. Each figure 
 was designed for some eminent person in 
 the then court of France ; and (though 
 one would perhaps think it a difficult thing 
 to hit a likeness in tapestry, especially in 
 so small a piece) yet every one, I have 
 been told, is really like the person it has 
 been made for." 
 
 It is probable that the singular socie- 
 ty of Bedlamites occupied two of these 
 apartments, now, necessarily perhaps, for- 
 bidden access to by strangers, though it 
 appears they were formerly shewn. The 
 
147 
 
 author above quoted, gives us the follow- 
 ing curious anecdote of this order: — 
 In going to see the House," says he, 
 "strangers were formerly conducted first 
 to a room below stairs, where there were 
 the pictures of my Lord and his friends, 
 the nobility and gentry of the neighbour-* 
 hood. This room was called Bedlam, and 
 the company Bedlamites ; being a society 
 founded by my lord's grandfather in an 
 innocent frolic, and ever since, till of late, 
 kept up with much elegance and mirth. 
 Every person, on his admission, used to 
 send in his own picture ; and in the same 
 piece was drawn the figure of the bird or 
 beast, which, for distinction and humour's 
 sake, he fancied to be called after. On 
 birth-days and other family festivals, they 
 used to meet, and dine by themselves. At 
 all which times, by the ancient statutes of 
 the order, (which I have once seen,) if any 
 gentleman called any brother by any other 
 name than that of the bird or beast in his 
 picture, he was liable to a penalty, (five 
 shillings forfeit, which was given to one 
 Mr. Clark, an ancient decayed gentleman, 
 
148 
 
 V 
 
 then secretary of the order.) When any 
 member died, his picture was removed, 
 the gilded frame taken off, and a black one 
 put on it. After which it was hung up in 
 a room called Dead Bedlam ; and then a 
 new brother was named in place of the de- 
 ceased/' 
 
 W e transcribe another anecdote from 
 Mr. Peck, which he relates with becom- 
 ing gravity. " J cannot, however, leave 
 Burghley," writes the author of the Desi- 
 derata Curiosa, " without observing, that 
 there was lately living at Stamford, a per- 
 son, who formerly, waiting on my lord's 
 father, dreamed one night that his lord 
 called. Whereupon, rising suddenly out 
 of bed fast asleep, and mistaking the 
 chamber window for the door, he fell stark 
 naked from the top of the House into the 
 inner court without hurt. That court 
 hath broad stones laid all along the sides, 
 and grass plats in the middle. He had 
 the good fortune to escape the stones." 
 
 In the centre of the north and west 
 quadrangles of the House, are two grand 
 entrance Halls. That in the west mea- 
 
149 
 
 sures 28 feet 6 inches by 17 feet 10 inches, 
 is paved with stone, and contains four 
 squares of animals, in plaster, by Gerrard. 
 The arch in the centre of this front is of 
 groined stone-work, adorned with various 
 shields. Sixteen of these, containing the 
 arms of the ancestors and relations of the 
 Lord Treasurer, surround that of the 
 Burghley family, which latter is thus de-* 
 scribed : 
 
 Arms, Barry of ten, Argent and Azure, over all six 
 escutcheons, 3, 2, and 1, Sable, each charged with a lion 
 rampant of the field. 
 
 Crest. On a chapeau, Gules, turned up ermine, a 
 garb, Or, supported by two lions ; that on the dexter side 
 Argent, on the sinister Azure. 
 
 Supporters. Two lions, ermine. 
 
 Motto* Cor unum, via una. 
 
 When the hill was lowered, over 
 which the old road ran in a straight line 
 from this Hall to the western gate, there 
 was dug up, not far from the door, a stone 
 coffin without an inscription. The skele- 
 ton of a human being only remained, and 
 this, when exposed to the air, mouldered 
 into dust. 
 
 The great Hall at the north entrance 
 is 48 feet long, 24 feet wide, exclusive 
 
150 
 
 of the porch, which is 8 feet 8 inches by 
 7 feet, and 13 feet 6 inches high. The 
 roof is supported by twelve ionic columns, 
 of Richter's composition, in imitation of 
 Sienna marble ; and the pavement is hand- 
 somely laid with small squares in black 
 and white marble. On a pedestal nearly 
 opposite the great door, and a little on 
 the right of that which opens from the 
 middle court, stands a fine antique marble 
 statue of Bacchus, purchased at Rome by 
 the late Earl Brownlow. It is 5 feet 
 high, and holds a cup in the right hand. 
 The same arm and right knee, and the left 
 thigh and wrist, appear all to have been 
 mutilated ; no bad emblems, as has before 
 been observed, of some of those disasters 
 to which too many of this god's votaries 
 are exposed. 
 
 On the right of this Hall is the New 
 Library, previously noticed ; and on the 
 left is a large commodious parlour, where 
 the late Earl was accustomed to reside, 
 and which contains an excellent organ. 
 
 With a brief notice of the Kitchen, 
 we shall conclude our description of the 
 
151 
 
 House, and proceed to give the lives and 
 anecdotes of the painters, which it is pre- 
 sumed will not be found altogether an use- 
 less appendage. 
 
 This noble room is situated on the 
 south side of a spacious court, in the 
 centre of which is a fine spreading chesnut 
 tree. It stands detached, with several 
 other buildings, from the east end of the 
 mansion, and measures 48 feet by 30 : the 
 roof is very lofty, and has a groined arched 
 ceiling. Even this apartment is not des- 
 titute of the labours of the artist ; for a 
 painting of an immense carcase of beef, 
 is here very correctly given, — an exhi- 
 bition of the true ensign armorial of Eng- 
 lish hospitality. 
 
APPENDIX 
 
 i 
 
 ON PAINTING; 
 
 AND ITS 
 
 ORIGIN AND PROGRESS IN ENGLAND; 
 
 CHIEFLY EXTRACTED FROM 
 
 Mr. HORACE WALPOLE's ANECDOTES. 
 
 As the greater part of the History of Burghley consists of 
 an account of pictures, of whose artists the biography 
 succeeds at some length, it will not be foreign to the nature 
 of the present work, to give a short but imperfect epitome 
 of the art of painting in general, thence tracing it from the 
 earliest ages of this country, down to the present period. 
 
 Painting is said to have had its rise among the Egyp- 
 tians ; and the Greeks, who learned it of them, if we may 
 believe the stories related of their Apelles and Zeuxis, car- 
 ried it to perfection. If it arose among the Egyptians, the 
 absurd story of the daughter of Dibutades, a potter of 
 Corinth, having discovered the art by drawing the lines of 
 her lover's shadow against the wall, as he slept by lamp 
 light, proves a mere fable. 
 
154 
 
 It has been asserted, that the ancients, instead of draw* 
 Jng the imagination, like the moderns, through uninterest- 
 ing links of successive ideas, by several minute expressions 
 of the pencil, collected all its powers to one strong point or 
 passion ; and that, as one forcible expression has more pow- 
 er in affecting the soul, than several that are weak, in this 
 their excellence, in some measure, was supposed to lie. 
 When we are told that the Venus Anadyomene, or Venus 
 rising from the sea, painted by Apelles, was sold for 
 ^S19 5 375. English, it excites our admiration and wonder at 
 the excellence to which the ancients arrived in a favourite art. 
 
 Of moderns, the Romans were not without considerable 
 masters in this art, both in the latter times of the republic, 
 and under the first emperors; but the inundation of barba- 
 rians, who ruined Italy, proved fatal to painting, and almost 
 reduced it to its first elements; nor was it recovered in Eu- 
 rope till the age of Julius II. and Leo X. This last revo- 
 lution in the history of painting has given occasion for dis- 
 tinguishing it into ancient and modern. 
 
 The ancient painting comprehends the Greek and Ro. 
 man : the modern has formed several schools, each of 
 which has its peculiar character and merit. It was in Italy, 
 however, that the art afterwards returned to its ancient 
 honour, and about the middle of the thirteenth century, 
 when Cimabue, born at Florence, A.D. 1240, betaking him- 
 self to the pencil, translated the poor remains of the art, from 
 a Greek painter or two, into his own country : he was second- 
 ed by some Florentines. The first artists who got any re* 
 putation were Ghirlandaio, Michael Angelo's master, born in 
 1449 ; Pietro Perugino, Raphael Urbin's master, born in 
 1446 ; and Andrea Verocchio, Lionardo da Vinci's master, 
 born in 1432. But these scholars vastly surpassed their 
 masters ; they not only effaced all that had been done before 
 
155 
 
 them, but carried painting to a pitch from which it has" almost 
 ever since been declining. It was not by their own noble 
 works alone, that they advanced painting, but by the num- 
 ber of pupils they bred up at the schools they formed. 
 Angelo, born in 1474, in particular, founded the school of 
 Florence; Raphael, born in 1483, the school of Rome; 
 and Lionardo, born in 1445, the school of Milan ; to which 
 must be added, the Lombard school, established about the 
 same time, and which became very considerable under Gior- 
 gione, born in 1477, and Titian, born also in 1477. Be- 
 sides the Italian masters, there were other very great ones, 
 on this side the Alps, who had no communication with those 
 of Italy ; such were Albert Durcr, in Germany ; Holbein, 
 in Switzerland ; Lucas, in Holland ; and others in France 
 and Flanders ; but Italy, and particularly Rome, was the 
 place where the art was practised with the greatest success, 
 and where, from time to time, the greatest masters were 
 produced. To Raphael's school succeeded that of the 
 Caracci, which has lasted in its scholars almost to the 
 present time ; wherein the French painters, by the munifi- 
 cence of Louis XIV. have, until within these few years, 
 been alone able to vie in any degree with those of 
 Greece and Italy. It must be acknowledged, that paint- 
 ings in oil are liable to decay and fade; whereas the 
 vehicle,* whatever it was, used by the ancients, gave their 
 works an advantage over those of the most celebrated mo- 
 derns, in point of duration. Pausanias describes the paint- 
 
 * Sir Humphrey Davy has lately transmitted from Italy to the 
 Royal Society, a paper on the composition of the paints used by the 
 Gieeks. The principal colour in the paintings found on the walls of 
 Herculaneum and Pompeii, appears, according to this celebrated che- 
 mist's analysis, to consist of carbonates of copper, prepared and blended 
 in different proportions. 
 
156 
 
 ings in the Poikile, at Athens, without the least intimation 
 that they were decayed or faded, in the course of six hun- 
 dred years; and the ancient picture called the Aldobrandine 
 Marriage, now to be seen in the palace of that name at 
 Rome, continues to this day a fine picture, though proba- 
 bly painted two thousand years ago. Besides, the vehicle of 
 the ancients did not change or corrupt the pigments tem- 
 pered with it : the Aldobrandine marriage and those at 
 Herculaneum being evidences to this effect. The art of 
 painting in oil was unknown to the ancients, as writers on 
 this subject have generally supposed; and the invention of 
 it has been uniformly ascribed to a Flemish painter, one 
 John Van Eyck, or John de Bruges, who is said to have 
 first discovered and put it in practice in the beginning of the 
 fifteenth century, or about 1410. Before his time all the 
 painters wrought in Fresco, or in water colours, A late 
 writer has produced several articles to prove, that painting 
 in oil was known, if not to the ancients, long before the 
 pretended discovery of John and Hubert Van Eyck. The 
 claims of this artist are founded on the testimony of Vasari, 
 in his lives of the painters, first published in 1566 ; a writer 
 who was neither a contemporary nor countryman of Van 
 Eyck, as he wrote and published his book one hundred and 
 fifty years after his death. Before Vasari's time it does not 
 appear that any Flemish or Dutch historian has ascribed 
 this invention to their countryman, nor among the high en- 
 comiums on John Van Eyck, as a painter, in his epitaph in 
 the church of St. Donat, at Bruges, is there any mention of 
 his having invented oil painting. Besides, instances occur, 
 that are recorded by several writers, of Flemish oil paintings, 
 which were executed before the time of the supposed in- 
 ventor. Other unquestionable facts prove, that oil painting 
 was known and practised in this kingdom long before the 
 
157 
 
 time in which Van Eyck is reported to have invented it 
 in Flanders.* Among several arguments and facts to the 
 same purpose, it is allcdged that Theophilus, who is sup- 
 posed to have lived in the tenth or eleventh century, in a 
 treatise " De Arte Pingendi," discovered in the library of 
 Trinity-college, Cambridge, describes the method of mak- 
 ing linseed oil for the use of painters, and gives two receipts 
 for making oil varnish. 
 
 Mr. Vertue had taken great pains to prove that paint- 
 ing existed in England, before the restoration of it in Italy> 
 by Cimabuc, 1250. That we had gone backwards farther 
 in the science almost than any other country, is evident 
 from our coins, on which there is no more of human simili- 
 tude, than an infant's first scrawl of the profile of a face; 
 and so far, therefore, as badness of drawing approaches to 
 antiquity, we may lay in our claim to very, ancient posses- 
 sion. The earliest place in a catalogue of English painters 
 
 * " I cannot help hazarding a conjecture," says Mr. Walpole, 
 " (though unsupported by any of the writers on painting.) There is an 
 old altar table at Chiswick, representing the Lord Clifford and his lady 
 kneeling — Van Eyck's name is burnt in on the back of the board. If 
 Van Eyck was ever in England, would it not be probable that he 
 learned the secret of using oil here, and took the honour of the inven- 
 tion to himself, as we were then a country little known to the world 
 of arts, nor at leisure enough, from the confusions of the times, to claim 
 the discovery of a secret, which soon made such fortune abroad ? An 
 additional presumption, though certainly not a proof of Van Eyck's 
 being in England, is a picture in the Duke of Devonshire's collection, 
 painted by John ab Eyck, in 1422, and representing the consecration 
 of St. Thomas Becket. The tradition is, that it was a present to Henry 
 V. from his uncle, the Duke of Bedford, regent of France ; but tradi- 
 tion is no proof ; and two pictures of this author in England, and one 
 of them of an English family, are at least as good evidence for his hav* 
 ing been here, as tradition for one of them being painted abroad. 
 However, I pretend to nothing more in all this than meer conjecture/ 9 
 
158 
 
 Is due to St Wolstan, bishop of Worcester, in 1062, or at 
 least to Ervenius, or Erwen, his master. The first evidences 
 in favour of the art are drawn from our records, which Mr, 
 Vertue had carefully consulted, when he found the follow- 
 ing entries. 
 
 " MCCXXVIII A°. 12 Hen. 3 m. s. Rex thes. et earner, 
 suis salutem. Liberate cuidam pictori 20s. ad cameram. 
 magniscaccariidepingendam." And again, "MCCXXXIII. 
 Liberate A°. 17 Hen. 3. m. 6. Mandatum est Vicecomiti 
 Southon. quod cameram regis lambruscatam de Castro Win- 
 ton, depingi faciat eisdem historiis et picturis quibus fuerafc 
 prius depicta. Et custum, &c. computabitur. Teste Rege 
 apud Kideministr. iii die Junii." 
 
 Some antiquaries, however, have ascribed the introduc- 
 tion of painting into this island to the venerable Bede. Ia 
 Aubrey's MS. survey of Wiltshire, in the library of the 
 Royal Society, he says, on the authority of Sir W. Dugdale, 
 that the first painted glass, in England, was done in King 
 John's time. It is said, that the original copy of Matthew 
 Paris, with miniatures, in the British Museum, was certainly 
 a present to the King from the author. From these few 
 testimonies, and many others which we pass over, it ap- 
 pears that Henry III. was a great encourager of the arts. 
 
 From the reign of Henry III. Mr. Vertue could dis- 
 cover no records relating to the arts for several reigns. 
 During the reigns of the two first Edwards, I find, says this 
 author, no vestiges of the art, though it was certainly pre- 
 served here, at least by painting on glass. In that of Ed- 
 ward [. however, bishop Langton built a palace and hall, 
 at Lichfield, in which was painted the ceremony of the co- 
 ronation. Of the third Edward, says Mr. Vertue, many 
 portraits are preserved at Windsor, in illuminated MSS. and 
 elsewhere. As he has not marked where these limnings ex* 
 
159 
 
 rst, we can give no account of them, nor refer the reader to 
 the inspection of them. But there is a portrait taken from 
 a bust of the same age, the face of which is far from being 
 executed in a contemptible manner. It represents that 
 artist and patron of the arts, William of Wickham, bishop 
 of Winchester, and prime minister to Edward III. The 
 Black Prince was represented on glass, in a window at the 
 west end of Westminster-abbey ; and Mr, Onslow, the late 
 speaker, had a head of the same prince, which there is great 
 reason to believe was painted at the same time. The per- 
 son of Richard II. is still preserved in the most lively man* 
 ner, in two different pictures. The first a whole-length, in 
 the Abbey of Westminster ; the other at the Earl of Pem- 
 broke's, at Wilton, a small piece consisting of two tablets, 
 on which are represented the King kneeling, accompanied 
 by his patron saints. JTo the bottom of this picture are 
 affixed these equivocal words : Ci Invention of painting in 
 oil, 1410. This was painted before, in the beginning of 
 Richard the second, 1377, &c." 
 
 The painters employed by Henry* III. appear to have 
 been Italians ; and yet it is easy to vindicate the secret of 
 painting in oil from them, at least we can prove that they 
 must have found the practice here, not have brought it over 
 with them ; for we are told expressly, that in Italy they 
 knew of no such method. When some of John ab Eyck's 
 pictures were carried to Alphonso King of Naples, the 
 Italian painters were surprised, says Sandrart, " quod aqua 
 purgari possent, coloribus non deletis." Henry IV. is ex- 
 tant at Hampton Court, in Herefordshire, formerly his 
 palace, a copy or duplicate of which is at Kensington. The 
 fine east window in the cathedral of York was painted in 
 this reign, at the expense of the dean and chapter, who con- 
 tracted with John Thornton, glazier, of Coventry, to exe- 
 
160 
 
 cute it, and shews how able an artist he was. Henry V. is 
 likewise painted on board, at Kensington, and on vellum in 
 some MS. 
 
 In the reign of Henry VI. our field begins to grow 
 less barren. Many portraits of the King himself are pre- 
 served, as on board at Kensington, and on the glass in the 
 chapel of King's-college. Sir W. Dugdale has incidentally 
 preserved some memorials of the state, of painting in the 
 reigns of our earliest princes. Henry VI. himself, we sup- 
 pose, had no taste for the arts — the turbulent ambition of 
 his Queen left her as little. In this reign John de Wetham- 
 sted, abbot of St. Alban's, a man of great learning and me- 
 rit, adorned the chapel of our lady there, with various 
 paintings ; as he did the sides of the church and his own 
 lodgings ; under all which paintings he caused mottos and 
 inscriptions to be placed. The portraits on glass, in the 
 windows of the college of All-souls, at Oxford, were painted 
 in this reign. 
 
 We find but small traces of the arts having flourished 
 under Edward IV. His picture on board, stiff and poorly 
 painted, is preserved at Kensington. The whole-length of 
 him at St. James's, in a night-gown and black cap, was 
 drawn many years after his death by Belcomp. Few charms 
 can be discovered in his favourite, Jane Shore, preserved at 
 Eton, and probably an original. There is another por- 
 trait of her in the Provost's-lodge, at King's-college, Cam- 
 bridge. It is painted on board, and from the meanness of 
 the execution, seems to be originaL Richard II. appears 
 in another old picture at Kensington. The names of the 
 artists in these reigns, of which even so few authentic re- 
 cords exist, are not to be expected. 
 
 Henry VII. being neither ostentatious nor liberal, ge- 
 nius, of course, had no favour from him. He reigned as an 
 
161 
 
 attorney would have reigned, and would have preferred a 
 conveyancer to Praxiteles. Though painting in his age had 
 attained its brightest epoch, no taste reached this country. 
 John Mabuse appears to have been the only artist, with 
 the exception of one Holbein, the supposed uncle of the fa- 
 mous Hans Holbein, who is slightly mentioned in the regis- 
 ter's office of Wells. 
 
 The accession of Henry VIII. brought along with it 
 the establishment of the arts. He was opulent, grand, and 
 liberal — how many invitations to artists ! A. man of taste 
 encourages abilities ; a man of expense any performers ; 
 but when a man is magnificent, whether he has taste or not, 
 the influence is so extensive, and the example so catching, 
 that even merit has a chance of getting bread. Henry had 
 several painters in his service ; and as Francis invited Pri- 
 maticcio and other masters from Italy, he endeavoured to 
 tempt hither Raphael and Titian. Some performers he did 
 get from that country, of whom wc know little but their 
 names. Girolamo da Trevisi was both his painter and engi- 
 neer ; and, attending him in the latter quality to the siege 
 of Boulogne, was killed at the age of thirty-six. Johannes 
 Corvus was a Fleming. John Brown was a Serjeant painter 
 in this reign, who, if he threw no great lustre on his 
 profession, was at least a benefactor to its professors. In 
 the 24th of Henry, he built Painter's-hall, for the company, 
 where his portrait is still preserved, among other pictures 
 given by persons of the society. In this reign flourished 
 the great Hans Holbein, than whom few artists have received 
 more applause. 
 
 The reign of Mary, though shorter than even that of 
 her brother, makes a much more considerable figure in the 
 annals of painting. It was distinguished by more good 
 painters than one, the principal of whom were Sir Antonio 
 
 Z 
 
More and Joas Van Cleeve. There was, in this reign, ano- 
 ther person too illustrious a lover and practiser of the art 
 to be omitted, though no mention is made of him in Vertue's 
 MSS. This was Edward Courtney, the last Earl of Devon- 
 shire. 
 
 The long and remarkable reign of Elizabeth could not 
 but furnish many opportunities to artists of signalizing 
 themselves. There is no evidence that Elizabeth had much 
 taste for painting ; but she loved pictures of herself. In 
 them she could appear really handsome ; and yet, to do the 
 profession justice, they seem to have flattered her the least 
 of all her dependants. There is not a single portrait of her 
 that one can call beautiful. Besides many of her majesty, 
 we are so lucky as to possess the portraits of almost all the 
 great men of her reign ; and though the generality of painters 
 at that time were not equal to the subjects on which they 
 were employed, yet they were close imitators of nature, and 
 have, perhaps, transmitted more faithful representations, 
 than we could have expected from men of brighter imagi- 
 nation. Mark Gerards, Zucchero, Isaac, Oliver, Lucas de 
 Heere, and Ketel, with many others, were portrait painters 
 in the reign of Elizabeth. 
 
 It is well for the arts that King James had no disposi- 
 tion to them : He let them take their course. Had he felt 
 any inclination for them, he would probably have intro- 
 duced as bad a taste as he did into literature. A prince, 
 who thought puns and quibbles the perfection of eloquence, 
 would have been charmed with the monkies of Hemskirk, 
 and the drunken boors of Ostade. Miniature makes a great 
 figure in this reign by the lustre thrown on it by Peter 
 Oliver. 
 
 The accession of his son and successor, Charles I. was 
 the first rera of real taste in England. As his temper was 
 
163 
 
 not profuse, the expense he made in collections, and the re- 
 wards he bestowed on men of true genius and merit, are 
 proofs of his judgment* In paiuting he had so excellent a 
 fancy, that he would supply the defects of art in the work- 
 man, and suddenly draw those lines, give those airs and 
 lights, which experience and practice had taught the painter. 
 This King is said not only to have loved painting, but to 
 have practised it. It is affirmed, that Rubens corrected 
 some of his majesty's drawings. He purchased, at a great 
 price, the entire cabinet oftheDuke of Mantua, then reck- 
 oned the most valuable in Europe. Among the many cele- 
 brated artists, who flourished during the reign of this mo- 
 narch, were Rubens, Vandyck, Steenwyck, Honthorst, &c. 
 
 * " With regard to his knowledge of pictures, I find the following 
 anecdote, from a book called the Original and Growth of Painting, 
 by Richard Atkyns, Esq. " This excellent prince," says that author, 
 ** who was not only aliquis in omnibus, but singularis in omnibus, 
 hearing of rare heads (painted) amongst several other pictures brought 
 me from Rome, sent Sir James Palmer to bring them to Whitehall to 
 him, where were present divers picture-drawers and painters. He 
 asked them all, of whose hand that was? some guessed at it ; others 
 were of another opinion, but none were positive. At last said the 
 King, this is of such a man's hand, I know it as well as if I had seen 
 him draw it ; but, said he, is there but one man's hand in this picture ? 
 None did discern whether there was or not 5 but most concluded there 
 was but one hand. Said the King, ' I am sure there are two hands 
 have worked in it, for I know the hand that drew the heads, but 
 the hand that did the rest I never saw before.' Upon this a gen- 
 tleman that had been at Rome ten years before, affirmed that he saw 
 this very picture, with the two heads unfinished, at that time, and that 
 he heard his brother (who staid there some years after him) say, that 
 the widow of the painter that drew it, wanting money, got the best 
 master she could find to finish it, and make it saleable," This story, 
 which in truth is but a blind one, especially as Mr. Atkyns does not 
 mention even the name of the painter of his own picture, seems calcu- 
 lated to prove a fact, of which I have no doubt, his majesty's know* 
 ledge of hands."— Walpole's Anecdotes. 
 
164 
 
 The arts were, in a manner, expelled with the royal 
 family from Britain ; and the restoration of royalty brought 
 back the arts, not taste. Charles II. had a turn to me- 
 chanics, none to the politer sciences. His licentiousness 
 influenced the style of poets as well as painters. Dryden's 
 tragedies are indelicate and even obscene, though composed 
 of the most beautiful numbers ; and Sir Peter Lely, the 
 most capital artist in this reign, scarce saves appearances 
 but by a bit of fringe or embroidery. Verrio, Varelst, and 
 Wissing, are amongst the painters of this era. 
 
 The short and tempestuous reign of James II. though 
 he himself seems to have had much inclination to them, af- 
 forded small encouragement to the arts. His religion was 
 not of a complexion to exclude decoration ; but four years, 
 crowded with insurrections, prosecutions, and innovations, 
 were not likely to make a figure in a history of painting. 
 
 King William III. contributed nothing to their ad- 
 vancement. He was born in a country where taste never 
 flourished, and nature had not given it him as an embellish- 
 ment to his great qualities. Though Lord Halifax pro- 
 mised him that his wound in the battle of the Boyne 
 
 M Should run for ever purple in our looms," 
 
 his majesty certainly did not bespeak a single suit of tapestry 
 in memory of the action. Mary seems to have had little 
 more propensity to the arts than the King. A few men of 
 genius flourished in their time, of whom the chief were Sir 
 Godfrey Kneller, Monoyer, Riley, Closterman, and Medina. 
 
 The reign of Amie, so illustrated by heroes, poets, and 
 authors, was not equally fortunate in artists. Party, that 
 sharpened the genius of the age, dishonoured it too — a half- 
 penny print of Sacheverel would have been preferred to a 
 sketch of Raphael. Except Kneller there was scarce a 
 painter of note. 
 
165 
 
 We are now arrived at a period, in which the arts were 
 sunk to the lowest ebb in Britain. Sir Godfrey Kneller 
 still lived, but only in name, which he prostituted by suf- 
 fering the most wretched daubings of hired substitutes to 
 pass for his works, while at most he gave himself the trouble 
 of taking the likeness of the person who sat to him. Dahl, 
 D'Agar, Richardson, Jervas, and others, of the first class, 
 in the reign of George I. cloathed all their personages with 
 a loose drapery and airy mantles, which not only were not, 
 but could not, be the dress of any age or nation, so little 
 were they adapted to cover the limbs, to exhibit any form, 
 or to adhere to the person, which they scarce enveloped^ 
 and from which they must fall on the least motion. This 
 monarch was void of taste, and not likely at an advanced 
 age to encourage the embellishment of a country to which 
 he had little partiality, and with the face of which he had 
 few opportunities of getting acquainted. Though the above-- 
 mentioned artists, Lagucrre, and a very few more, had me. 
 rits in some particulars, no reign, since the arts have been 
 in any esteem, produced fewer works that will deserve the 
 attention of posterity. 
 
 To have an exact view of the reign of George II. it must 
 be remembered that many of the artists, already recorded, 
 lived past the beginning of it, and were principal performers. 
 The style of Dahl and Kneller still existed, and Richardson 
 and Jervas remained at the head of their respective profes- 
 sions. Vanloo introduced a better style of draperies* 
 which, by the help of Vanaken, became common too, and, 
 indeed the same, in the works of almost all our painters. 
 The reign was not closed when Sir Joshua Reynolds ran- 
 somed portrait painting from insipidity, and the inimitable 
 Hogarth composed with his pencil his lively comedies. 
 
166 
 
 There were now also several enamel and miniature painters 
 of repute, namely, Liotard, Zincke, Lens, Goupy, and 
 others. 
 
 Upon the accession of his present majesty, the arts 
 were fast emerging from the wretched state in which they 
 lay during the reign of George I. and a part of that of his 
 immediate predecessor. The English School now arose, and 
 it must acknowledge Sir Joshua Reynolds as its great 
 founder, under royal auspices, in the establishment of the 
 Academy. The prints after the works of this master have 
 spread his fame to Italy, where they have not at present a 
 single painter who can pretend to rival an imagination so 
 fertile, that the attitudes of his portraits are as various as 
 those of history. He may be called the restorer if not 
 the founder of the art in England, which not only claims 
 but obtains a very considerable share of attention and 
 admiration. Alderman Boydell's Shakespeare Gallery; 
 Macklin's Gallery of Subjects, taken from the English 
 poets ; Bowyer's Gallery of those illustrative of English his- 
 tory; and Fuseli's, from Milton, all by his own pencil, are 
 rery honourable testimonies of the spirit of private indivi- 
 duals in the cause of the arts. In the course of the last few 
 years, have flourished some of the most able painters this 
 country ever produced, among whom we may enumerate 
 West, Barry, the Smiths of Chichester, Gainsborough, Wil- 
 son, Morland, Mortimer, Opie, &c. Of living artists we de- 
 cline speaking, with the exception of those whose eminence, 
 as men of genius, has placed them beyond competition. In the 
 works of Northcote and Lawrence, we hail the continuance 
 of an English school, and the happy application of those 
 precepts Us founder, delivered with so much dignity and 
 effect. 
 
LIVES 
 
 AND ANECDOTES 
 
 OF THE 
 
 (£f* The Figures at the end of each Life refer the Reader to the respective 
 pages wherein that Artists Works are mentioned. 
 
 AGAR, (Jaques d',) a portrait painter, born at Paris in 
 1640, and died at Copenhagen in 1716. He was a disciple 
 of S. Voueht, but left the walk of his master and devoted 
 himself to portrait. After being employed some time at 
 the Danish court, he came to England, and rose to great 
 business, though, as asserted in the u Anecdotes,*' upon a 
 very slender stock of merit. The two family pieces of the 
 fifth and sixth Earls of Exeter, in the Marble Hall, may 
 perhaps be ranked with his best works. His portrait, 
 painted by himself, has found a place in the gallery at Flo- 
 rence. 109, 109. 
 
 ALBANO, or ALBANI, (Francis,) a celebrated 
 painter, born at Bologna, March 17, 1578, and died Octo- 
 ber 4, 1660. He first studied under Denis Calvart ; Guido 
 
168 
 
 Rheni being at the same time under this master, Albano 
 contracted with him a very great friendship. He followed 
 Guido to the school of the Caracci, where they became en- 
 vious of each other's abilities, and from that time their 
 friendship began to cool. , Albano was twice married: his 
 second wife* Doralice, was possessed of great beauty and 
 good sense. She was the fine model from whom he repre- 
 sented his Venuses, Graces, Nymphs, and other deities. 
 Besides her bloom of youth, and the beauty of her person, 
 he discovered in her so much modesty, so many graces and 
 perfections, so well adapted to painting, that it was impos- 
 sible for him to find a more finished woman. She afterwards 
 brought him several boys, all extremely beautiful and finely 
 proportioned ; and she and her children were the originals 
 of his most agreeable and graceful compositions. It was 
 from these objects also, that the famous sculptors Flam- 
 mond and Algardi modelled their little cupids. The Virgin 
 and Child in the First George Room is thought to be little 
 inferior to the one so deservedly celebrated on the same sub- 
 ject in the magnificent gallery at Cleveland House. The 
 works of this celebrated master are almost exclusively col- 
 lected in the Napoleon Museum at Paris. 
 
 20, 49, 76, 84, 85, 94, 119. 
 ALGARDI, (Alessandro,) a painter and sculptor of 
 considerable talents, born in 1602, and died at Rome in 
 1654. He studied first under L. Caracci, and then applied 
 himself to the study of sculpture. The finely carved repre- 
 sentation of Hercules strangling the snakes, at Burghley, 
 is an excellent specimen of the merits of this master. A 
 bas-relief, representing St. Leo appearing before Attila, in 
 St. Peter's of the Vatican, and a group of the beheading of 
 St. Paul, at Bologna, arc also finely executed by the same 
 hand. 94. 
 
169 
 
 ANDERSON, (William,) probably the son of the late 
 Dr. James Anderson, and the same artist who brought the 
 beautiful art of wood engraving to great perfection. 110. 
 
 ANGELI, (Flippo d',) an excellent painter of battles 
 and landscapes, born at Rome in 1600, and died in 1640. 
 This painter was called Napoletano, because he was taken 
 to Naples when very young. After studying the antique 
 with some diligence, he adopted the manner of a Flemish 
 artist, called Mozzo, (or Stump,) because having lost his 
 right hand, he used his pencil with his left. Although he 
 painted battle pieces best, yet he employed himself in taking 
 landscapes, views of public buildings, &c. The models 
 ascribed to him at Burghley, certainly appear distinct from 
 his regular studies, but his versatility of talent might possibly 
 excite him to novel pursuits. 56. 
 
 ANGELO (Michael). See CAMPIDOGLIO, CAR. 
 AVAGIO, and BONARUOTI. 
 
 ANGUSCIOLA, (Sophonisba,) an Italian paintress of 
 great eminence, both in portrait and in history, was born 
 at Cremona in 1533, and died in 1626. She became blind 
 through intense application to her profession, but she en- 
 joyed the friendship of the greatest characters of the day. 
 Vandyck, it is said, acknowledged himself to have been 
 more benefited by her than by all his other studies. Among 
 some of the principal works by this artist, are the marriage 
 of St. Catherine, now in the Pembroke collection at Wilton ; 
 and a portrait of herself playing on the harpsichord, with 
 an old female attendant in waiting. 89. 
 
 APPOLONIUS (C). 71. 
 
 ARCHER, (Lady Elizabeth,) daughter of Andrew 
 the second and last Lord Archer, by Sarah, daughter of 
 James West, Esq. the celebrated antiquary. 63. 
 
170 
 
 ASHFIELD, (Edmund,) an English portrait painter,- 
 who flourished about 1680. He was a pupil of Wright's, 
 and painted both in oils and crayons. The heads of the 
 Ladies Pembroke and Warwick, at Burghley, are painted 
 by this artist with much neatness, 55, 66. 
 
 ATSYLL, (Richard,) a graver of stones to Henry 
 VIII. with a fee of ^£20. a year. Mr. Walpole says Hill- 
 yard cut the images of that monarch and his children on a 
 sardonyx, and from that circumstance supposes them one 
 and the same person. But, according to this, author, Ni- 
 cholas Hillyard, a celebrated limner and graver, was born 
 in 1547, a year after the King's death; and as Richard 
 Hillyard, his father, appears to be no where mentioned as 
 an artist, there seems little grounds for entertaining such 
 supposition. 81* 
 
 BACCICI, (John Baptist Gauli,) surnamed the Painter, 
 born at Genoa in 1639, and died in 1709. He obtained his 
 desire for painting at Rome at a very early age, from the 
 works of Bernini. The cupola of Jesus at Rome is said 
 to be his grand performance. But Baccici's chief excel- 
 lence lay in portrait painting. He drew that of a man who 
 had been dead twenty years : he began by chalking out a 
 head from his own imagination ; then retouching his work 
 by little and little, according to the suggestions of those 
 who had seen the man while alive, till he at length succeeded 
 in finishing a portrait acknowledged to be a complete re- 
 semblance. 77. 
 
 BALEN, (Hendrick Van,) an artist, was born at 
 Antwerp in 1560, and died in 1672. He particularly ex- 
 celled in the naked, and gave to his figures truth, roundness, 
 and correctness of outline. Several portraits of his hand 
 are at the Hague. His principal performances are the alle* 
 
171 
 
 gorical figupes of Wisdom and Justice, the Deluge, Moses 
 striking the Rock, the Drowning of Pharoah, and the Judg. 
 ment of Paris. Van Balen was the first master of Van- 
 dyck. 55. 
 
 BAPTIST, (John,) surnamed Monnoyer, a Flemish 
 painter, was born at Lisle in 1635. He was at first an histori- 
 cal painter, but afterwards appliedhimself to flower painting, 
 in which he attained uncommon excellence. When Le Brun 
 had undertaken to paint the palace of Versailles, he em- 
 ployed Baptist to do the flower part. The Duke of Mont- 
 ague, then ambassador at that court, observing Baptist's 
 great merit, brought him over to England to assist La Fosse 
 and Rosseau in embellishing Montague-house, which con- 
 tains some of the finest productions of that artist. He died 
 in London in 1699. 49, 63, 65. 
 
 BAROCCIO, (Frederic,) an eminent Italian artist, 
 was born at Urbino in 1528. His picture of St. Margaret 
 raised his reputation so highly as to induce Pope Pius IV. 
 to invite him to Rome, where he employed him in the deco- 
 rations of his palace of the Belvidere, in conjunction with 
 Federigo Zucchero. He excelled equally in history and 
 portrait, but his genius inclined him more particularly to 
 the painting of religious subjects. The latter form a prin- 
 cipal part of his labours at Burghley, in which the female 
 figures, to use the expression of a celebrated critic, look 
 as if they had been fed with roses, and the whole are 
 painted in his best manner. The Death of Adonis is also 
 finely coloured, and contains much expression : the wound 
 which he has received seems to have deprived him of the 
 power to rise; thus cast down and dejected, his eyes, 
 although dimmed with pain, look up and implore the aid of 
 Venus, who is descending in her car to his succour. In his 
 colouring, the height of his ambition was to imitate Corre- 
 
172 
 
 gio, and although far inferior to him, Sir Joshua Reynolds 
 calls him one of his most successful imitators. It is said 
 that when young, there was an attempt made to poison him 
 at a dinner given by some rival artists. He died at Urbino 
 in 1612. Baroccio was also an engraver from his own com- 
 positions, and his plates, although the mechanical parts are 
 not well managed, are greatly to be admired on account of 
 their expression and excellent drawing. 
 
 29, 57, 57, 93, 116, 117, 136. 
 
 BASSAN. Of this name there were five Italian artists ; 
 James, the father, and Francis, Leander, John Baptist, and 
 Girolamo, his sons. James was born in the republic of 
 Venice in 1510, and died in 1592. He excelled in landscape, 
 and his pieces are held in high estimation. Hannibal Caracci, 
 when he went to see Bassan, was so far deceived by the re- 
 presentation of a book drawn upon the wall, that he went to 
 lay hold of it. Francis, the only son who attained the per- 
 fection of his father, was born in 1550. He was employed 
 in the church of St. Mark, at Venice. In a fit of melan- 
 choly, he threw himself out of a window, in 1594, and put 
 an end to his life. The pictures at Burghley ascribed to 
 Bassan, are probably the works of the two elder artists of 
 that name. The most excellent and highly finished of these 
 is Christ praying in the Garden while his disciples are asleep, 
 which has been greatly admired for the beautiful contrast 
 preserved between the silver light and shade. 
 
 29, 62, 93, 93, 106, 114, 139. 
 
 BATTAGLIO (Ang). 59. 
 
 BECCAFUMf, (Dominico,) an historical painter. 
 He was born at Sienna in 1484, and studied the works of 
 Raphael and Michael Angclo Bonaruoti, and obtained great 
 reputation. He died in 1549. 46, 93. 
 
 BELLI (Valerio). There can be little or no doubt 
 
173 
 
 that Valerio Viticentio is the artist here referred to, who 
 was a celebrated engraver of precious stones during the 
 reign of Elizabeth, and carved many portraits in cameo. 
 Lord Charlemont bought at Dr. Mead's sale a fine bust of 
 her majesty on onyx, alto-relievo in profile, and very large, 
 by the hand of this master. Mr. Walpole formerly pos- 
 sessed the jewel now in the cabinet at Burghley, which he 
 says was by Vincentio. 81. 
 
 BELLINI (Giovanni or John) was born at Venice in 
 1422, and is accounted the founder of the Venetian school 
 by introducing the practice of painting in oil, and (caching 
 his disciples to paint after nature. His manner of designing 
 was but indifferent, and frequently in a bad taste before he 
 knew how to manage oil colours ; but afterwards he acquired 
 more softness and harmony of execution. II U painting of 
 Christ's Charge to Peter, at Burghley, affords a favourable 
 specimen of his style of composition. The school of 
 Giovanni Bellini produced two memorable disciples, Titian, 
 and Giorgione. He died in 1512. 93. 
 
 BERCHEM, or BERGHEM, (Nicholas,) was born at 
 Haerlem in 1624. Landscape painting was his principal 
 study, in which he executed every part of his subject so ex- 
 tremely well as to render it difficult to determine in which 
 he excelled most; his trees, buildings, waters, rocks, hills, 
 cattle, and figures, being all equally admirable. The prin- 
 cipal magistrate of Dort engaged him and John Both to 
 paint two pictures, and agreed to pay eight hundred guild- 
 ers for each; but to excite emulation promised a consider- 
 able premium to the artist whose piece should be adjudged 
 best. When the pictures were finished, there appeared such 
 an equality of merit in each, that he generously presented 
 both artists with an equal sum above the price which he 
 had stipulated. Berchem's works are rarely to be pur. 
 
174 
 
 chased, though he very often in the summer months did not 
 move from his easel from four in the morning till day-light 
 failed him. It is recorded of him, that his wife, the daughter 
 of Jan Wils, one of his masters, through her avarice, al- 
 lowed him no rest; and, industrious as he was, she usually 
 placed herself under his painting room, and when she heard 
 him neither sing nor stir, she struck upon the ceiling to 
 rouse him. She insisted upon having all the money he 
 earned by his labour, so that he was obliged to borrow 
 from his scholars when he wanted to buy prints, of which 
 he contrived to form an excellent collection. He engraved 
 forty-eight of his own pieces. He passed part of his life in 
 the castle of Bentheim, the situation of which furnished him 
 with the views and animals which compose his pictures. 
 He died at Harlem in 1683. 69. 
 
 BLESS, (Henry,) a painter of history and landscape, 
 was born at Bovine, near Dinant, in 1480. He acquired 
 his skill in the art merely by the strength of his natural ge- 
 nius, assisted by a diligent study of the works of Patinier, 
 without having any other instructor ; and at last rendered 
 himself very eminent, particularly in his landscapes. His 
 best performances were bought up by the Emperor Rodolph, 
 and are still preserved at Vienna. His historical subjects 
 were finished with extreme neatness ; but he crowded seve. 
 ral subjects into one design ; as in his picture of the Dis- 
 ciples of Emmaus, he represented not only that incident, 
 but in different groupes disposed in the back grounds, he 
 represented likewise the different parts of the Passion of 
 our Saviour. In Italy his works were distinguished by the 
 appellation of the owl pictures ; for he fixed an owl, as his 
 peculiar mark, in every picture he painted. He died in 
 1550. 117. 
 BOLOGNESE, properly GRIMALDI, (Giovanni 
 
175 
 
 Francesco,) vvas bom at Bologna in 1606. He studied un- 
 der A. Caracci, to whom he was related, and became chiefly 
 distinguished for landscapes. He was employed by Pope 
 Innocent X. to paint in the Vatican and the Quirinal, and 
 by Cardinal Mazarine for three years in embellishing his 
 palace and the Louvre. A decoration for the exposition of 
 the sacrament, by the pencil of Grimaldi, was much relished 
 at Paris. The gallery Colonna, at Rome, has many of his 
 views. He understood architecture, and has engraved in 
 aqua-fortis forty-two landscapes, five of which are after 
 Titian. — The following instance of his benevolence may 
 serve to characterize the man. A Sicilian gentleman, who 
 had retired during the troubles of his country, with his 
 daughter, was reduced to the misery of wanting' bread. 
 Grimaldi heard of it, and in the dusk of the evening went 
 to his house, where, having knocked at the door, he threw 
 in money, and retired. The Sicilian, anxious to know his 
 benefactor, placed himself behind the door, when, upon a re- 
 petition of Grimaldi's benevolence, he fell down on his knees 
 to thank the hand that had relieved him. The artist was 
 confused — offered him his house, and continued his friend 
 till his death. He died of a dropsy at Rome in 1660* He 
 had a son named Alexander, who was a pretty good painter. 
 
 29, 58. 
 
 BONARUOTI, (Michael Angelo,) a most illustrious 
 painter, sculptor, and architect, was born in Tuscany, in 
 1474, and descended from the noble family of the Counts 
 of Canossa. His first master was Ghirlandaio, whom it ap- 
 pears he soon surpassed. When a fellow pupil was copy- 
 ing a female portrait from a drawing by Ghirlandaio, he 
 took a pen and made a strong outline round it on the same 
 paper, to shew its defects, and the superior style of the con- 
 tour was as much admired as the act was considered confi- 
 
176 
 
 dent and presumptuous. He afterwards entered the school 
 of Lorenzo de Medici, for students of design and sculpture, 
 which latter became his primary pursuit. At the age of 
 fifteen he executed the head of a laughing faun, which still 
 exists, and may enter into comparison with the finest pieces 
 of antiquity. He continued his studies, and produced num- 
 bers of statues, basso-relievos, &c. At the same time, that 
 he might not forget the practice of painting, he executed a 
 Holy Family for one Angeli Doni, concerning which Vasari 
 relates the following anecdote. When the picture was fin- 
 ished, it was sent home with a note requesting the payment 
 of seventy ducats : Angelo Doni did not expect such a 
 charge, and told the messenger he would give forty; 
 Michael* Angelo immediately sent back the servant, and de- 
 manded his picture, or an hundred ducats; Angelo Doni, 
 not liking to part with it, returned the messenger, agreeing 
 to pay the original sum ; but the artist, indignant at being 
 haggled with, then doubled his first demand, and Angelo 
 Doni acceded, rather than try any further experiment to 
 abate his price. His Cartoon of Pisa for the great saloon 
 of the public palace at Florence, was the most extraordinary 
 work that had appeared since the revival of the arts in 
 Italy. Such was its excellence that some thought it abso. 
 lute perfection ; not to be rivalled, and hopeless to be ap- 
 proached. In architecture he surpassed all modern compe- 
 titors, and it is the opinion of many rivalled the ancients, 
 in support of which they allude to St. Peter's of Rome, St. 
 John's of Florence, a front to the Capitol, the Palazzo Far- 
 nese, &c. &c. The character of this great artist, who has 
 obtained from the admiration of his countrymen the distin- 
 guished appellation of " The Angelic Painter," is thus 
 glowingly defined by Mr. Fuseli: — u As painter, as sculp- 
 tor, as architect, he attempted, and above any other man 
 
177 
 
 succeeded, to unite magnificence of plan, and endless va- 
 riety of subordinate parts, with the utmost simplicity and 
 breadth. His line is uniformly grand. Character and 
 beauty were admitted only as far as they could be 
 made subservient to grandeur. The child, the female, 
 meanness, deformity, were by him indiscriminately stamped 
 with grandeur. A beggar rose from his hand the patri- 
 arch of poverty ; the hump of his dwarf is impressed 
 with dignity ; his women are moulds of generation ; his 
 infants teem with the man ; his men are a race of giants. 
 This is the i Terribil Via' hinted at by Augustine Garaccu 
 To give the most perfect ease to the most perplexing diffi- 
 culty was the exclusive power of Michael Angelo. He is 
 the inventor of epic painting in the sublime compartments 
 of the Sistine Chapel. He has personified motion in the 
 groupes of the Cartoon of Pisa ; embodied sentiment on the 
 monuments of St. Lorenzo ; unravelled the features of medu 
 tation in his prophets and Sibyls ; and in his Last Judgment, 
 with every attitude that varies the human body, traced the 
 master-trait of every passion that sways the human heart." 
 -—He loved solitude, and used to say that painting was 
 jealous, and required the whole man to herself. It should 
 not be forgotten, that he was also an excellent poet. He 
 died at Rome in 1563* 51* 
 
 BOSSE, (Abraham,) a French engraver, who died 
 about 1660. He gave the first lessons of perspective in the 
 academy at Paris, and published several works on drawing, 
 architecture, engraving, &c. 131. 
 
 BOTH (John and Andrew). The former was born at 
 Utrecht, in 1660, and was the disciple of Abraham Bloe- 
 mart. His genius directed him to the study of landscape, 
 in which he rose almost to the highest perfection ; and by 
 many his works are mentioned in competition with those of 
 
 B B 
 
178 
 
 Claude, His brother Andrew inserted the figures, which 
 !He designed in the manner of Bamboccio. In John's land- 
 scapes, it has been observed, that even the different hours 
 of the day are perceptible, from the propriety of the tints 
 which he used. Andrew's birth is not precisely known, 
 "but his death took place in 1656, which event was hastened 
 $y the premature death of his brother, who was drowned at 
 Venice in 1650. (See an anecdote of John under the name 
 Berchem.) 47, 140. 
 
 BOURDON, (Sebastian,) an historical, portrait, and 
 landscape painter, born at Montpelier in 1616, and died ia 
 1671. His father was a painter on glass, and sent his son 
 to study at Paris. Wanting employment, at the age of 
 eighteen he enlisted himself as a private soldier ; but his 
 captain seeing some of his drawings, gave him his discharge, 
 and pecuniary assistance. He afterwards painted in the 
 church of St. Peter at Rome, but left that city on being 
 threatened to be reported to the inquisition. On his return 
 to Paris, he produced his chef d'oeuvre, the Martrydom of 
 St. Peter, in the church of Notre Dame. After a visit to 
 Sweden, he again went to Paris, where he died, rector of 
 the academy, much regretted. As a landscape painter he 
 ranked next to Claude Lorraine and Poussin. He succeeded 
 in every kind of painting, and could imitate every style 
 with perfect ease, particularly those of Claude Lorraine, 
 Andrea Sacchi, Corregio, and even the delicate finishing of 
 Bamboccio. 1 17. 
 
 BRANDI, (Giacinto,) a painter, was born at Poli in 
 $653, and studied in the school of Lanfranco. The greater 
 ipart of the churches and palaces at Rome were embellished 
 by his pencil. His best pictures are his St. Rocco, and the 
 Forty Martyrs. He died at Rome in 1691, aged 58, prince 
 of the academy of St. Luc, and chevalier of the order of 
 
179 
 
 Christ. The celebrated Rosa da Tivola, of whom Giacinto 
 conceived a mean opinion because he painted only beasts, 
 married his daughter: the morning after marriage he sent 
 back the clothes of his bride to her father, with this mes- 
 sage, u that his daughter's person was fortune enough to 
 make her husband happy; and that a good painter of beasts 
 was as likely to become rich, as a bad painter of men." 45. 
 
 BRIL, (Paul,) an excellent artist, was born at Ant- 
 werp in 1554. Hannibal Caracci generally painted the 
 figures in his landscapes, and by that means increased their 
 value to a very high degree. The situations and distances 
 preserved in his small landscape, in the Chapel Room at 
 Burghley, are admirable, and the whole piece is beautifully 
 finished. His pictures are coveted in all countries where 
 the arts are encouraged, and very large sums of money are 
 given for them when they can be procured. A few years 
 ago one of the landscapes of this master sold in Holland for 
 j£160. and another, at an auction in London for 120 guineas, 
 or upwards, and yet they were deemed to be cheaply pur- 
 chased. He died in 1626, aged 72. 29. 
 
 BRONZINO, (Agnoio,) bom at Florence in 1511, 
 though the scholar of Pontorma, was an imitator of Michael 
 Angelo. His frescos in the Palazzo Vecehio, and his limbo 
 in the church of St. Croce* are among the praised pictures 
 of Florence. The portraits of Bronzino are numerous in, 
 the Italian collections. — Tuscany places him with her minor 
 poets ; his verses are printed with those of Berni; and there 
 are letters of his inserted among the ' Lettere Pittoriche,* 
 by Bottari. He died in 1580. 29* 
 
 BRUEGHEL. Of this name there have been four ar- 
 tists. The one to whom may be ascribed the productions 
 in Burghley, from the particular subjects which he delighted 
 to paint, was Peter Petersz Brueghel, a disciple of Gilles 
 
180 
 
 Coningsloo* He was born at Brussels, and is universally 
 known by the name of the 6 Hellish Brueghel,' as he scarce 
 ever designed any historical subject that would not admit of 
 the introduction of witches and devils. Orpheus charming 
 Pluto and Proserpine to procure the deliverance of Eury- 
 dice, Saul and the Witch of Endor, and St. Anthony's 
 Temptations, were such pieces as his pencil generally pro* 
 duced. Strutt has enumerated him amongst the engravers. 
 He died in 1642. 63, 63, 65, 65. 
 
 BRUN, (Carlo le,) an illustrious French painter, was 
 of Scottish extraction, and born in 1619. At three years 
 of age it is reported that he drew figures with charcoal; and 
 at twelve he drew the picture of his uncle so well, that it 
 still passes for a fine piece. He was a pupil of Simon 
 Vouet's ; and afterwards copied some of Raphael's pieces at 
 Fontainbleau. He w r as then sent to Italy, where he con- 
 tracted a lasting friendship with the celebrated Poussin. A 
 painting of St. Stephen, which he finished in 1651, raised 
 his reputation to the highest pitch. His distinguished 
 merit procured him the favour of Louis XIV. who made 
 him his first painter, and conferred on him the order of St. 
 Michael. His majesty employed two hours every day in 
 looking over him whilst he was painting the Family of 
 Darius at Fontainbleau. About 1662 he began his five 
 large pieces of the History of Alexander the Great, which 
 obtained him further honours. He possessed in a great de- 
 gree that enthusiasm which animates the efforts, and in- 
 creases the rapture of the artist. Some one said before him 
 of his fine picture*of the Magdalen, U that the contrite 
 penitent was really weeping." " That," said he, " is per- 
 haps all that you can see; I hear her sigh." The great 
 staircase at Versailles, and the grand gallery there, which is 
 said to have taken him up fourteen years, were hislast ; and^ 
 
181 
 
 some say, finest productions. He died at his house in the 
 Gobelins in 1690. He was the author of a curious treatise 
 of u Phisiognomy and of another of the " Characters of 
 the Passions." 30, 48. 
 
 BUTLINI, (P.) an artist of Rome. 130. 
 
 BYERS, (Nicholas,) born at Drontheim, in Norway, 
 painted both history and portraits. He was employed 
 by Sir W. Temple three or four years at his house atShene, 
 near Richmond, where he died. He was the first man bu- 
 ried in St. Clement's Danes after it was rebuilt. 130. 
 
 CABEL, or KABEL, (Adrian Vander,) a painter of 
 landscape, sea-ports, and cattle, was born at Ryswick, 
 in 1631, and became a disciple of John Van Goyen, 
 by whom his name was changed from Vander Touw 
 to Vander Cabel. He copied nature, and designed every 
 object before he inserted any in his compositions. His 
 taste in designing animals and figures was formed after that 
 of Castiglione ; his landscape he modelled from the style 
 of Salvator Rosa; and in his colouring, he was solicitous to 
 imitate the Caracci and Mola. He died in 1695. 140, 140. 
 
 CALLOT, (James,) a famous engraver, born at Nancy 
 in 1593. He cherished from infancy a taste for the fine arts 
 and belles-lettres ; and so strong was his desire of seeing 
 the curiosities he had heard spoken of at Rome, that before 
 he was fifteen years old he twice ran from his father, and 
 directed his course to that city. He at length obtained per- 
 mission to visit the place that he so ardently wished to be- 
 hold ; and there learned to design and engrave. He was 
 afterwards employed by the great Duke of Florence, with 
 several other excellent workmen. About this time he be- 
 gan to design in miniature, in which he so greatly excelled 
 as to attract the attention of Prince Charles, with whom he 
 went to Lorraine^ and had there a considerable pension set- 
 
182 
 
 tied upon him. He engraved the sieges of Breda and Ro* 
 chelle for the Infanta of Spain and Louis XIII. When the 
 latter had reduced Nancy, he sent for Callot to engrave this 
 new conquest also; but was told that a Lorrainer could not 
 do any thing so much against the honour of his Prince and 
 country. On its being insinuated that he ought to be forced 
 to do it, he replied, u That he would sooner disable his 
 right hand than be obliged to do any thing against his hon* 
 our." — He is said to have been the first who used hard var~ 
 nish in etching. He followed the business of engraving sa 
 assiduously, that he is said to have left 1500 pieces of his 
 own : amongst those most admired, Strutt enumerates the 
 Murder of the Innocents ; the Punishments; the Miseries 
 of War; the Great Fair at Florence; the little Fair, or 
 the Players at Bend, &c. He died in March, 1636. It is 
 doubtful whether this artist be the Callot to whom the 
 Marriage Procession of Othello and Desdemona, at Burgh* 
 ley, is ascribed. The painting is somewhat curious, and 
 although the stalking figure of the Moor cannot certainly 
 be admired for its beauty of execution, it does not fail to 
 attract attention by its singularity. 62. 
 
 CALVART, (Denis,) an artist, was born at Antwerp 
 in 1555. He studied successfully landscape and history, 
 and became the disciple of Prospero Fontano. He is cele- 
 brated as the first instructor of Guido, Albano, and Dome, 
 nichino, at his academy at Bologna. In the Palazzo Ramiz* 
 zi, at Bologna, there is a fine picture by Calvart, repre- 
 senting two hermits, which is correctly designed, beautifully 
 coloured, and delicately pencilled ; and in the Pembroke 
 collection, at Wilton, there is a Nativity, painted by him. 
 He died in 1619. 77. 
 
 CAMPIDOGLIO, properly MICHAEL ANGELO, 
 fcut particularized by the former name on account of an 
 
183 
 
 office which he held in the Capitol at Rome. He was born 
 in that city in 1610; was a disciple of Fioravanti ; and had 
 a most happy talent for painting fruits and flowers. He 
 died in 1670. 64. 
 
 CARACCI, (Lewis, Augustine, and Hannibal,) were 
 celebrated painters of the Lombard school, all of Bologna, 
 in Italy, and the founders of the Bologna school. Lewis 
 was born in 1555, and was cousin-german to Augustine and 
 Hannibal, who were brothers. He being treated roughly 
 by his first master, Prospcro Fontana, left him, and after- 
 wards verified what the famous Tintoret foretold, viz. that 
 he would one day be the first in his profession. He studied 
 the works of the greatest masters; but was most touched 
 with the manner of Corregio, which he afterwards princi* 
 pally followed. (See his letter under Corregio.) Augustine 
 Caracci was born in 1557, and Hannibal in 1560. Their 
 father, though by trade a tailor, was careful in giving his 
 sons a liberal education. Augustine was apprenticed to a 
 goldsmith ; but soon quitted this profession, and then in. 
 dulged in whatever pleased his fancy. Under the tuition of 
 his cousin he became a very good designer and painter ; and 
 learnt engraving in very great perfection under Cornelius 
 Cort. He was also a tolerable poet, and had some know- 
 ledge of most of the liberal arts and sciences. Hannibal, at 
 t»e same time, was likewise a disciple of Lewis's ; and by 
 means of a prodigious memory and exquisite taste united 
 the several perfections of the greatest masters in himself 
 alone. — These three painters at length laid the foundation 
 of that celebrated school, which ever since has gone by the 
 name of the Caracci academy. Augustine died in the ser- 
 vice of the Duke of Parma, at his court, in 1602, leaving a 
 natural son, named Antonio, who it is thought would have 
 turpassed his instructor and uncle, Hannibal ? if he had lived ; 
 
184 
 
 but he died at the age of 35, in 1618. Augustine's most 
 celebrated performance is the Communion of St. Jerome, at 
 Bologna. — Meanwhile Hannibal was employed by the Car- 
 dinal Farnese to paint the gallery of his palace, in which he 
 took inconceivable pains and care. After about eight years 
 labour at this work, he hoped he should be rewarded in 
 proportion to his merit; but the Cardinal being influenced 
 by an ignorant Spanish domestic, gave him but £200 ! 
 When this sum was brought him, he felt so surprized at the 
 injustice done him as to be unable to speak. He formed a 
 determination never again to touch his pencil, and had not 
 his necessities compelled him, he would never have broken 
 it. This circumstance also increased his melancholy tem- 
 per so much as to deprive him sometimes of his senses. As 
 in his life he had imitated Raphael in his works, so he 
 seems to have copied that great master in the cause and man* 
 ner of his death. He died of a distemper brought on him 
 by his debauches, in 1609; and at his death-bed request 
 was buried in the same tomb with Raphael, in the rotunda 
 at Rome. His character was that of a friendly open-hearted 
 man ; and he is said to have kept his money in the same 
 box with his colours, where his scholars might have recourse 
 to either as they had occasion. — Lewis was courted from all 
 parts of Lombardy to make pictures in churches, &c. At 
 the earnest request of his brother Hannibal he went to Rome ; 
 corrected several things in the Farnese gallery ; painted a 
 figure or two himself; and then returned to Bologna, where 
 he died in 1619. 
 
 Lewis, 69, 114. — Augustine, 77, 115, 116. — Hannibal, 55, 
 
 64, 75.— Antony, 29. 
 CARAVAGIO, (Michael Angelo Amerigi da,) a celc* 
 brated painter, born at Caravagio, a place in the Milanese, 
 in 1569. His father was a mason by trade, and employed 
 
185 
 
 him to make paste for the fresco painters in Milan. Frofti 
 this circumstance his taste for painting first arose, aud with- 
 out either a teacher, or copies, he became a great artist. 
 Nature was his sole guide, and he copied her very defects. 
 On being once shewn some fine antique figures, " See,'* 
 said he, pointing to the bystanders, 44 how many more mo- 
 dels nature has given me than all your statues," and went 
 immediately into an alehouse, where he painted on the spot 
 a gipsy who happened to be in the street, so as none could 
 find any thing to correct in it. All the walls of the work- 
 room of Caravagio were blackened, in order that the shades 
 of objects might have no reflections, and all day long only- 
 one light entered it through the uppermost window. Thus 
 he succeeded in becoming so great a master in the clare-ob- 
 scure, as to be acknowledged even superior to Rubens. He 
 used to paint the porters, who served him for models, with- 
 out their heads, which he afterwards put on according to 
 the saints, heroes, and other great personages they were to 
 represent. No wonder, therefore, he should paint a jolly- 
 clown for a St. Matthias, and a low drunken woman for 
 the Death of the Holy Virgin. His temper was quarrelsome 
 and vindictive. He was thrown into prison for affronting 
 a knight of some consequence; and killed a young man at 
 Rome, with whom he quarrelled at tennis. He thus brought 
 upon himself a continued series of misfortunes, having 
 scarcely a friend in the world, and died quite destitute orx 
 the common road. Once, when he had not wherewith to 
 pay his reckoning, he painted the sign for the alehouse, 
 which sometime afterwards sold for a considerable sum. 
 For many years the canvass of a portrait served him for a 
 table-cloth at his dinner. The master piece of his works 
 is the Intombing of Christ, now in the Louvre. — Polidoro 
 Caldara da Caravagio was another eminent artist, born ia 
 
186 
 
 1492, at Caravagio. From a labourer he became an assist- 
 ant of Raphael in the works of the Vatican. His Christ led 
 to Calvary, extolled by Vasari to the skies, seems to have 
 been his finest production. He was strangled in bed, in 
 1543, by a servant, who wanted to possess himself of his 
 property. — The finest specimen of Caravagio's pencil in 
 Burghley is a Virgin and Child in the China Closet. 
 Though many of his pieces in that collection are executed 
 with dignity and expression, they appear to excite a feel- 
 ing of the terrible as well as of the sublime. 60, 66, 89, 93. 
 
 CARRE, (Henry,) a landscape painter, born at Am- 
 sterdam in 1656-8. He was a disciple of Jurian Jacobsz, 
 an Hamburgher, and afterwards of Jacques Jordaens. He 
 was employed at the court of Friezland, and was there ap- 
 pointed state painter. In the palace he painted huntings of 
 the wild boar, and other beasts, in the manner of Snyders. 
 He died in 1721. 69. 
 
 CASTELLI, (Valerio,) an eminent painter, was born at 
 Genoa in 1625, and was a pupil in the school of Domenico 
 Fiasella ; but improved his taste by studying the works of 
 the most celebrated masters at Milan and Parma. His most 
 favourite subjects were battles, in which his horses are ad- 
 mirably drawn. In this style of painting he is said to have 
 united the fire of Tintoretto with the fine taste and compo- 
 sition of Paolo Veronese, The cupola of the ch,urch, and 
 the Annunciation, at Genoa; the Rape of the Sabines, in 
 the palace of the Grand Duke, at Florence; and Christ 
 taken down from the Cross, at Wilton-house, were painted 
 by this master. His health was injured by his assiduous 
 labour ; and he died at Genoa in 1659. 68, 77, 118. 
 
 CASTIGLIONE, (John Benedict,) called Grechetto, 
 an eminent artist, was born at Genoa in 1616. He studied 
 under Battisti Pagi, John Andrea Ferrara, and Vandyck; 
 
187 
 
 from the latter of whom he derived his principal improve- 
 ment. His genius was universal, yet his predominant turn 
 was to rural scenes, markets, animals, &c. His fortune, 
 for a considerable time, was unequal to his reputation ; but 
 he at length found liberal patrons in the Venetian senator, 
 Sacredo, and the Duke of Mantua, in the latter of whose 
 service he lived and died in 1G70. The figures in the paint- 
 ing of the Passage of the Israelites, at Burghley, are very 
 fine, and the grouping good : the walls of water that in part 
 surround them the artist has pourtrayed with considerable 
 effect. But the Virgin and Child, presented by Ganganelli, 
 is his best work there ; it is distinguished by a bold and 
 noble tint of colouring, and abounds with freedom and na- 
 ture. There is also an excellent picture by this master, in 
 the chapel of St. Luke's church, at Genoa, and another in 
 the Palazzo Brignole, admirably finished. Strutt enume- 
 rates several estimable plates of this artist from his own 
 compositions. — His son, Francesco Castiglione, was the dis- 
 ciple of his father, and was born at Genoa. He inherited 
 in a very considerable degree the talents of his master. 
 Many pictures ascribed to Benedict, and occurring in sales 
 and collections, are thought to be copies after him by his 
 son Francesco, or perhaps originals of the younger Castig- 
 lione. 56, 67, 68, 107. 
 
 CELESTI (Andrea) was born at Venice, and learned 
 the principles of design and colouring from Cavalier Matteo 
 Ponzoni. Landscape was his favourite study ; and the 
 beautiful views he painted about Venice, and other cities of 
 Italy, are very highly prized. St. Luke painting the por- 
 trait of the Virgin, the Adoration of the Magi, (both in the 
 chapel of Madonna della Pace, at Venice;) and St. Jerome, 
 with the Virgin and some Saints, in the chapel of Spedaletto, 
 are considered his best pieces. Those at Burghley are also 
 
188 
 
 happily executed : the one representing the lamentations of 
 our first parents over the body of their son Abel displays 
 much natural pathos, and is well coloured. He died in 
 1706. 115, 136, 136. 
 
 CHAPLIN (Miss). 62. 
 
 CHIARI (Giuseppe) was one of the best scholars of 
 Maratta in easel pictures, and handled frescos with success 
 in the Barberini and Colonna palaces. In his painting of 
 Tullia driving over the Body of her Father, he has given a 
 very faithful index of the mind of this unnatural monster: 
 in her eyes the strong passions of ambition and tyranny 
 are boldly pourtrayed; and the fixed indifference, or rather 
 the triumphant lurking, apparent in her features, seems to 
 bear down the least shadow of delicacy, pity, or remorse. 
 Mr. Peck speaks in high terms of the Venus and Adonis by 
 this master : he correctly describes it as a most delicate 
 painting, which displays much tenderness of colouring : 
 the spaniel, he says, is so bold and prominent, that it 
 seems to jut out of the picture. He finished several pic- 
 tures and designs of C. Maratta's, and died in 1727, aged 73. 
 
 46, 55, 61, 138. 
 
 CIGNANI, (Carlo,) an eminent artist, was born at 
 Bologna (some say at Rome) in 1628, and was taught his 
 art by Giovanni Battista, Cairo Casalasco, and afterwards by 
 Albano. Although he appeared with promising and supe- 
 rior talents, he sought further improvement in studying the 
 works of Raphael, Caracci, Caravagio, Corregio, and 
 Guido. The Cardinal San Caesareo called of Carlo, in pass- 
 ing through Forli, and gave him 500 pistoles for a picture 
 of Adam and Eve, politely telling him, that he only paid for 
 the canvass, and accepted the painting as a present. His 
 pieces at Burghley ; Joseph and his Mistress, in the superb 
 collection of the Duke of Devonshire ; and another on the 
 
189 
 
 same subject, in the Palazzo Arnaldi at Florence, — are all 
 executed with great taste. Sampson, in the Palazzo Zam- 
 beccari, at Bologna, is one of his best pieces. He died at 
 Forli in 1719. 115, 115. 
 
 CIGOLE or CIVOLI, (Ludovico Cardi,) an historical 
 painter, born in 1559, and died in 1613, aged 54. He was 
 a disciple of Santi di Titi's, and gave a new style to the 
 Florentine school ; he was the inventor of an original, but 
 not a steady style; that which he adopted at Rome differs 
 from his former one. His best works are the following : 
 the Trinity, in the church of St. Croce; St. Albert, in that 
 of St. Maria Maggiore ; the Martrydom of St. Stephen, at 
 the Sisters of Monte Domini, which Pietro da Cortona ranked 
 with the principal pictures of Florence; St. Antony con- 
 verting a Heretic, at Cortona, considered superior to anjr 
 other pencil at that place ; and St. Peter healing the Cripple, 
 in the Vatican, which was placed next the Transfiguration 
 of Raphael, and the St. Jerome of Domenichino. The me- 
 rit of the latter picture, procured him the title of Caviller, 
 but that celebrated performance, through the carelessness of 
 jts cleaner, is now unfortunately destroyed. It is supposed 
 that chagrin at not succeeding in painting the dome in St. 
 Maria Maggiore, hastened his death, which happened in 
 1613. Strutt mentions him as an engraver, and says his 
 Magdalen washing the Feet of Christ, contains heads ^of 
 great beauty. 29. 
 
 CIMABUE, (Giovanni,) a renowned painter, born at 
 Florence in 1240, and was the first who revived the art of 
 painting in Italy. Being descended of a noble family, he 
 was sent to school to study the belles-lettres. Whilst there 
 some Greek painters were employed by the senate of Flo* 
 rencc, to whom he used to elope from school, and spend 
 whole days in viewing their work. His father, therefore^ 
 
190 
 
 agreed with the Greeks to take him under their care, and 
 he soon entitled himself to the name of the " Father of the 
 first age, or infancy of modern painting." Cimabue painted 
 in fresco and distemper ; the art of painting in oil not being 
 then discovered. In the lower church of Asceci, a city of 
 Umbria, he so far outrivalled the Greek masters, that he 
 resolved to paint for himself, and undertook the upper 
 church in fresco. For the church of Sancta Maria Novella, 
 at Florence, he painted a piece of our Lady, which from 
 its size excited so much wonder, that it was carried from 
 Cimabue's house with trumpets before it, and in solemn 
 procession. The very curious painting of a lady called 
 the Countess Matilda, at Burghley, which is ascribed to 
 this artist, is most probably the oldest in the collection, as 
 it cannot have existed much less than 550 years. Dante 
 mentions Cimabue, in the eleventh canto of his Purgatory, 
 as without a rival till Giotto appeared. His portrait, by 
 € . Simon Sanese, was in the chapel-house of Sancta Maria No- 
 vella: it is a figure which has a lean face, a little red 
 beard, in point; with a capuche, or monk's hood, after the 
 fashion of those times. He was a great architect as well as 
 painter, and was concerned in the fabric of Sancta Maria 
 del Fior, in Florence, during which employment he died, 
 in 1300. 58. 
 
 CLAUDE LORRAINE. See GELEE. 
 
 CLAUS, (Giuseppe,) a sculptor, whose birth appears 
 to be unknown. His statues at Burghley have been deemed 
 so exquisite of their kind as to render it inconceivable for 
 the art of man to surpass them. The hard marble commu. 
 nicates a tenderness to the heart of the beholders ; and the 
 drapery which falls negligently down the left side of his 
 Venus, appears almost to present the natural softness and 
 beautiful transparency of the finest lawn. 90. 90, 
 
191 
 
 CLEG. 141. 
 
 CLOVIO, (Giorgio Giulio,) justly celebrated for his 
 astonishing miniatures and illuminations in missals and other 
 religious books, was born in Sclavonia in 1498. He was 
 educated and took orders for the church, but was suffered 
 to relinquish the sacerdotal habit by the Pope. At the age of 
 eighteen, his love of painting prompted him to visit Rome, 
 where the Cardinal Grimani employed him three years in 
 making careful pen-drawings from the finest medals. The 
 result of his studies under Giulio Romano, and Girolamo da 
 Libri, a miniature painter of great note in Verona, and from 
 the works of Michael Angelo, produced a style of drawing 
 partaking of the purity of the Roman, and the grandeur of 
 the Florentine school; united, not unfrequently, to th« 
 rich colouring of Titian, or the ambient hue of Corregio. 
 An " Ufficio della Madonna," painted for the Cardinal 
 Farnese, exhibits many portraits, the figures of which, in 
 some cases, are scarcely longer than so many ants ; yet are 
 represented with as much distinctness in all their parts as if 
 they had been drawn as large as life. A beautiful missal, 
 illuminated by Clovio, is now in the possession of the 
 Townley family. He died in 1578. 29. 
 
 COOPER, (Samuel,) an eminent English painter, was 
 born in London in 1609, and bred under the care and disci- 
 pline of Mr. Hoskins, his uncle ; but derived the most con- 
 siderable advantages from his observation on the works of 
 Vandyck, insomuch that he was commonly styled the Van- 
 dyck in miniature. His pencil was generally confined to a 
 head only; and indeed below that part he was not always 
 so successful as could be wished. But for a face and all 
 the dependencies of it, namely, the graceful and becoming 
 air, the strength, relief, and noble spirit, the softness and 
 tender liveliness of flesh and blood, and the looseness and 
 
192 
 
 gentle management of the hair, his talent was so extraordi- 
 nary, tha^ for the honour of our nation, it may without 
 vanity be affirmed, he was at least equal to the most famous 
 Italians ; and that hardly any one of his predecessors has 
 ever been able to shew so much perfection in so narrow a 
 compass. The high prices of his works, and the great 
 esteem in which they were held at Rome, Venice, and in 
 France, were abundant proofs of their great worth, and ex- 
 tended the fame of this artist throughout Europe. He so 
 far exceeded his master and uncle, Hoskins, that the latter 
 became jealous of him ; and finding that the court was bet- 
 ter pleased with his nephew's performances than with his, 
 he took him into partnership with him, but his jealousy in- 
 creasing, he dissolved it ; leaving our artist to set up for 
 himself, and to carry, as he did, most of the business of 
 that time before him. He drew Charles II. and his Queen, 
 the Duchess of Cleveland, the Duke of York, and most of 
 the court t but the two most famous pieces of his were 
 those of Oliver Cromwell, and of one Swingfield. The 
 French King offered «s£l50. for the former, but was refused; 
 and Cooper carrying the latter with him into France, it was 
 much admired; and introduced him into the favour of that 
 court. He likewise did several large limnings in an unusual 
 size for the court of England; for which his widow received 
 a pension during her life, from the crown. This widow was 
 sister to the mother of the celebrated Pope. Answerable 
 to Cooper's abilities in painting, was his skill in music, be- 
 ing reckoned one of the best lutenists of his time. He was 
 acquainted with many of the first characters in Europe. 
 He died at London in 1672, and was buried at Pancras 
 church-in-the-fields ; where there is a fine marble monument 
 set over him. — He had an elder brother, Alexander Cooper, 
 who was also brought up to limning by Hoskins, their 
 
193 
 
 uncle. Alexander performed well in miniature ; and going 
 on the Continent became limner to Christina, Queen of 
 Sweden, yet was far exceeded by his brother Samuel. He 
 also painted landscapes in water colours extremely well, and 
 was accounted an admirable draughtsman. The beautiful 
 miniature of Diana and Actason, in a glass-case in the Japan 
 Closet, has by some been ascribed to this artist, and by others 
 with perhaps greater probability to Dixon. 
 
 125, 129, 132, 133. 
 CORREGIO, (Antonio Allegri da,) an eminent histo- 
 rical painter, born in 1490 or 1494- Being descended of 
 poor parents he had none of the advantages of his contempo- 
 raries. He saw neither statues, models, nor the works of any 
 of the ancient masters: Nature was his guide ; and Corregio 
 was one of her favourite pupils. To express the facility 
 with which he painted, he used to say that he always had 
 his thoughts ready at the end of his pencil. Hannibal Ca- 
 racci, as has been before observed, studied and adopted his 
 manner in preference to any other master. In a letter to 
 his brother Louis on Corregio's paintings, he says, <c Every 
 thing which I see here astonishes me ; particularly the co- 
 louring and beauty of the children. They live — they 
 breathe: — they smile with so much grace and so much 
 reality, that it is impossible to refrain from smiling and 
 partaking of their enjoyment. My heart is ready to 
 break with grief when I think on the unhappy fate of 
 poor Corregio — that so wonderful a man (if he ought not 
 rather to be called an angel) should finish his days so 
 miserably in a country where his talents were never 
 known.'* Corregio remained during his whole life at 
 Parma, and painted the cupola of the cathedral there ; the 
 subject of which is an Assumption of the Virgin. For this 
 piece, the admiration of all beholders of taste, the canons 
 
 P D 
 
1.94 
 
 of the church gave him but the paltry sum of 200 livres; 
 which, to add to the indignity, they paid him in copper 
 money. To carry home this unworthy load to his indigent 
 wife and children, poor Corregio had to travel six or eight 
 miles. The weight of his burthen, the heat of the weather, 
 and his chagrin at this treatment, threw him into a pleurisy, 
 which in three days put an end to his life and his misfor- 
 tunes in 1543. Titian being once told by one of the canons 
 that this grotesque performance did not merit his notice, 
 and that they intended soon to have the whole defaced ; re- 
 plied <c Have a care what you do; if I were not Titian, I 
 would certainly wish to be Corregio." Having long been 
 accustomed to hear the most unbounded applause bestowed 
 on the works of the divine Raphael, Corregio by degrees 
 became less desirous than afraid of seeing any of them. One, 
 however, he saw at last. He examined it attentively for some 
 minutes in profound silence ; and then with an air of satis- 
 faction exclaimed, u I too am a painter." Of his colour- 
 ingSir J. Reynolds observes, "it approaches nearer to per- 
 fection than that of any other painter ; the gliding motion 
 of his outline, and the sweetness with which it melts into 
 the ground ; the clearness and transparency of his colouring 
 which stop at that exact medium in which the purity and 
 perfection of taste lies, leave nothing to be wished for." 
 Very applicable is this remark to the execution of this 
 artist's Virgin and Child, at Burghley, which is composed of 
 the finest tints blended with the utmost delicacy, and form- 
 ing the exalted mother and son possessed of every grace and 
 beauty. Grand and extensive as is the collection of paintings 
 this House affords, it cannot but be regretted, that the pencil 
 of Corregio has composed only this inimitable performance 
 towards its embellishment. We shall conclude our sketch 
 of this great painter with an observation of Mr. Fuseli's* 
 
6i The harmony of Corrcgio, though assisted by exquisite 
 hues, was entirely independent of colour : his great origin 
 was chiaro-scuro in its most extensile sense : compared with 
 the expanse in which he floats, the effects of Lionardo da 
 Viuci are little more than the dying ray of evening, and the 
 concentrated flash of Giorgione discordant abruptness. 
 The bland central light of a globe, imperceptibly gliding 
 through lucid demitints into rich reflected shades, composes 
 the spell of Corrcgio, and affects us with the soft emotions 
 of a delicious dream." 77. 
 
 CORTONA, properly BERRETINI, (Pietro di,) 
 an eminent artist, born at Cortona, in 1596, studied under 
 Andrea Commodi and Baccio Ciarpi. He went young to 
 Rome, and painted the Rape of the Sabines and the Battle 
 of Alexander, in the Palazzo Sachetti, which from their 
 being considered equal to the performances of the best 
 masters, excited much astonishment. He had not such a 
 grace as was the portion of Raphael and Corregio, but a 
 general grace, consisting rather in a habit of making the 
 airs of his heads always agreeable, than in a choice of ex- 
 pressions suitable to each subject. But for the grandeur of 
 his decorations, and the astonishing suavity and graceful- 
 ness of his performances, when all parts are considered, he 
 must be allowed to have been the most agreeable mannerist 
 that any age has produced. His colouring in fresco is far 
 superior to what he performed in oil, nor do his easel pic- 
 tures appear so finished as might be expected. — The Grand 
 Duke Ferdinand II. one day admiring the figure of a child 
 weeping, which he had just painted, he only gave it one 
 touch of the pencil and it appeared laughing; then, with 
 another touch he put it in its former state : u Prince," 
 said Berretini, " you see how easily children laugh and cry." 
 This artist's best works are on the Continent : among those 
 
196 
 
 in England, are a Female Saint, with Two Children, at 
 Corsham-house; Tancred and Erminia, the Continence of 
 Scipio, in the same collection ; the Wise Men's Offering, 
 in the Cleveland Gallery ; and the one at Burghley. He 
 died of the gout in 1669. 124. 
 
 COZZA, (Francesco,) an historical painter, born at 
 Istilo, in Calabria. He settled at Rome, and was the faith- 
 ful companion of Domenichino during the life of that artist : 
 after his death he finished some of his works which had been 
 •left imperfect. He died in 1664. 29. 
 
 CREDI (Lorenzo). See SCIARPELLONI. 
 
 CROSSE, (Lewis,) a painter in water colours. Several 
 of his portraits in miniature are in different collections in 
 England. He repaired a little picture of the Queen of 
 Scots, in the possession of the Duke of Hamilton, and was 
 ordered to make it as handsome as he could. It seems a 
 round face was his idea of perfect beauty, but it hap- 
 pened not to be Mary's sort of beauty. However it was 
 believed a genuine picture, and innumerable copies were 
 made from it. Crosse had a head, almost profile, in cray- 
 ons, of Hoskins, a great curiosity. He died in 1724. 126. 
 
 DIEPENBEKE, (Abraham Van,) an artist, born at 
 Bois-Ic-Duc in 1607. He was first a painter on glass, but 
 afterwards went to Italy, and entered himself in the school 
 of Rubens, where he was considered a good disciple of that 
 master's. He designed for title-pages, theses, and books, 
 of which latter kind that called the Temple of the Muses, 
 1663, afforded him great employment, and added to the 
 artist much honour. His designs, indeed, of the Bellero- 
 phon, the Orpheus, the Dioscuri, the Leander, the Ixion, 
 Tantalus, and Sisyphus, have never been excelled. When 
 Diepenbeke came to England, he was much employed by 
 William Cavendish, Duke of Newcastle, whose managed 
 
197 
 
 horses he drew from the life; from whence were engraved 
 the cuts that adorn that nobleman's book on horsemanship. 
 Several of the original pictures are, or very lately were, in 
 the hall at Welbeck. He also drew views of the Duke's 
 seats in Nottinghamshire and Derbyshire, and portraits of 
 the Duke, Duchess, and his children, and gave designs for 
 several plates prefixed to the works of both their graces. 
 His Adoration of the Wise Men, at Burghley, and Dido and 
 iEneas, at Cassioberry, possess great merit. 117. 
 
 DIXON, (John,) a pupil of Sir Peter Lely's, painted 
 both in miniature and crayons, but mostly the former : in 
 the latter was his own head. In water colours there are 
 great numbers of his works ; above sixty were formerly in 
 Lord Oxford's collection, both portraits and histories^ 
 particularly Diana and her Nymphs bathing, (which it is 
 not improbable is the same piece enumerated among the 
 miniatures at Burghley,) and a sleeping Venus, Cupids, and 
 a Satyr, considered his best works. He was keeper of the 
 second Charles's picture closet, and in 1698 was concerned 
 in a bubble lottery. The whole sum was to be <s£40,000. 
 divided into 1214 prizes, the highest prize in money ,£3000. 
 the lowest £10. One prize, a collection of limnings, he 
 valued so highly, that the person to whom it should fall, 
 might, in lieu of it, receive ^2000. Each ticket 20s. 
 Queen Anne, then princess, was an adventurer: but the 
 affair turned out ill, and Dixon falling into debt removed 
 for security from St. Martin's-lane to the Temple, and from 
 thence to a small estate he had at Thwaite, near Bungay, in 
 Suffolk, where he died in 1715. Vertue says Dixon once 
 bought a picture for a trifle at a broker's which he sold to 
 the Duke of Devonshire for £500. but he does not specify 
 the hand or subject. 124, 134* 
 
193 
 
 DOBSON, (William,) called the English Tintoret, was 
 bom in London in 1610, and apprenticed to Sir Robert 
 Peake, a painter and dealer in pictures, or according to some, 
 to Francis Cleyne. By copying some of the pieces of Titian 
 and Vandyck under one of these masters, he accidentally at- 
 tracted the notice of the latter artist, who recommended him 
 to Charles I. He was afterwards appointed Serjeant painter 
 by this monarch, who, as well as several of the nobility, sat 
 to him. The portrait of Mr. Vaughan, of the exchequer, 
 Dobson thought was his best production of that kind. 
 Another of Francis Carter, the architect, Mr. Walpole says 
 is superior to any of this artist's portraits he had seen. 
 Besides the family pieces of the Earl of Orford and Sir 
 Thomas Brown, he also drew Sir Charles Cotterel, Sir Wil- 
 liam Compton, Sir Charles Lucas, the Marquis of Montrose, 
 &c. &c. At Chatsworth is a very particular picture, by 
 him, said to be General Monke, his child, and his mistress, 
 whom he took against the consent of her husband. At 
 Albury, in Surrey, the seat of the Earl of Arundel, was a 
 picture by the same hand of the Woman caught in Adultery, 
 with several figures, the heads taken from persons then liv- 
 ing, among whom was the poet Cowley. Dobson's wife, 
 by him, is on the stairs of the Ashmolean Museum, at Ox- 
 ford ; and his own head was at Earl Paulett's ; the hands 
 were added long since, by Gibson, as he himself told Vertue. 
 
 139. 
 
 DOLCI, (Carlo or Carlino,) a very eminent artist, was 
 born at Florence in 1616, and was a disciple of Jacopo 
 Vignali. His first attempt was a whole figure of St. John, 
 painted when he was only eleven years of age. He rose to 
 the greatest height in portrait painting, but was particularly 
 fond of sacred subjects. His pieces are distinguished by a 
 
199 
 
 delicacy of composition, pleasing tone of colour, graceful- 
 ness in the airs of the head, and a placid repose diffused 
 over the whole. In his manner of working he was remark- 
 ably slow ; and it is reported of him, that his brain was af- 
 fected by having seen Luca Giordano dispatch more busi- 
 ness in four or five hours, than he could have done in so 
 many months. St. Sebastian, in the Palazzo Corsini, at 
 Florence ; the Four Evangelists, in the Palazzo Ricardi ; 
 and St. Margaret, — are among his greatest performances. 
 There is also a fine picture of this master's at Wilton-house, 
 of which the subject is the Virgin.; it is ornamented with 
 flowers, painted by Mario du Fiori. But the beautiful 
 picture of our Saviour blessing the Elements, at Burghley, 
 -which has been previously noticed at some length, is by 
 many esteemed Dolci's master- piece. In the same collec- 
 tion may be observed, almost on the slightest glance, his 
 cquisitely soft and delicate tone of colouring in the paintings 
 of St. Sebastian, the Nativity, and the Flight into Egypt* 
 Confidence and calm serenity, in the last, are very conspicu- 
 ously expressed in Joseph, such as might be expected from 
 one to whom a heavenly visitor had so recently appeared* 
 He seems to accommodate himself to the sluggishness of his 
 beast, requisite as speed may be to his safety, rather than 
 goad it to adopt a pace more suitable to his inclinations. 
 This artist died at Florence in 1686. 
 
 ?§, 28, 77, 79, 116, 121* 
 DOMENIGHINO, or DOMENICO ZAMPIERI, a 
 much admired artist, was born at Bologna in 1581, and re- 
 ceived his instructions in the art of painting from Denis 
 Calvart, and afterwards from the Caracci. Writers differ 
 greatly about the abilities of Domenichino. u If the pro- 
 ductions of an artist," says Mr. Pilkington ; " must always 
 
200 
 
 be the best evidence of his having or wanting a genius, his 
 compositions must ever afford sufficient proofs in his fa- 
 vour." But Mr* Fuseli says u his sentiments want pro- 
 priety, he is a mannerist in feeling, and tacks the imagery 
 of Theocritus to the subjects of Homer." He admits him, 
 however, to have had considerable expression, and thinks 
 lie has even excelled Raffaello in his beautiful piece of the 
 Cure of the Demoniac Boy, at Grotto Ferrato. His 
 Adam and Eve ; Communion of St. Jerome ; Death of 
 Agnes, at Bologna; and Dead Christ, which were lately in 
 the Palazzo della Torre, at Naples, are his best productions 
 on the Continent. Among the numerous pieces by this 
 artist at Burghley, those of the different Saints rank amongst 
 the first class, in which simplicity and variety of feature arc 
 strongly marked. But the attention is called more power- 
 fully to the lady of Domenichino. In her dignified counte- 
 nance we may trace a sentiment, which, flowing warm from 
 her heart, seems to quicken the canvass, and is every mo- 
 ment ready to burst out at her eyes in tears. She appears 
 tinder some resentment of the tender kind, but as if too 
 amiable to give it scope : there seems seated under her 
 snowy turban, a brow imparting the roost tender and me- 
 lancholy pathos. Pope Gregory XV. made Domenichino 
 the chief architect of his apostolical palace for his great 
 skill in that art. He was also well versed in the theory of 
 music. Although of a mild temper, and obliging carriage, 
 Jus contemporaries treated him so ill as to oblige him to 
 leave Naples. Upon his return thither, some time after- 
 wards, they still continued to persecute him, till by their 
 tricks and vexations they wearied him out of his life. He 
 died in 1641, not without the suspicion of being poisoned. 
 
 28, 28, 49, 49, 58, 58, 70, 93, 93, 117, 117. 
 
201 
 
 DUBOURG (Dr.). There are several of this gentle- 
 man's productions, of a similar kind to his model at Burgh- 
 ley, now exhibiting in a museum in London. 59, 
 DURER, (Albert,) a memorable artist, born at Nu- 
 remberg, in 1471. Having made a slight beginning with 
 a pencil in the shop of his father, who was a goldsmith, 
 one Martin Huspe taught him a little of colouring and en- 
 graving. He was also instructed in arithmetic, perspective, 
 and geometry ; and then undertook, at twenty-six years of 
 age, to exhibit^ some of his works to the public. His first 
 attempt was tTie Three Graces, dated 1497. He is said to be 
 the first engraver on wood, in which style he executed the 
 whole Life and Passion of Christ, in thirty-six pieces, which 
 were so highly esteemed, that Marc Antonio Franci copied 
 them on copper, and so exactly, that they were thought to 
 be Albert's, and sold as such. Albert hearing of this, com- 
 plained to the government of Venice; but obtained no 
 other satisfaction, than that M. Antonio should not for the 
 future put Albert's name and mark to his works. One of 
 his best pieces in wood is a St. Eustatius kneeling before a 
 Stag, which has a crucifix between its horns. This cut was 
 sent by John Valentine Andreas, a doctor in divinity, to a 
 prince of the house of Brunswick, with a high encomium 
 on the artist : he says he was so absolute a master of etch- 
 ing, engraving, statuary, architecture, optics, symmetry, 
 and the rest, that he had no equal, except Michael Angelo. 
 As Durer did not make so much use of the pencil as the 
 graver, few of his paintings are to be met with, except in 
 the palaces of princes. His picture of Adam and Eve, at 
 Prague, is one of the most considerable of his compositions : 
 in the same place there is also a picture of Christ bearing 
 the Cross, two pieces of the Passion, and an Assumption. 
 He sent Raphael his own portrait done upon canvass with- 
 
 E E 
 
202 
 
 out any colours or touch of the pencil, only heightened 
 with shades and white, but with such strength and elegance 
 as surprised that divine artist. He had a shrew for his 
 wife, yet according to some he took her face for his model 
 in painting the Virgin. His finest piece at Burghley is his 
 St. Hubert, which is both a curious and valuable display of 
 art, Mr. Fuseli says he as far excelled Raphael for juice* 
 breadth, and handling of the oil colour in his easel pictures, 
 as Raphael excels him in every other quality; that he stu- 
 died, and as far as his penetration reached, established cer- 
 tain proportions of the human frame, but he%id not invent 
 a permanent standard of style ; that he was perhaps the 
 best engraver of his time ; wrote treatises on proportion, 
 perspective, geometry, civil and military architecture ; and 
 was a man of extreme ingenuity without being a genius. 
 He adds, in the expressive figure of Christ in the Garden, 
 and in the figure of Melancholy as the Mother of Invention, 
 there is but ag limpse of the sublime : his Night attended by 
 Death and the Fiend is more capricious than terrible, and 
 his Adam and Eve are two common models, hemmed in by 
 rocks. He died at Nuremberg in 1528, and was interred 
 in the church-yard at St. John's church, where his good 
 friend, Pirkheimer, placed a very honourable sepulchral in- 
 scription to his memory. 28, 28, 49, 71, 141. 
 
 EDEMA, (Gerard,) a Dutch landscape painter, bora 
 at Amsterdam in 1652, and died in 1700. He was a dis- 
 ciple of Everdingen's, but applying himself to nature, he 
 risked Switzerland, and chose for his scenes tracts of rude 
 uncultivated countries, interspersed with rocks, hills, and 
 torrents, which he always expressed well. He then went 
 to the English Colonies in America, and brought several of 
 his pieces from thence to London about 1670, where he 
 found a rapid sale for them. He would have died morQ 
 
203 
 
 wealthy, and perhaps would have lived longer, had he not 
 been too fond of wine. 141. 
 
 ELSHEIMER, (Adam,) a celebrated painter, born at 
 Frankfort in 1574, was a tailor's son, and at first a disciple 
 of Philip UfFenbach's ; but an ardent desire of improvement 
 carrying him to Rome, he there became an excellent artist 
 in landscapes, histories, and night pieces. His correctness 
 of drawing the figures, his admirable management and dis- 
 tribution of light and shade, his spirit and delicacy of touch, 
 and exquisite manner of colouring, astonish the beholder 
 when he observes such combined perfections in one artist. 
 While he was alive, his pictures bore an excessive high 
 price, which was amazingly enhanced after his death : and 
 Houbraken mentions one of them, representing Pomona,, 
 which was sold for eight hundred German florins. Sand- 
 rart describes amongst his capital performances, Tobit and 
 the Angel, the Death of Procris, his most excellent picture 
 of the Flight into Egypt, and Latona and the Peasants. 
 The last appears to be the same piece which is now at 
 Burghley, and to which it is therefore needless to add our 
 Bleed of praise. It is necessary, however, to correct an 
 error which is made in the description of it : instead of 
 Latona being pregnant with twins, as there told, she is re- 
 presented supporting the babes in her arms, agreeably to 
 the story in Ovid's Metamorphoses. There are ten of this 
 artist's pictures at the Earl of Egremont's, at Petworth, in 
 Sussex, most of them exhibiting considerable force of ex- 
 pression, although the figures are not more than two inches 
 and a half high, Elsheimer was a person by nature inclined 
 to melancholy, and through continued study and thought- 
 fulness so far settled in that unhappy temper, that, neglect- 
 ing his domestic concerns, he contracted debts, and impri- 
 sonment followed, which struck such a damp upon his 
 
204 
 
 spirits, that though he was soon released, he did not long 
 survive it, but died in 1610. 53, 55. 
 
 EYCK, (John Van,) the supposed inventor of oil 
 painting, was born at Masseyk in 1370. His discovery is 
 said to have arisen from his drying one of his distemper 
 pieces in the £un's rays until it was cracked and spoiled, 
 which circumstance induced him to endeavour to make a 
 varnish that would dry without being exposed to the sun. 
 After many experiments, he found at last that oil of linseed 
 and of nuts, being boiled with other ingredients, made the 
 vehicle so much desired. But although this account has 
 many authorities, the suggestions of Mr. Walpole, given in 
 the short history of painting prefixed to these biographical 
 sketches, will go far to set it aside. And the labours of 
 the learned antiquary, Mr. Raspe, will tend still more to 
 negative it; for he has proved, in the opinion of Sir Joshua 
 Reynolds, beyond all contradiction, that the art of painting 
 in oil was invented and practised many ages before Van 
 Eyck was born. — As a painter he possessed very good 
 talents, considering the early period of the art, and was dis- 
 tinguished for his richness of colouring. In the Museum at 
 Paris is the Wise Men's Offerings, by this master ; at Ghis- 
 wick, Lord Clifford and his family ; and at Wilton, a small 
 picture of the Nativity. His pieces at Burghley will en- 
 gage the attention as curiosities, by their agej 'having been 
 executed between 400 and 500 years, rather than by any 
 peculiar merit. He died in 1441. 53, 57. 
 
 FABRIS. We find no mention made of this artist 
 by biographers, though, if we may judge from the ex- 
 cellent specimens of his pencil at Burghley, he appears 
 to have been one of no ordinary cast. The peasants 
 in the two cottage pieces exhibit great correctness and 
 truth of outline, and are coloured with much taste and 
 
205 
 
 strength. His views are also executed in a masterly man- 
 ner : the objects are well designed, the perspective is judi- 
 ciously pieserved, and the mellow tone of colour is given 
 with considerable effect 62, 62, 62, 62. 
 
 FARARA (Surcelo). 29, 118, 
 
 FARINATO, (Paul,) an Italian painter, was born at 
 Verona in 1522, his mother dying in labour of him. He 
 was a disciple of Nicolo Golfino's, and an admirable de- 
 signer, but not altogether so happy in his colouring* . His 
 best piece is the Miraculous Feeding of Five Thousand, at 
 Verona. He had considerable knowledge of sculpture, ar- 
 chitecture, and engraving; was a very good orator, and fa- 
 mous for being an excellent swordsman. His last moments 
 are said to have been as remarkable as his first, on account 
 of the death of his nearest relation. He lay upon his death- 
 bed in 1606 ; and his wife, who was sick in the same room, 
 hearing him cry out, *f he was' going," told him fft she would 
 bear him company and actually did so, as they both ex- 
 pired at the same minute. 68. 
 
 FERRARI, or DE FERRARA, (Giovanni Andrea,) 
 an historical, landscape, and portrait painter, bom at 
 Genoa in 1599, and died in 1669. He was a disciple of 
 Bernard Castelli's, and afterwards of Bernard Strozzi's. 
 Ferrari was equally expert in painting history, landscape, 
 fruit, animals, and flowers; and these subjects he finished 
 in a small size, but with great beauty and exactness. 77, 117^ 
 
 FERRATO SASSO, properly SALVI, (Giovanni 
 Battista,) an Italian historical painter, born in, the territory 
 of Urbino in 1504, and died in 1590. Under what master, 
 or in what city he learned the first principles of his art is 
 not ascertained : but he went to Rome to study the works 
 of Raphael, which were then the admiration of the whole 
 world j and his knowledge was exceedingly promoted by 
 
 \ 
 
206 
 
 the precepts of Francesco Penni, Raphael's favourite dis- 
 ciple. By the direction of that able artist, Salvi applied 
 himself to copy the most eminent works in the profes- 
 sion ; and he at last obtained such skill, and such power 
 of execution in that manner of painting, imitating the style 
 and touch of every different master so admirably, that his 
 pictures were generally taken to be originals of those artists 
 of whom they were only copies, or at the best only imita- 
 tions. It is probably to this artist, instead of Ferrari, 
 that we may ascribe the copy of Raphael's Virgin and 
 Child, which hangs in the First George Room. 49, 117. 
 
 FERRI, (Ciro,) an historical painter, born at Rome 
 in 1634, was a disciple of Pietro di Cortona's, several of 
 whose works he finished at Florence and Rome. Their pic- 
 tures resemble each other so closely, that they cannot be 
 ascribed to either without hesitation. Ferri is supposed to 
 have less grace in his design, less compass of mind, and less 
 breadth of drapery. He was also a great architect. His 
 principal work as a painter is St. Ambrosio, in a church 
 of that Saint's at Rome; and his best works in fresco are 
 in the Palazzo Pitti, at Florence, and at St. Maria Mag- 
 giore's, of Bergamo. He was much importuned for devices, 
 figures for breviaries, and titles for books; several of which 
 have been engraved by Spierre and Bloemart. The Pope 
 employed him in making cartoons for the Vatican; and 
 few men have worked in more different ways. The cupola 
 of St. Agnes, in the Palace of Navona, was his last work. 
 The chagrin he felt in seeing the angels of Baccici, which 
 were directly under it, the force of whose colouring made 
 his appear too weak, is said to have been the cause of his 
 death, which happened in 1689. 49, 77. 
 
 FETTI, or FETI, (Domenico,) an eminent painter, 
 was born at Rome, and educated under Civoli, but from 
 
207 
 
 the works of Julio Romano he derived his colouring and 
 the boldness of his characters. Cardinal Gonzaga, after he 
 became Duke of Mantua, appointed him painter to the 
 court. Most of Fetti's performances are easel pieces, as 
 he worked very little for churches or convents. He ex- 
 pressed the passions of the soul in a manner that was re- 
 markably strong ; and ho had a mellowness in his colouring 
 which is extremely pleasing. His pictures are scarce and 
 much sought after. There is a fullness of expression, and 
 considerable harmony of tone in the figures of his Hiring 
 the Labourers, at Burghley, though they are perhaps too 
 diminutive for the size of the painting. He died at Venice 
 in 1621. 117,138. 
 
 FINCH (Hon. Miss), 63. 
 
 FIORI, (Mario da',) properly MARIO NUZZI, an 
 Italian painter of flowers, &c. born in 1603, and a disciple 
 of his uncle Tomaso Salini. His earliest productions having 
 been purchased by a dealer in pictures, who sold them at 
 Rome for a much higher price, induced him to visit that city^ 
 where he received so many proofs of the esteem of all the 
 ablest judges of painting, that he was soon in afflueut cir- 
 cumstances. His pictures became universally sought after 
 by princes and nobility ; and he omitted neither labour nor 
 study to attain perfection. Selecting the most beautiful 
 flowers for his subjects, he imitated them with amazing 
 brilliancy and lustre, and obtained the honour of being 
 ranked amongst the greatest artists in that style of painting. 
 There is a capital picture by this artist in the church of 
 St. Andrea della Valle, in the same style as *he one produced 
 by him and Guercino, at Burghley : it is a wreath of 
 flowers encircling the portrait of St. Gaetano, which was 
 painted by Andrea Camassei. He died in 1673. 59. 
 FITZGERALD (Lady H.), 60* 
 
2oa 
 
 FLORIS, (Francis,) a celebrated Flemish painter and 
 sculptor, born at Antwerp in 1520. He practised scalp, 
 lure till he was twenty years of age, and afterwards studied 
 painting under Lambert Lombard, whose manner he closely 
 imitated. He left this master and went to Rome, where he* 
 copied in a bold manner the Last Judgment of Michael 
 Angelo. Having greatly improved himself by studying the 
 works of that master, he returned to Antwerp, and so 
 astonished his countrymen, that they called him the " Ra- 
 phael of Flanders. " His readiness of hand was remarkable, 
 and his pencil seemed as quick as his invention, of which he 
 gave an incontestible proof at the entry of Charles V. into 
 Antwerp; for, being engaged to paint the triumphal arches 
 for that grand ceremony, and having seven figures as large 
 as life to finish in one day, he executed them in seven hours. 
 In the Confraternity-hall of St. Michael, at Antwerp, are 
 the Fall of Lucifer, and an Assumption, by Floris, both 
 marked for their goodness of composition, strength of ex- 
 pression, and pleasing tone of colour. He died in 1570. 
 
 90. 
 
 FRANCESCHINI, (Marc Antonio,) an historical 
 painter, born at Bologna in 1648, was at first a disciple of 
 G. Battista Galli's, and from him entered the school of 
 Carlo Cignani. He painted many churches and convents in 
 Italy; at Modena he painted the grand hall of the Duke's 
 palace so much to that prince's satisfaction that he offered 
 him a large pension to keep at his court; but the artist po- 
 litely refused the offer. At Genoa he painted the memo- 
 rable actions of the republic, which were represented by a 
 multitude of figures nobly designed, judiciously grouped 
 and disposed, and correctly drawn. And in the Palazzo 
 Monti, at Bologna, is a small gallery painted by Franccs- 
 chini ; of which the colouring is exceedingly lovely, though 
 
209 
 
 the figures appear to want roundness. He preserved the pow- 
 ers of his mind and pencil undiminished at a very advanced 
 age ; and when he was seventy-eight years old, he designed 
 and coloured his pictures with all that fire and spirit for 
 which he had been distinguished in his best time. He died 
 in 1729. 28, 46, 89. 
 
 FRANCIA, (Francesco,) an historical painter, whose 
 real name was Raibolini, was born at Bologna in 1450, and 
 was bred to the profession of a goldsmith, but an acquaint- 
 ance with Mantegna led him to the study of painting. In 
 1490 he produced a picture of the Virgin seated, surrounded 
 by several figures ; and shortly afterwards a St. Jacopo, 
 both of which gained him great reputation. He painted 
 jnany pictures for churches, &c. in Bologna, Modena, Par- 
 ma, and other cities, but in a dry gothic manner. He 
 greatly improved in his latter productions, and accord- 
 ing to Raphael, he excelled both Perugino and Bellini, the 
 one in his choice and tone of colour, and the other in his 
 fullness of outline and breadth of drapery. In a letter 
 dated 1508, edited by Malvasia, Raphael declares that the 
 Madonnas of Francia were inferior, in his opinion, to 
 none, for beauty, devoutness, and form. His ideas of Fran- 
 cia's talents exhibited itself still stronger in his entrusting 
 his picture of St. Cecilia, destined for the church of St. Gio 
 da Monte, at Bologna, to his care, by letter soliciting him 
 as a friend to see it put in its place, and if he found any de- 
 fect in it, that he would kindly correct it. Vasari says 
 that Francta died with grief in 1518, upon seeing by this 
 picture that he was as nothing jn the art, compared with, 
 the superior genius of Raphael ; but Malvasia proves that he 
 lived some years afterwards, and in an improved style pro- 
 duced his celebrated St. Sebastian, which Caracci describes 
 
 F P 
 
210 
 
 as the general model of proportion and form for the students 
 at Bologna. 114. 
 
 FRANCK, or FRANCISCUS FRANCKEN, but 
 more generally called Old Franck, was an artist of the six- 
 teenth century. Descamps supposes him to have been born 
 in 1544, and fixes his death in 1666 but it is more pro- 
 bable, according to others, that his birth took place in 
 1544, and his death in 1616. He principally painted 
 sacred subjects, had a fruitful invention, and composed rea- 
 dily. In his best performances the colouring is clear and 
 lively, the design good, and the figures tolerably correct. 
 His splendid architectural piece at Burghley displays con- 
 siderable truth in the perspective, beauty in the colouring, 
 and elegance in the design. At Wilton is his Belshazzar's 
 Feast, a very curious composition. 52. 
 
 GARRARD. See GERARD. 
 
 GAROFALO, properly TISI, (Benvenuto,) an Italian 
 historical painter, born at Ferrara in 1481, and died in 
 1559. He received his first instructions from some masters 
 at Ferrara and Cremona ; but he visited Rome at an early 
 age, and entered the school of Raphael. He imitated his 
 design, the character of his faces, the expression, and much 
 of his colour, though he added something of a more inflamed 
 and stronger cast derived from the Ferrarese school. His 
 pictures of evangelic subjects abound at Rome, Bologna, and 
 other cities of Italy : they are of different merit, and not 
 painted all by him. His large pictures, many of which are 
 in the Chigi gallery, are more genuine and more singular. 
 The Visitation of Maria, in the Palace Doria, is one of the 
 master- pieces in the collection. Tisi used to mark his pic* 
 tures with a painted violet, which the vulgar in Italy call 
 Garofalo, a flower allusive to his name. It does not ap. 
 
211 
 
 pear from Vasari, and others, that Garafalo had any share 
 in the works which were executed by the scholars of 
 Raphael under his direction. He returned to Ferrara, and 
 became the head of that school, 94. 
 
 GELEE, (Claude,) called CLAUDE LORRAINE, 
 an eminent landscape painter, born at Lorraine in 1600. 
 He was put an apprentice to a pastry-cook, which business 
 he quitted and travelled to Rome. De Piles says that chance 
 brought him to Augustine Tasso, who hired him to grind his 
 colours, clean his pallet and pencils, and perform other do- 
 mestic occupations. At first it was with difficulty he could be 
 taught to comprehend the rudiments of the art, yet, when he 
 began to have some tolerable conception of them, and to 
 profit by his application, his mind seemed proportionably 
 to expand ; his ideas improved ; his imagination became 
 more lively ; and with wonderful eagerness he applied himself 
 to his studies. He would frequently continueabroadfromsun,. 
 rise till the dusk of the evening compelled him to withdraw 
 himself from his contemplations. It was his custom to sketch, 
 whatever he thought beautiful or striking ; and every cu- 
 rious tinge of light, on all kinds of objects, he marked in, 
 his sketches in a similar colour. Thus his beauties are de- 
 rived from nature herself. Sandrart relates, that Claude 
 used to explain to him, as they walked through the fields, 
 the causes of the different appearances of the same prospect 
 at different hours of the day, from the reflections of light, 
 from dews and vapours, in the evening and morning, with 
 all the precision of a philosopher. He would retouch his 
 paintings very frequently, till they corresponded with the 
 images pictured in his mind. His skies are warm, his dis- 
 tances admirable, and his colouring so exquisitely delicate 
 as never to have been equalled. He frequently gave an un- 
 common tenderness to his finished trees by glazing; and in. 
 
212 
 
 his large compositions, which he painted in fresco, he was 
 so exact, that the distinct species of every tree might readily 
 be distinguished. Among several of his performances in that 
 manner of painting, one was on the four walls of a magni- 
 ficent saloon at Rome, belonging to a nobleman named 
 Mutius, the height of the wall being very considerable. On 
 the first side he represented the vestiges of an ancient palace, 
 bounded by a deep grove of trees, incomparably expressed 
 as to the forms, stems, barks, branchings, and foliage ; the 
 proportionable grandeur of the trees, as well as the length 
 of the grove, were perspectively and beautifully set off by 
 the shrubs and plants with which his ground was diversified ; 
 and the eye was pleasingly conducted to the second wall, 
 which seemed by an artful contrivance and disposition, to 
 be only a continuation of the same scene ; the same eleva- 
 tion of the horizontal line being observed through the whole 
 work. On the second side, he shewed an extensive plain, 
 interspersed with mountains and falls of water, as also with 
 a variety of trees, plants, travellers, and animals ; and this 
 part of the composition was likewise connected with the 
 third wall. In that, the lengthened prospect shewed a sea- 
 port at the foot of some high hills with a view of the ocean, 
 and vessels labouring amongst the waves, which appeared 
 in violent agitation. And on the fourth wall were repre- 
 sented caverns among rude rocks, ruins of buildings, and 
 fragments of antique statues ; the composition though di- 
 vided into so many parts, consisting in the whole but of one 
 entire connected prospect. But as to the beauty, truth, and 
 variety of the work, the power of language cannot suffici- 
 ently represent them. Although he studied at Rome some 
 years to form his hand to draw figures correctly, he appears 
 never to have succeeded. Being conscious of this deficiency, 
 he usually engaged other artists who were eminent to paint 
 
213 
 
 them for him ; of which number were Courtois and Phi- 
 lippo Lauri. Sandrart relates, that it was his custom to 
 draw in a paper book, prepared for his purpose, the de- 
 signs of all those pictures which were transmitted to differ- 
 ent countries ; and on the back of the drawing he wrote 
 the names of the purchasers. That book, which he entitled 
 Libro di Verita, is now in the possession of the Duke of 
 Devonshire. His pictures are now very rare, especially 
 such as are undamaged ; and those are at this time so 
 valued, that no price, however great, is thought to be su- 
 perior to their merit. With the high encomiums all his 
 biographers unite to bestow upon him, it is unnecessary for 
 us to allude to his works at Burghley, further than to ob- 
 serve that his elevated pencil has there displayed all its ac- 
 customed harmonious touches of beauty and nature. He 
 died in 1682. 58, 93, 94. 
 
 GEMINIANI, or GEMIGNANO, (Giacinto) was 
 born at Pistoia in 1611, but travelled to Rome, and placed 
 himself as a disciple with Pietro di Cortona, under whom 
 he proved an historical painter of singular merit. He con- 
 tinued at Rome for some years, and finished several compo- 
 sitions for the churches and convents ; by which he gained 
 an established credit, and then returned to his native city, 
 where he died in 1681. He left a son, Luigi, who was 
 born at Pistoia in 1652, and who, after studying some time 
 -with h|s father, perfected himself at Rome. In that city 
 he obtained the reputation of being an excellent artist; for 
 he not only designed and composed with much greater spirit 
 than his father, but he excelled him in the beauty of his co- 
 louring, although he was not quite so correct. He died in 
 in 1697. 89, 89. 
 
 GENNARI, (Cassar and Benedetto,) two brothers, 
 the sons of Ercole Gennari^ by a sister of Guercino's, were 
 
214 
 
 the heirs of the latter, and his copyists and imitators : they 
 made numerous repetitions of his Sibyl, his St. John, and 
 Herodias, recognized by tints less vigorous, and the want 
 of that freshness which distinguishes the originals. After 
 having worked jointly at Cento, Bologna, and various 
 towns of Italy, Caesar established himself at Bologna. Be- 
 nedetto came to England, and was a painter for Charles II. 
 In King James's Catalogue are mentioned twelve pieces of 
 his hand, four of which are at Windsor, and the remainder 
 probably still in some of the royal palaces. At Chatsworth 
 are three by him, and Lot and his Daughters is at Coudray. 
 His Hercules and Dejanira was sold atStreater'ssalefor^ll. 
 It is said, that whilst in England, he had a mistress of whom 
 he was jealous, and whom he would not suffer the King to 
 see. On his return to Italy he imitated velvets, silks, stuffs, 
 &c. with considerable effect, and embellished the portraits of 
 his sitters without impairing the resemblance. Two of his 
 best historic works abroad are a St. Zaccaria, at Forli, and 
 a Leopardo, in the dome of Osimo. He died in 1715, aged 
 eighty-two. 108, 111. 
 
 GERARDS,* (Marc,) the son of a painter of the same 
 name, was born at Bruges in 1561, and practised history, 
 landscape, architecture, and portrait. He engraved, illu- 
 minated, and designed for glass painters ; and his etchings 
 for iEsop's Fables, and View of Bruges, were much 
 esteemed. His works are very numerous, though not 
 easily known, as he never used any peculiar mark : 
 in general they are neat, the ruffs and habits stiff, and 
 
 * ** Hjs name," according to Mr. Walpole, 44 is writteu Gerhar- 
 dus i Guerards, and Garrard. Among the Sidney papers at Penhurst 
 was a letter from Sir Robert to bis lady, about 1597, desiring ber to go 
 to Mr. Garrats, and pay him for the picture of her and the children, so 
 Jong done and unpaid.*' 
 
 \ 
 
215 
 
 rich with pearls and other jewels : his flesh colours are 
 thin and light, tending to a blueish tincture. His Proces- 
 siou of Queen Elizabeth to Hunsdon.house has been engraved 
 and described by Vertue, who thought that part of the pic- 
 ture of Sir Thomas More's family, at Burford, might have 
 been completed by this painter, Gerards drew a Proces- 
 sion of the Queen and Knights of the Garter, in 1584, from 
 whence Ashmole took his plate for the history of that or- 
 der. The portraits, though small, have great resemblance, 
 with an uncommon fidelity of representing the air, stature, 
 and bulk of the person's exhibited. Vertue made a copy 
 of this roll in water colours, which is not quite complete, 
 the original not having been entirely finished. His half- 
 length of the Lord Treasurer, in the Miniature Closet, is 
 doubtless the most esteemed of his portraits in theBurghley 
 collection, if only for being the reverend ancestor of that 
 noble family. But it has equal merit with his Essex and 
 Elizabeth. A description of the latter head will in many 
 points be correctly given in the words of Mr. Walpole, 
 where he speaks of that Queen's portraits at large. M There 
 is not," he says, <c a single portrait of her that one can 
 call beautiful. The profusion of ornaments with which 
 they are loaded are marks of her fondness for dress, whilst 
 they entirely exclude all grace, and leave no more room for 
 a painter's genius than if he had been employed to copy an 
 Indian idol, totally composed of hands and necklaces. A 
 pale Roman nose, a head of hair loaded with crowns and 
 powdered with diamonds, a vast ruff, a vaster fardingale, 
 and a bushel of pearls, are the features by which every 
 body knows at once the pictures of Queen Elizabeth." 
 Gerards came to England not long after the year 1580, and 
 remained here till his death, which did not happen till 1635, 
 
216 
 
 having been painter to Queen Elizabeth and Anne of Den* 
 mark. 56, 116, 121. 
 
 GERRARD. A distinguished modeller, of London, 
 who was engaged by the late Marquis, a short time previous 
 to his death, to execute the busts and animals exhibited in 
 the Fifth George Room. During the time of his residence 
 at Burghley he also took those several exterior and interior 
 views of that building, in the Great Hall, which we under- 
 stand were originally designed for the engraver. 
 
 22, 99, 99, 99, 99, 149. 
 
 GHERARDI, called DOCENO, (Christorofo,) an 
 artist, born at Florence in 1500, and died in 1556. Though 
 nature had been his sole instructor, at the age of six- 
 teen was considered a prodigy, and became one of the dis- 
 ciples of Raphael dal Colle. He spent some years in the 
 army, but left the military life to devote himself to paint- 
 ing, and became an universal artist, in not only designing his- 
 torical figures, but also landscapes, birds, fishes, and particu- 
 larly subjects in grotesque. He finished a great number of 
 works at Rome, Naples, and Florence, and in conjunction 
 with Giorgio Vasari, or rather under him, executed a great 
 many designs in fresco, as well as in oil. 120. 
 
 GHIRLANDAIO, (Ridolfo,) properly called COR. 
 RADI, a disciple of his two uncles', David and Benedetto, 
 and his father Domenico, the latter of whom obtained the 
 name of Ghirlandaio, from having been the first to make 
 little metallic garlands, so called. Ridolfo made great pro- 
 gress, and was esteemed by Raphael himself, who invited 
 him, but not successfully, to work in the Vatican. In his 
 pictures, Mr, Fuseli says u there is something analogous to 
 the genius of Raphael; the composition, the vivacity of 
 the face, the choice of colours, something ideal in the use 
 
217 
 
 of nature, betray similar maxims, with inferior powers." 
 He died in 1560, aged seventy-five. 115. 
 
 GIBBONS, (Grinling,) an eminent carver in wood, 
 and a statuary, supposed to be of Dutch parents, was born 
 in Spur-alley, in the Strand. He lived afterwards in Bell- 
 savage-court, Ludgate-hill, where he carved a pot of flowers, 
 which shook surprisingly with the motion of the coaches 
 that passed by. There is no instance, says, Lord Orford, 
 of a man, before Gibbons, who gave to wood the loose and 
 airy lightness of flowers, and chained together the various 
 productions of the elements with a free disorder natural to 
 each species. He lived afterwards at Deptford, where Mr. 
 Evelyn, discovering his wonderful talents, recommended 
 him to Charles II. who gave him a place in the Board of 
 Works, and employed him in the chapel at Windsor. His 
 carved work there is done in lime tree, representing a great 
 variety of pelicans, doves, palms, and other allusions to 
 scripture history, with the star and garter, and other orna- 
 naments, finished with great perfection. At Windsor, too, 
 he carved the beautiful pedestal in marble, for the eques- 
 trian statue of the King, in the principal court : the fruit, 
 fish, implements of shipping, are all exquisite ; the base of 
 the figure at Charing-cross, and the statue of Charles II. in 
 the Royal Exchange, were also his, and probably the brazen 
 statue of James II. in the Privy-garden. — Gibbons made a 
 magnificent tomb for Baptist Noel, Viscount Camden, in 
 the church of Exton, in Rutlandshire; it cost .£1000. is 
 22 feet high and 14 wide : there are two figures of him 
 and his lady, and bas-reliefs of the children. The same 
 workman performed the wooden throne at Canterbury, 
 which cost ^70. and was the donation of Archbishop 
 Tenison. The foliage in the choir of St. Paul's is of his 
 hand. At Burghley is a noble profusion of his carving, hi 
 
 * GQ 
 
218 
 
 picture frames, chimney-pieces, and door-cases ; and tha 
 Last Supper in alto-relievo, finely executed. The sculptor 
 seems, in this latter work, observes a warm admirer of it,. 
 to allude to that passage of the gospel, in which our Saviour 
 declares, that one of them shall betray him ; and in which 
 they began every one of them to say unto him, Lord is it I ? 
 At Chatsworth are several ornaments by Gibbons, particu- 
 larly in the chapel : in the great anti-chamber are several 
 dead fowl over the chimney, finely executed, and over a 
 closet door, a pen, not distinguishable from a real feather. 
 When Gibbons had finished his work in that palace, he pre- 
 sented the Duke with a point cravat, a woodcock, and a 
 medal with his own head, all preserved in a glass.case in the 
 gallery. In Lord Orford's collection is another point cra- 
 vat by him, the art of which arrives even to deception, and 
 Herodias with St. John's Head, alto-relievo, in ivory. In 
 Thoresby's collection was Elijah under the Juniper Tree, 
 supported by an angel, 6 inches long and 4 wide. At 
 Houghton, two chimneys are adorned with his foliage. At 
 Mr. Norton's, at Southwick, in Hampshire, was a whole 
 gallery embroidered in panels by his hand ; but the most 
 superb monument of his skill is a large chamber at Petworth, 
 enriched from the ceiling, between the pictures, with fes- 
 toons of flowers and dead game, &c. all in the highest per- 
 fection and preservation. Appendant to one is an antique 
 vase, with a bas-relief of the purest taste, and worthy the 
 Grecian age of cameos. The font of St. James's church, in 
 white marble, was also the work of Gibbons. It is sup- 
 ported by the treo of life; the serpent is offering the 
 fruit to our first parents, who stand beneath ; on one 
 side of the font is engraven St. John baptising our 
 Saviour ; oil another St. Philip baptising the Eunuch ; and 
 on the third, Noah's ark, with the dove bringing the olive 
 
219 
 
 branch, the type of peace to mankind. — Gibbons died in 
 1721, at his house in Bow-street, Covent-garden. 
 
 30, 43, 50, 60, See. 
 GIORDANO, (Luca,) an Italian historical painteiy 
 born at Naples in 1629, and died in 1705. He was a dis- 
 ciple of Giuseppe de Ribera's, called Spagnoletto ; but after- 
 wards studied under Pietro di Cortona. When he quitted the 
 school of the latter master, he went to Lombardy to study 
 Corregio, and afterwards to Venice to improve himself by 
 the colouring and compositions of the best Venetian masters* 
 He had a fruitful and fine imagination, and a most surprising 
 readiness and freedom of hand ; his tone of colouring is agree- 
 able ; and his design, when he chose, correct. He studied 
 the manners and particularities of the greatest masters with 
 such care and judgment, and possessed so happy a memory, 
 that he not only retained in his mind a distinct idea of the 
 style of every celebrated master, but had the skill and 
 power to imitate them with such critical exactness, as to 
 deceive even the ablest connoisseurs. It is said there are in 
 the most capital collections in England, several paintings 
 called Titian's, which are incontestibly the sportings of 
 Giordano's pencil. His picture of Seneca bleeding in the 
 Bath, (of which there is a duplicate on the Continent,) is 
 esteemed the finest of his numerous productions at Burgh* 
 ley, which having been commented upon at some length 
 may give place here to a passing notice of a few of the rest. 
 Greatly to be admired is his Jeptha's return home after hav- 
 ing vowed to sacrifice whatsoever he should there first meet 
 with: the cheerful countenance and gladsome air with 
 which his daughter receives him " with timbrels and with 
 dances," presents an animated contrast to the petrified and 
 fear-stricken form of the sire. In the painting of Curtius 
 leaping the Gulph there is a determined and fixed reso- 
 
220 
 
 lu don displayed both in the devoted Roman and the ani- 
 mal ; they appear as if bursting from the canvass, and a 
 shrug of fear is involuntarily excited at their approaching 
 fate. The artist has entered into all the enthusiasm of the 
 hero, and immortalized it with a boldness of design and 
 strength of colouring worthy of the Vatican. His Diana 
 and Actson, and Jupiter and Europa, may also be classed 
 amongst the finest workings of his exuberant pencil. — In 
 Spain he executed many compositions at Madrid, Toledo, 
 and at the Escurial ; and employed only two years to paint 
 ten arched ceilings of the church and staircase of that palace. 
 He was exceedingly industrious, generally painting six or 
 seven hours every day; and, being highly favoured by the 
 King, became exceedingly rich. In 1692 he first arrived at 
 Madrid, and did not return to Italy till 1702, when he ac- 
 accompanied Philip V. to Naples, and in 1704 died there. 
 The appellation of M Luca fa Presto" was accidentally ap- 
 plied to Giordano, not on account of the fame he had ac- 
 quired by his expeditious manner of painting, but from the 
 mercenary eagerness of his father, who sold at a high price 
 the designs of Luca, which he made after the compositions 
 of the great masters, while he pursued his studies. The 
 father of Luca scarce allowed him time to refresh himself^ 
 but still said to him, while he was at his meals as well asmt 
 his work, " Luca, fa presto," or " Luca, make haste;" 
 from which expression perpetually uttered, his companions 
 gave him the nick-name of Fa-presto. 
 
 32, 47, 47, 54, 57, 59, 111, 112, 112, 112, 120, 134. 
 
 GIORGIONE, an eminent artist, whose name was 
 GIOGGIO BARBARELLI, but was generally known by 
 the appellation of Giorgione, cither from his loftiness of per- 
 son, or the grandeur of his style, was born at Castelfranco, in 
 Frioul, in 1477, and became the scholar of Giovanni Bellini. 
 
221 
 
 This master he, however, soon surpassed, and arrived at 
 such excellence as to have been compared with Lionardo da 
 Vinci and Corregio. His style is forcibly marked with 
 vigour, and possesses richness of tint, colour, and chiaro- 
 scuro. The most considerable of his compositions were 
 the Tempest Allayed, formerly at Venice ; Moses presented 
 to Pharaoh's Daughter, at Milan, which is considered by 
 critics as his master-piece; two pieces, each representing a 
 Concert, now in the Napoleon Museum ; and a Holy Fam- 
 ily, and St. John, in the Marquis of Stafford's collection* 
 But perhaps his most perfect work in this country, is 
 a small picture in the possession of the Earl of Carlisle, 
 a portrait of Gaston de Foix, with a servant putting on his 
 armour. It is told of Giorgione, that having a dispute 
 concerning the superiority of sculpture or painting ; and it 
 being argued, that sculpture had the advantage, because the 
 figures it produces may be seen all around ; he took the ad- 
 verse side, maintaining, that the necessity of moving, in order 
 to seethe different sides, deprived it of its superiority; whereas 
 in painting, the whole figure might be viewed at one glancr. 
 To prove his position, he painted a figure, and surrounded 
 it with mirrors, in which all the various parts were exhi- 
 bited, and obtained great applause for his ingenuity. This 
 artist is said to have fallen in love with a young beauty of 
 Venice, who, falling ill of the plague, but not suspecting 
 it to be so, imparted the disease to Giorgione, who died at 
 the same time as his mistress in 1511. 130. 
 
 GRAY (Miss). 63. 
 
 GUERCINO, so called from a cast in one of his eyes, 
 but whose proper name was JOHN FRANCIS BARBIERI, 
 an eminent artist, was born at Cento in 1590, and learnt 
 the principles of the art from his countrymen Cremonini 
 and Benedetto Gennari. Quitting these masters, he sue- 
 
222 
 
 cessively adopted the several styles of Caravagio, the fol- 
 lowers of the Caracci, and lastly the gayer and more open 
 one of Guido ; but of these, the second is his best and 
 most valued, forming its basis in bold contrasts of light 
 and shade, but sweetly united, and magically relieved. The 
 few specimens left of Guercino's first manner, are at Bo- 
 logna and Cento. Of the second, are, in general, all he 
 painted at Rome, either in fresco or in oil, — the Aurora, in 
 the Villa Ludovisi; St. Petronilla, now in the Louvre; 
 Dido, in the Spado collection ; Mars and Venus, Circe, in 
 the Napoleon Museum ; the cupola at Piacenza ; St. Chri- 
 nogom, at Rome ; Christ and Nicodemus, Christ and the 
 Woman of Samaria, the Marriage of St. Catherine^ St. 
 James, in Mr. Methuen's collection ; and the chief part of 
 his productions at Burghley, of which the Virgin, Christ, 
 and St. Francis, is perhaps his best work, being character- 
 ized as possessing some peculiarities of design unlike any 
 other pictures of the same class. Of the third manner, 
 though it bears many traces of the second, the Circumcision, 
 in the Louvre, is the most celebrated. Christina Queen of 
 Sweden endeavoured to prevail upon Guercino to leave 
 Bologna, but without success : in her passage through that 
 place, she paid him a visit, and would not be satisfied till 
 she had taken him by the hand ; " that hand," said she, 
 u which had painted 106 altar-pieces, 144 pictures for people 
 of the first quality in Europe, and had besides, composed 
 ten books of designs." He died in 1666, very rich, yet much 
 venerated for his exemplary piety and great charity. 
 
 28, 45, 59, 69, 77, 93, 93, 114. 
 GUIDO, (Reni,) an illustrious painter, was born at 
 Bologna in 1575. His father being a musician, intended 
 him for the same profession, but discovering his attachment 
 to painting, placed him under the tuition of Denis Calvart. 
 
223 
 
 He afterwards studied under the Caracci, and soon acquired 
 considerable reputation, — so much so, as to have excited 
 great alarm and jealousy in his masters. At one time he 
 imitated Passerotti, at another Caravagio, but at length 
 formed a style for himself, consisting of all gentleness and 
 softness. His touch was free and delicate, his draperies 
 correct, and in his figures he has frequently expressed the 
 pathetic and the tender. One of his heads, in the posses- 
 sion of the venerable president of the Royal Academy, ex- 
 hibits our Saviour crowned with Thorns; it is not possible 
 for painting to go beyond it in the perfect attainment of its 
 object, the expression of pious resignation under acute suf- 
 fering of mind and body, with beauty and truth of charac- 
 ter. Mr. Fuseli gives the following character of the gene- 
 rality of Guido's works : he says, " his attitudes seldom 
 elevate themselves to the fine expression and graceful sim- 
 plicity of the force : the grace of Guido is the grace of the 
 theatre ; the mode, not the motive, determines the action , 
 Jiis Magdalens weep to be seen, his Hero throws herself 
 over Leander, Herodias holds the head of her victim, his 
 Lucretias stab themselves, with the studied airs, and ambi- 
 tious postures, of buskined heroines : it would, however, 
 be unjust not to allow there are exceptions from this affec- 
 tation in his works. Helen departing with Paris, is one, 
 which alone might atone for every other blemish. " Among 
 his best productions are Christ delivering the Keys to Peter, 
 in the church of St. Philippi Neri, at Fano; a St. John, in 
 the Archiepiscopal Gallery, at Milan ; the Virgin, Jesus, 
 and St. John, at Bologna; and the Penitence of Peter after 
 denying Christ, in the Palazzo Zampieri. At Burghley, 
 the sublime representation of the Sibyl deserves particular 
 attention, being probably also in his best style. It is evi- 
 
224 
 
 dent, says a critic, that the object of this piece, according 
 to the poet, appears 
 
 Not touch'd, but rapt ; not waken'd, but inspir'd ; 
 nor can we imagine the artist's success in the sublime as it 
 is drawn in this piece any ways inferior to the attempt. 
 Far different from that unruffled stream of thought which 
 precisely distinguishes contemplation, her eyes may be seen 
 to roll in a sort of phrensy ; and her whole person, as it 
 were, to labour with the inspiring God. Mary and Jesus, 
 in the Chapel Room, is another of this artist's productions 
 remarkable for its refined delicacy of expression, suavity, 
 and grace: and of equal merit is the Boy and Pigeon, pour* 
 trayed by touches exemplifying the liveliest simplicity and 
 gentleness. — Guido was so extremely beautiful in his younger 
 days, that his master Lewis, when painting his angels, took 
 him for his model. Having always had a predilection for 
 gaming, in his latter years he abandoned himself so entirely 
 to it, as to reduce himself to the greatest poverty. This 
 state urged many poignant reflections which brought on a 
 languishing disease that terminated his life in 1642. 29, 29, 
 29, 29, 29, 49, 76, 89, 90, 93, 93, 115, 118, 123, 138, 139. 
 
 HEEM, (Cornelius de,) the son and disciple of David 
 de Heem, was born at Utrecht about the year 1623; and 
 being carefully instructed by his father became a good 
 painter. His principal power consisted in painting vases, 
 carpets, and such objects of still life, which are not unfre- 
 quently taken for the work of David. 49. 
 
 HOBBINA,(Minderhout,) a Flemish landscape painter, 
 born at Antwerp about 1611. He studied after nature, and 
 became one of her favoured pupils. In his skies he greatly 
 excelled, and in all his pictures he displays a great know- 
 ledge of the chiaroscuro ; but. like Claude, he was defective 
 
225 
 
 in designing figures. Being conscious of his inability id 
 this respect, he used them very sparingly, or otherwise got 
 Ostade, Teniers, or other celebrated masters, to insert them 
 in his pieces; the landscape at Burghley affords an instance 
 of the assistance of the former artist, which renders it of 
 additional value. His pictures are now exceedingly scarce 
 and much sought after. 106. 
 
 HOLBEIN, (Hans,) an excellent painter, was born at 
 Basil, in Switzerland, in 1495-8. He learned the rudiments 
 of the art from his father, and was introduced by his friend 
 Erasmus into England. On his journey thither he applied 
 for work at Strasburg, where he finished a piece with great 
 care, painted a fly upon the most conspicuous part of it, 
 and hastily left the town. When the painter returned 
 home, he was astonished at the beauty and elegance of the 
 drawing ; and especially at the fly, which so far deceived 
 him as to its being a real one, that he endeavoured to re- 
 move it with his hand : he afterwards discovered that his 
 journeyman was no other than the famous Holbein. Upon 
 his arrival in England he was patronised by the Lord Chan- 
 cellor, Sir Thomas More, and by him introduced to Henry 
 VIII. who took him into his service, with a salary of two 
 hundred florins. This monarch sent Holbein to Flanders 
 to draw the picture of the Duchess Dowager of Milan, who 
 was proposed to him for his fourth wife. But the treaty 
 breaking off, the artist, according to Mr. Walpole, 66 was 
 next dispatched by Cromwell to draw the Lady Anne of 
 Cleve, and by practising the common flattery of his pro- 
 fession, was the immediate cause of the destruction of that 
 great subject, and of the disgrace that fell on the Princess 
 herself. He drew so favourable a likeness, that Henry was 
 content to wed her — but when he found her so inferior to 
 
 H H 
 
226 
 
 the miniature, the storm which really should have beeir di«* 
 rected at the painter, burst on the minister, and Cromwell 
 lost his head, because Anne was a Flanders mare, not a 
 Venus, as Holbein had represented her." In England this 
 artist drew a vast number of admirable portraits of the King 
 and several of the nobility. Being one day closely engaged 
 in drawing a figure after the life, he was called upon by a 
 nobleman who wished to speak to him, and upon Holbein's 
 excusing himself, his visitor broke open the door. The en- 
 raged artist met him and pushed him backwards from the 
 top of the stairs to the bottom* Holbein appealed to the 
 King for protection, who ordered him to ask pardon for his 
 offence 5 but this only irritated the nobleman the more, who 
 would not be satisfied with less than his life ; upon which 
 the King sternly replied, u My lord, you have not now to 
 do with Holbein, but with me ; whatever punishment you 
 may contrive by way of revenge against him shall assuredly 
 be inflicted on yourself: remember, pray, my lord, that I 
 can, whenever I please, make seven lords of seven plough- 
 men, but I cannot make one Holbein even of seven lords." 
 It would lengthen this article too much to give a list of 
 Holbein's works, which are very numerous. His portrait 
 of Queen Mary, at Burghley, has been remarked for differ- 
 ing from that which is to be seen, by some other hand, at 
 Wooburn Abbey : if not a flattering, it is not, like the 
 last, a shocking and disagreeable resemblance of that much 
 bigotted woman. Our artist, says the author of the Anec- 
 dotes, u was equal to dignified character — he could express 
 the piercing genius of More, or the grace of Ann Boleyn." 
 Holbein painted equally well in oil, water colours, and dis- 
 temper, in large and in miniature; the latter of which he 
 learnt in England of Lucas Cornelii. His pencil was ex- 
 
227 
 
 ceedingly delicate ; his colouring had a wonderful degree 
 of force; he finished his pictures with exquisite neatness; 
 and his carnations were life itself. His genuine works are 
 always distinguishable by the true, round, lively imitation 
 of flesh, visible in all his portraits, and also by the amazing 
 delicacy of his finishing. Eighty-nine of his drawings have 
 b^en engraved in an interesting work lately published by 
 John Chamberlaine, F.S.A. Holbein is said by most authors 
 to have painted with his left hand* He died of the plague 
 at London in 1554. 45, 45, 120, 123. 
 
 HONTHORST, {Gerard,) an historical artist of 
 Utrecht, called " Dalle Notti" from his principal subjects, 
 was the pupil of Abraham Bloemart, but at Rome imitated 
 the style of Cara^ agio. His subjects are generally night- 
 pieces, as large as life, and illuminated by torch or candle- 
 light. Among his numerous pictures that of our Saviour 
 before the Tribunal of Pilate, in the gallery of Giustiniani, 
 for energy, dignity, and contrast, is the most celebrated. 
 He died in 1660, aged 68. , 67. 
 
 HOSKINS, (John,) an English portrait painter. He 
 first learnt to paint portraits in oil, but afterwards practised 
 miniature, and in that way exceeded any of his other perform,. 
 ances. King Charles, the Queen, and many of the nobility 
 gat to him ; and he had the satisfaction to form two distin- 
 guished disciples, Alexander and Samuel Cooper. In the 
 heads painted by Hoskins there is a great character of nature 
 and truth ; but the carnations want variety of tints, and ap- 
 pear too much of a brick colour. However, Mr. Walpole 
 mentions one work of Hoskins's, which he says may be ac- 
 counted perfect : it is the portrait of a man, rather young, 
 in the gown of a master of arts, and a red satin waistcoat ; 
 the clearness of the colouring is equal to Oliver, and the 
 dishevelled hair touched with exquisite freedom: it is in 
 
228 
 
 the possession of Mr. Fanshaw, but not known whose por- 
 trait. Hoskins died in 1664. 
 
 124, 125, 133, 133, 134, 134, 134, 135, 135. 
 HUDSON, (Thomas,) an English portrait painter, 
 born in 1701, and died in 1779. This artist was the scho- 
 lar and son-in-law of Richardson, and enjoyed for many 
 years the chief business of portrait painting in the capital. 
 Though Vanloo and Liotard diverted the torrent of fashion, 
 still the country gentlemen were content with his honest simi- 
 litudes, and with the fair tied wigs, blue velvet coats, and 
 white satin waistcoats, which he liberally bestowed on his 
 customers. After having finished his capital work, the 
 family piece of Charles Duke of Marlborough, he retired to 
 a small villa he had built at Twickenham, which he furnished 
 with a well-chosen collection of cabinet pictures and draw- 
 ings by great masters. Though he was but an indifferent 
 artist himself, he had the honour of being the preceptor of 
 Sir Joshua Reynolds. 34, 110. 
 
 JANSSEN, (Cornelius,) called also JOHNSON, a 
 portrait painter of very extraordinary merit, was born at 
 Amsterdam. It appears that he painted in England as early 
 as 1618, and lived in Blackfriars; but afterwards removed 
 to Kent, where he drew many portraits for gentlemen in the 
 neighbourhood, particularly of the families of Auger, Pal- 
 mer, Hammond, and Bowyer. One of his best works was 
 a portrait of Lady Bowyer, of the family of Auger, called 
 for her exquisite beauty the " Star of the East." His por- 
 traits at Burghley are distinguished by a particular smooth- 
 ness and transparency of colour, which give the counte- 
 nances a great degree of mildness and simplicity. He con- 
 tinued in England until the arrival of Vandyck, whose tran- 
 scendant talents induced Janssen to return to his own coun- 
 try in 1648. His style of designing was formal and- void of 
 
229 
 
 taste, but his features are justly marked, and the faces of 
 his portraits have great character and an air of nature, pos- 
 sessing much sweetness of tone in the colouring, and finished 
 very highly. His pictures are generally on wood, and with 
 black draperies. He died at Amsterdam in 1665, 
 
 43, 46, 57, 90. 
 
 JERVIS. Whether this be the artist who was the 
 friend and instructor of Pope is uncertain, as neither Mr. 
 Walpole, nor his other biographers, mention any of his at- 
 tempts at glass painting. Of the two other panes accom- 
 panying this, it does not appear to be known by whom they 
 were adorned ; but it has been suggested that they are by 
 an artist at Birmingham, (as also the one ascribed to Jervis,) 
 who, a few years ago, fitted up a window for Lord Lyttle- 
 ton, in the church of Hagley. 50. 
 
 KAUFFMAN T , (Angelica,) a celebrated and admired 
 female artist, well known in this country, was born at 
 Coire, in Germany, in 1740, and received the elements of 
 the art from her father. At an early age she went to Rome, 
 where her talents, charms, and accomplishments rendered 
 her an object of general admiration. It is said, music was 
 one of her favourite studies, and that she could speak very 
 fluently seven different languages. In 1765 she accompa- 
 nied Lady Wentworth to England, where she became the 
 unfortunate dupe of a vulgar artifice. The footman of a 
 German count came to this country, and personating his 
 master, persuaded Angelica to marry him. On the cheat 
 being discovered, instead of soothing her disappointment by 
 increased affection, the brutal dissembler treated her very 
 ill. At last, however, by a payment made to him of ^£300. 
 he returned to Germany, and not hearing of him during 
 seven years, she married an Italian painter named Zucchi. 
 Here she enjoyed royal favour, and was loved, esteemed, 
 
230 
 
 and envied; and, decorated with academic honours, be. 
 came opulent, if not happy. Mr. Boydell published up- 
 wards of sixty plates, engraved by different artists, from 
 subjects painted by this industrious lady. Of her pieces at 
 Burghley, perhaps none are more attracting than her scenes 
 of Abelard and Eloisa ; in the one where that misguided 
 female, colourless and emaciated, is sinking into the 
 arms of death, the artist has forcibly expressed the 
 mutability of mankind, and furnished us with a fine 
 contrast to the gay and lovely figure she has previously 
 represented her. Mr. Fuseli, who was honoured by the 
 friendship of Angelica, and cherishes her memory, says 
 <c her heroes are all the man to whom she thought she 
 could have submitted, though him perhaps she never found; 
 and to his fancied manner of acting and feeling, she, of 
 course, submitted the passions of the subject. Her heroines 
 are herself ; and, whilst suavity of countenance and alluring 
 graces shall be able to divert the general eye from the 
 sterner demands of character and expression, can never fail 
 to please." She died at Rome in 1807, when by indefati- 
 gable industry and good fortune she had acquired the sum 
 of two thousand dollars. Her funeral obsequies were per- 
 formed with decorous pomp, and with more than usual so- 
 lemnity. Several of the nobility, more than one hundred 
 ecclesiastics in the habits of their several orders, and the 
 members of all the literary societies at Rome, walked in the 
 procession. The pall was supported by young ladies 
 dressed in white ; and immediately after the body some of 
 her best pictures were displayed, borne on the shoulders of 
 the mourners. 53, 64, 65, 65, 68. 68, 68, 86, 86, 86, 
 
 86, 136, 139, 144, 144. 
 KNELLER, (Sir Godfrey,) was born at Lusbec in 
 1648, of a noble family. His inclination for painting hi- 
 
231 
 
 duced his father to place him under Rembrandt, whom he 
 quitted, and went to Venice, where he executed many por- 
 traits. In 1674 he came to England, and after a little time, 
 through the interest of the Duke of Monmouth, was en. 
 gaged to take the portrait of (.he King. Charles, to save 
 trouble, engaged Lely to paint him at the same time. The lat- 
 ter, as the established artist, chose his light and station : Knel- 
 ler took the next best he could find, and had nearly finished 
 his piece when Lcly's was only dead-coloured. This cir- 
 cumstance gained Kneller great credit; and Lely obtained 
 no less honour, for he had the candour to acknowledge and 
 admire the abilities of his rival. Kneller painted the por- 
 traits of ten sovereigns, viz. Charles II. James II. and his 
 Queen, William and Mary, Anne, George I. Louis XIV. 
 Peter the Great, and Charles VI. His best friend was 
 William, by whom he was knighted in 1692, and presented 
 with a gold medal and chain worth ^300. His picture of 
 the Converted Chinese, at Windsor, he is said to have been 
 most proud of, as justly he might be: it exhibits that he 
 knew what really was good, and could produce it if he chose. 
 According to his own doctrine, he did as much and no more 
 than was necessary to pass current among his employers. 
 " History painters," he said, "make the dead live, and 
 dont begin to live till they are dead. I paint the living, and 
 they make me live." All that Kneller can be j ustly praised, 
 or deservedly esteemed for, generally speaking, is, that his 
 heads, or rather his faces, have a good deal of liveliness and 
 gentility. It seldom amounts to character in the general 
 run of his portraits. Now and then the master.hand ap- 
 pears, when the subject or the moment was favourable. 
 There is, at Petworth, a head of Sir Isaac Newton that 
 would be an honour to any man to have produced ; and 
 portraits of branches of the Seymour family, which are a 
 
232 
 
 disgrace to the name they bear. — There was a great inti- 
 macy existing between Kneller and Dr. Radcliffe, of whom 
 the following anecdote is related. The latter, who lived 
 in an adjoining house, was permitted to have a door leading 
 into the garden of his friend * but RadclifFe's servants ga- 
 thering and destroying the flowers, Kneller sent him word 
 he must shut up the door. Radcliffe replied peevishly, 
 " Tell him he may do any thing with it but paint it." 
 u And I," answered Sir Godfrey, " can take any thing 
 from him but physic." He died in 1723. His body lay in 
 state, and was buried at his country seat called Wilton ; 
 but a monument was erected to him in Westminster-abbey, 
 for which he left .s£300. and gave particular instructions 
 for the execution of it to Rysbrach. 32, 32, 34, 141. 
 
 KONINCK, (David,) called DAVID of ANTWERP, 
 from that city being the place of his birth, was a disciple of 
 John Fytt's, and arrived at as great a degree of perfection 
 as his master. Animals, birds, fruit, &c. were the pursuits 
 of his pencil, in which his touch is free and firm, and his co- 
 louring strong and like nature. The Duck-hunt, in Queen 
 Elizabeth's Dressing Room, has been termed one of the 
 finest ever witnessed ; nor can the eagerness of the different 
 water spaniels, or the different ducks in their diving and 
 evolations, be easily surpassed. Koninck died in 1687. 
 
 59, 60, 63, 65, 107, 121, 123, 138, 138. 
 KRANACH, or CRANIUS, the Old, (Luca,) an his- 
 torical and portrait painter, born at Kranach, a town in 
 the bishopric of Bamberg, in 1470, and died in 1553. His 
 great reputation recommended him to the Elector of Sax- 
 ony, by whom he was employed for several years, and libe- 
 rally rewarded. His portrait of the celebrated Martin 
 Jjiither has been much admired for its striking like- 
 ness : it is finished with peculiar precision, and in a truly 
 
233 
 
 gothic style, and traces very legibly the boldness of the 
 man who dared to set at open defiance the most distinguished 
 nobles, prelates, and even Kings of his time. Kranacfrs 
 best work is a naked Lucretia, as large as life, in an erect 
 posture, which is preserved with great care, and highly va- 
 lued. 64. 
 
 LAGUERRE, (Louis,) a painter of histories on ceil- 
 ings, staircases, &c. and an assistant and imitator of 
 Verrio's, was born in France, and was named after Louis 
 XIV. his godfather. He was first placed in the Jesuit's- 
 college, but having an impediment in his speech, and a 
 strong inclination for drawing, was sent to the royal academy, 
 where he studied under LeBrun. In 1683 he came to England, 
 and was employed by Verrio upon the large work at St. Bar- 
 tholemew's- hospital. He afterwards executed a great num- 
 ber of halls, ceilings, and staircases, at Devonshire-house, Pic- 
 cadilly, Petworth, Blenheim, Hampton-court, Burley-on- 
 thc-Hiil, Uffington-house, and particularly the Ball Room 
 at Burghley. In the latter, the Battle of Cannas is esteemed 
 his best work, which extending in length about thirty feet, 
 exhibits the bustle and confusion of war in a bold and 
 striking manner. In the Continence of Scipio he has 
 been less happy in the execution ; the Captive, and indeed 
 the whole of the figures, if we except Indibilis, appear to 
 want expression and character. Laguerre's talents were 
 not of a cast to demand very high respect, but they were 
 fully equal to the mode in which they were employed, which, 
 requiring only a small portion of ingenuity, is a certain waste 
 of talent of a superior class. He died of an apoplexy at 
 Drury-lane theatre in 1721. 40, 40, 40, 40, 41, 41, 42. 
 
 LAlNFRANCO, (Giovanni,) an eminent Italian painter, 
 was born at Parma in 1581. While young he was fre- 
 quently drawing with coal upon the walls 3 paper being too 
 
 I I 
 
234 
 
 small for him to scrawl his ideas on. He studied very suc- 
 cessfully in the school of the Caracci ; and afterwards 
 painted the History of St. Peter for Pope Urban Vllf. and 
 St. Peter walking on the Water, for St. Peter's church; 
 which performances pleased the Pope so much that he 
 knighted him. Nothing was too great for him : he mad« 
 figures of above twenty feet high, in the cupola of St. An- 
 drea de Laval, which have a very good effect, and look as 
 if they were of a natural proportion. Mr. Fuseli has ob- 
 served that he was u a machinist of the first order, and 
 taught his successors the means of filling the eye at a great 
 distance, by partly painting and partly leaving it to the 
 air to paint." He died in 1647. 28, 119. 
 
 LANGTON (John) was an ingenious caligrapher, and 
 taught writing and arithmetic at Stamford. He says that 
 in 1700, he revived the art of glass-painting, staining, and 
 tinging in the way of the ancients ; and made a new disco- 
 very of colours for painting flowers and fruits on white 
 glass. " In the east window of St. George's church, in 
 Stamford," says Mr. Howgrave, u there is painted in glass 
 our Saviour blessing the Elements : this was done by Mr. 
 John Langton, who was a very great writing master in his 
 way, as his books, which are in the hands of his widow, 
 sufficiently testify." Some of these have since been pub- 
 lished : a copy-book of Italian-hand, containing twenty- 
 one plates, was dedicated to Lady Eliz. Cecil, being com- 
 posed for her use. He had the honour of presenting one 
 of his MSS. to Queen Anne, comprehending all the varieties 
 and graces of penmanship. It is thus worded: " To the 
 most sacred and serene Princess Anne, Queen of Great Bri- 
 tain, France, and Ireland, this piece of penmanship, con- 
 taining all the usual hands, practised in your Majesty's do- 
 minions, is most humbly dedicated and presented, by your 
 
235 
 
 Majesty's most dutiful and loyal subject, John Langton." 
 He presented a copy of the original to the Earl of Exeter, 
 from whom he received a liberal reward. 60. 
 
 LAURI, (Filippo,) an Italian painter, born at Rome 
 in 1623, and died in 1694. He was a disciple of Angelo 
 Carofclli's, and is celebrated for his cabinet pictures in the 
 Flemish style, touched with great spirit, vigorously coloured, 
 and full of imagery and pittoresque conceits. He painted his. 
 torical pieces, with landscapes in the back ground, also 
 large pictures for churches ; but his chief subjects were 
 metamorphoses and bacchanals. 
 
 51, 116, 119, 119, 119, 120, 120, 120, 121, 123, 137. 
 LAWRENCE, (Sir Thomas,) an existing portrait 
 painter of very deserved celebrity. He has for many years 
 been a distinguished member of the Royal Academy, where 
 a variety of his portraits have been exhibited with such 
 universal admiration as to have obtained him the rank of 
 the greatest artist in the present age. Indeed if no other 
 specimen of his painting remained, his splendid and exqui- 
 sitely-finished family piece at Burghley, would of itself 
 place him at the head of his profession. 36, 143. 
 
 LELY, (Sir Peter,) an excellent painter, born at Soest, 
 in Westphalia, in 1617. His family name was Vander 
 Vaas ; but from the circumstance of his father, who was a 
 a captain of foot, being born in a perfumer's shop, whose 
 sign was a lily, and receiving the appellation of Captain Da 
 Lys, or Lely, our artist obtained it as a proper name. He 
 was first instructed in the art by Peter Grebber, at Haerlem, 
 and came to England in 1641, where, after the restoration, 
 he was appointed state painter to Charles II. He foil short 
 of his predecessor, Vandyck, in two essential points, viz, 
 taste and expression. It is in parts only that he wrought 
 with taste : in the ringlets of the hair, for instance \ seldom 
 
236 
 
 in the actions of his figures, and scarcely ever In the tout- 
 ensemble of his pictures. It is correctly said by the poet> 
 that in expressing his female figures, he 
 
 " on animated canvass stole 
 
 The sleepy eye that spoke the melting soul 
 
 which was the flattering art he possessed in no common de- 
 gree, and which secured him the approbation of his contem- 
 poraries. Yet Lely's pictures, by the mastery of his exe- 
 cution, and his skill of imitation, where he pleased to em- 
 ploy them, will ever command admiration. He was seized by 
 an apoplexy while painting a portrait of the Duchess of 
 Somerset, and died instantly, in 1641. His collection of 
 pictures and drawings produced *£26,000. Among his 
 more celebrated pictures in this country, are the Series of 
 Beauties, at Windsor; a remarkable picture of Charles I. 
 and heads of the Duke of York and Elizabeth, at Sion- 
 house ; several portraits in the gallery at Althorp ; the 
 Duke of Devonshire's, Lord Pomfret's, &c. 
 
 35, 67, 109, 141, 141. 
 LIBERI, (Pietro,) an Italian historical painter, born 
 at Padua in 1600, and died in 1677. At Rome he studied 
 the grand style and compositions of Raphael \ in Parma, 
 he devoted himself to Corregio and Mazzuoli; and at 
 Venice, to Titian and Tintoretto. From the works of these 
 artists, he formed a style of his own that was full of spirit, 
 extremely judicious, and consisting of a pleasing mixture 
 of them all ; although there appears too much red in his 
 compositions. His best works are, an historical picture, 
 from the History of Job, at Bologna ; the Drowning of 
 Pharaoh, in the cathedral church of Vincenza ; and Moses 
 striking the Rock, in the church of St. Maria Maggiore, at 
 Bergamo. At Burghley are also some of this master's best 
 productions. Mr. Peck, speaking of one of them in the 
 
237 
 
 Chapel, which he calls a curious piece of the Nativity, says, 
 " the sweetness of the blessed Virgin** face and the glory 
 which shines from the holy babe in her lap, and lights up 
 the rest of the picture, are, I think, hardly to be matched." 
 In the piece where Pygmalion is offering to Venus, the 
 artist has forcibly depicted that eagerness of soul peculiar 
 to the lover : his large black eyes are wonderfully express- 
 ive, he being in the act of thrusting the statue into the 
 hands of the delicate goddess, who appears to receive it 
 with dignified mildness and courtesy. 
 
 32, 32, 117, 117, 118, 141. 
 LINT, called STUDIO, (Hendrick,) supposed to be 
 the son of Peter Van Lint, whose birth and death are un- 
 known. He travelled to Rome at an early age, and land- 
 scape being his study, spent all his leisure hours among 
 rocks, rivers, villas, cascades, &c. His paintings gradually 
 rose into esteem, and from his intense application he ob- 
 tained the name of Studio. 55. 
 
 LIS, (John Vander,) an historical painter, born at 
 Breda about 1601, and was a disciple under Cornelius Poe- 
 lemberg, whom he is said to have nearly equalled. His best 
 pieces appear to be a Diana in the Bath, at Rotterdam ; and 
 a capital performance, in the possession of Viscount Mid-, 
 dleton/ Mr. Walpole had his portrait, painted by himself, 
 which he describes as being worked up equal to the smooth- 
 ness of enamel. 29, 30. 
 
 LOTI, (Carlo,) or LOTH, CAVALIERE, an histori- 
 cal painter, died at Venice in 1698, aged 66. It is pro- 
 bable that he acquired his strong and deep-toned style 
 from the study of Caravagio's works; if the scholar of 
 Liberi, he possesses little of the gaiety of that master. His 
 Slain Abel, in the Ducal Gallery at Florence ; and his 
 Loth 3 in the Palace Trivulzi at Milano ? are two of his most 
 
238 
 
 valued works. In his finding of Moses, at Burghley, he 
 he has described an uncommon degree of brightness in 
 the eyes of the babe, who throws them with eagerness to- 
 wards his preserver ; and this has been objected to as dif- 
 fering from the passage in scripture, which says, " and be- 
 hold the babe wept." But Pharaoh's daughter might, as 
 we are told she did, find Moses weeping, and yet, upon seeing 
 her, it is not unnatural to suppose that an instinctive hope 
 of succour would brighten his countenance in the manner it 
 is pourtrayed. The emotion expressed in the countenance of 
 his preserver is peculiarly characteristic of that benevolent 
 feeling which such an instance of unprotected helplessness 
 would excite. Of the lamp-light piece of Saul and the 
 Witch of Endor, it is spoken of by Mr. Peck as a master- 
 piece : " the witch," says he, " is the most perfect hag I 
 ever saw, and there is a strange unusual gloom and ghast- 
 liness in the whole picture." This piece has been ascribed 
 to Zanchi. 31, 32, 32. 
 
 LUTI, (Benedetto,) an Italian artist, was born at Flo- 
 rence in 1666. He was the disciple of Dominico Gabbiani, 
 and soon equaled his master. He afterwards studied at 
 Rome with considerable success, but was never satisfied 
 with his own works : although he frequently retouched 
 his pictures, he always changed for the better, and his last 
 thought was the best. There were three much admired 
 public works of his at Rome, viz. a Magdalen, in the 
 church of St. Catherine of Siena, the Prophet Isaiah, in an 
 oval, St. John de Lateran ; and St. Anthony of Padua, in 
 the church of the Holy Apostles : and at the Palace Albani 
 was a Miracle of St. Pio's, which some reckon his master- 
 piece. Fuseli speaks of his Cain flying from his murdered 
 Brother, as having something of the sublimity and pathos of 
 the Pietro Martyre of Titian. Luti is blamed, in common 
 
\ 
 
 239 
 
 with Paul Veronese and Rubens, for placing his figures in 
 such a manner as to throw a part of the arms and legs out 
 of the cloth. He died at Rome in 1724. 119, 120. 
 
 MACPHERSON, of Florence. 128. 
 
 MANGONI (R). 131. 
 
 MANTEGNA, (Andrea Cav.) an Italian historical 
 painter, born at Padua in 1431, and died in 1505. He first 
 studied under Squarcione, and afterwards Bellini, the latter 
 of whom was so touched by his productions that he gave 
 him his daughter in marriage. The Duke of Mantua em- 
 ployed him to paint the Triumphs of Julius Caesar, which 
 for their beauty and grandeur have been called the Triumphs 
 of Mantegna: they are now at Hampton-court. Lomazzo 
 affirms that Mantegna was the first who opened the eyes of 
 artists in perspective ; and besides the success of his pencil, 
 which equalled, if not exceeded the best masters of the Ve- 
 netian school, he is declared the first engraver of his time. 
 
 119. 
 
 MARATTA, (Carlo,) a celebrated Italian historical 
 painter, born at Camurano, in the district of Ancona, in 
 1625, and died in 1713. He was the favourite disciple of 
 Andrea Sacchi, and profited so well by his instructions, 
 that his reputation rose equal to any artist's of his time. 
 He travelled early to Rome, and studied the works of Ra- 
 phael and Michael Angelo. Pope Clement XI. knighted 
 him for his performances in the Vatican, and he was after- 
 wards appointed painter in. ordinary to Louis XIV. He is 
 celebrated for the lovely, modest, and yet dignified air of 
 his Madonnas, the grace of his angels, the devout charac- 
 ter of his saints, and their festive dressess ; though in his 
 draperies he is frequently defective. His David and Rath- 
 •heba Mr. Fuseli describes as a work which has no rival, 
 and seems to preclude all hope of equal success iu any fu* 
 
240 
 
 ture repetitions of the subject. The productions of Ma. 
 ratta were highly valued by one of the Earls of Exeter, as 
 appears from the fine collection which he has made of them. 
 Of these, the one most esteemed is the Virgin and the Infant 
 Christ asleep, which has been thus interestingly described. 
 u That look of sweet, modest, and serene delight, which 
 the artist has. infused into the countenance of the Virgin- 
 mother, as she spreads a light fleecy mantle over the body 
 of her sleeping child, as well as into the countenance of her 
 attendant, can never be sufficiently praised or admired. 
 The mute attention which his pathetic pencil depicts in the 
 features of the other children, who seem to protect and pro- 
 long his sleep ; the affectionate expression in the little boy, 
 who hangs over him, with his finger on his mouth, as if to 
 impose silence on the rest; the separate interest in the face 
 of each, and the joint interest which they all appear to pos- 
 sess in him alone, are all strokes as exquisitely tender as 
 they are sublime. The very new-blown rose itself, which 
 seems to have put out upon this occasion, and to have fallen 
 negligently down by his side, is not without its beauty ; 
 while the very superior degree of expression in the coun- 
 tenance of the youth, who looks from a corner of the pic- 
 ture, is such as seems, not so much to predict, as really to 
 apprehend, some great, and very singular event, like the pre- 
 sent." 29, 29, 45, 59, 69, 69, 71, 71, 79, 89, 90, 114, 
 
 115, 115, 115, 117, 117, 138. 
 MASSINI (Chr.) 53. 
 MEDINA, (Giovanni Battista,) a Flemish painter, 
 born at Brussels in 1660, and died in 1711. He was a pu- 
 pil under Du Chatcl, and afterwards studied the works of 
 Rubens, whom he made his model. He visited England in 
 1686, and from thence went to Scotland : in both coun- 
 tries he met with distinguished success. By order of the 
 
241 
 
 Grand Duke of Tuscany, the portrait of Medina, painted 
 by himself, was placed in the gallery at Florence. He was 
 the last person who was knighted in Scotland before the 
 union of the two kingdoms. 108. 
 
 MEULEN, (Anthony Francis Vander,) a celebrated 
 Dutch painter of battles, &c. was born at Brussels in 1634, 
 and died in 1690. He was a disciple of Peter Snayer's ; 
 but was afterwards employed by Louis XIV. and attended 
 that monarch in most of his expeditions in the field. The 
 principal works of this master are at Versailles and Marli, 
 but many of his easel pictures are dispersed through Eng* 
 land, France, and Flanders, His design is generally cor* 
 rcct ; his touch free and full of spirit; and in the distribu. 
 tion of his lights and shadows, there appears so good an un« 
 derstanding, that the eye of the spectator is constantly 
 pleased and entertained. LeBrun was so fond of him, that 
 he gave him his niece in marriage. 121, 123, 137* 
 
 MIGNARD, (Nicholas,) a French historical painter, 
 born at Troyes in 1608, and died in 1668. Having studied 
 the best masters in his native city he went to Rome, and was 
 much assisted in his observations and practice^ both by 
 Fresnoy and his brother Peter. He painted several por« 
 traits, but subjects from history and poetry were his princu 
 pal efforts, in which, if there does not appear much fire, his 
 correctness of style and agreeableness of colouring, will in 
 some degree compensate for that defect. At the time of 
 his death he was Director of the Royal Academy of France. 
 
 69. 
 
 MINDERHOUT, (Giles,) a Flemish painter, born at 
 Antwerp about 1637, and admitted into the society of 
 painters in 1662. His subjects were sea-ports, harbours, 
 &c. by which he acquired great reputation. His View of 
 
 K K 
 
242 
 
 the Rocks near Naples, at Burghley*, affords a favourable 
 specimen both of his style and execution. 55. 
 
 MOLA, (Pietro Francesco,) an Italian painter, born 
 at Lugano in 1609, and died in 1665. He was at first the 
 disciple of Cesari d'Arpino, but formed a style of his own, 
 selected from the principles of Albano andGuercino. The 
 picture of Joseph recognised by his Brothers, on the Quiri- 
 nal at Rome, is considered his most eminent performance. 
 If Mola possessed a considerable talent for history, he was 
 also a genius in landscape, which every where exhibits in 
 the most varied combination, and with the most vigorous 
 touch, the sublime scenery of the territory in which he was 
 born. His predilection for landscape was such, that in his 
 historic subjects it may often be doubted which is the prin- 
 cipal, the actors or the scene. 58, 62, 89, 90. 
 
 MONNA (D). 56. 
 
 MONNOT, (Peter Stephen,) a famous statuary, of 
 Besancon, in Italy. The fine busts of the Earl and Countess 
 of Exeter, and the superb monument to their memory in St. 
 Martin's church, Stamford, by this artist, were all made 
 during the time his lordship was in Italy. The two chil- 
 dren in the windows of the room called Heaven, by the 
 same hand, are admirably executed : one is sculptured 
 asleep, with his little cheek apparently sinking into the 
 marble, and the other as just awakening from repose. 
 
 21, 95, 95, 96, 99. 
 
 MURILLO, (Bartholome Esteben,) a celebrated histo- 
 rical and portrait painter, born at Pilas, near Seville, in 1613, 
 and died in 1685. He studied under his uncle, John del Cas- 
 tillo, and Velasquez ; and copying many works of thegreat- 
 gst masters, he became an excellent painter. His favourite 
 subjects were beggar boys, in different actions and ajnuse- 
 
243 
 
 ments, which he usually designed after nature, and gava 
 them a strong and good expression. In every part relative 
 to his colouring he seems perfect, but not quite correct 
 in his design ; he wanted a more extensive knowledge of the 
 antique. Some of his best pieces are a Moses striking the 
 Rock, and Christ miraculously feeding the Five Thousand, 
 both at Seville ; five grand compositions, exhibiting the Life 
 of Joseph, at Madrid; and a St. Thomas distributing Alms 
 to the Poor, the Aged, and the Infirm ; the last of which he 
 preferred to all his other works. His representation of the 
 cynic Diogenes, casting away his Cup, is not unaptly 
 chosen for the favourable display of his powers: he has 
 certainly pourtrayed the beggar in the philosopher, but 
 such a one as expresses all the contumely and austerity re- 
 marked in the character of him whom it is intended to re- 
 present. ■ 58, 107. 
 
 MURON, (Mrs.) a sister of the celebrated Raphael 
 Mengs's. 134. 
 
 MUTIANO, (Girolamo,) an Italian painter, born 
 at Aquafredda in 1528, and died in 1590. He was taught 
 the principles of design and colouring by G. Romanino, 
 and afterwards studied the works of Michael Angelo and 
 Titian. He frequently painted landscapes and portraits in 
 a noble style : his manner of design is great ; his colouring 
 extremely good,^ in fresco as well as in oil ; and the heads 
 of his figures have an elegant and fine expression. Christ 
 washing the Feet of his Disciples, at Rheims, is his best 
 work. This master was the first projector of the Academy 
 of Painting, at Rome, which was formed by Pope Gregory 
 XIII. 11&. 
 
 NOLLIKINS, (Joseph,) an admirable English sculp- 
 tor, who flourished about 1755, was the son of Joseph 
 Francis Nollikins, a Flemish painter. He executed several 
 
244 
 
 capital works, among which may be classed his fine- Wrought 
 head of Medusa, and the beautiful figure of a Boy just dead 
 Supported by a Dolphin. The following eulogy on the me- 
 rits of the latter piece, if a little overstrained, is not unwor, 
 thy of being quoted. ct When the reader has imagined all 
 the graceful contours, curves, and outlines, which even 
 Raphael could depict with his pencil, he may receive sorao 
 faint idea of what the sculptor of this piece has achieved 
 "with his chisel, but as this will still fall short of its merit, 
 he must represent to himself the hard marble softening into 
 ductile wax, and taking all the fair and plastic impressions 
 of infant flesh. It is difficult to know whether to praise 
 most the listless grace with which the depending arms, neck, 
 and whole body of the boy are wrought, or the voluminous 
 folds, with which this wondrous dolphin bears his burthen. 
 Thus seeming to repose at ease, the head or rather neck of 
 the dolphin forms a prop for the neck of the boy ; and, 
 while his body . is borne up by that of the fish in a double 
 fold, his legs, crossing each other at the ancles, gracefully 
 depend in the hollow just above the tail." 
 
 22, 23, 90, 98, 103. 
 OLIVER, (Peter,) an English painter in miniature, 
 born in 1601, and died in 1660. He not only surpassed 
 his father, who was his instructor, but all his contempora- 
 ries. In the collection of King Charles I. and James II. 
 there were thirteen historical subjects by this artist, all 
 capital paintings. Mr. Walpole says the finest work that 
 he has seen of Oliver's is a portrait of his wife at Kensing- 
 ton : the same author also notices the piece at Burghley, 
 which is finely executed. 132. 
 
 OSTADE, (Adrian Van,) a Flemish painter of pea- 
 sants smoaking, drinking, &c. born at Lubec in 1610, and 
 died in 1685. He studied in the school of Francis Hals, 
 
245 
 
 and had so great a genius in his peculiar style, that he be. 
 came equal to the best masters of his country, and superior, 
 to most. Mr. Fuseli says, 46 if he is less silvery, less airy 
 than Teniers, he is far more vigorous and gleaming; if his 
 forms be more squat and brutal, they are less fantastic and 
 more natural ; if he groups with less amenity, he far excels 
 the Fleming in depth and real composition. " His works 
 are exceedingly scarce, especially those of his best time and 
 manner, and no price is accounted too high for them. 106. 
 
 PALMA, the OLD, (Giacopo,) a celebrated histo* 
 rical painter, born at Serinalta, in the territory of Bergamo, 
 in the beginuing of the sixteenth century, and died in 
 his forty-eighth year. He was the principle disciple of 
 Titian, and was appointed to finish a Descent from the 
 Cross, which that master left imperfect. His colouring had 
 extraordinary strength and brightness, occasioned by the 
 frequent retouchings of his pictures ; for it is remarked of 
 him, that he usually put his colours on undisturbed, and 
 then touched upon them, and glazed them, giving them the 
 appearance of high finishing, without any appearance of la- 
 bour. His best works are the Ship, containing the body 
 of St. Mark, and a St. Barbara, both at Venice. But not- 
 withstanding all his merit, it must be acknowledged that he 
 is often incorrect, and more particularly in his latter pro- 
 ductions. 51, 93, 115, 
 PANINI, (Paolo,) an Italian painter^ born at Placen- 
 tia in 1691, and died in 1758. He studied the works of 
 Ghisolfi, and employed himself in designing superb edifices, 
 columns, baths, obelisks, &c. in which he surpassed all his 
 contemporaries. His compositions are rich ; the truth of 
 his perspective is critically exact; and his paintings are uni- 
 versally esteemed for the grandeur of the architecture, the 
 clearness of the colouring, the beautiful figures which he ge- 
 
246 
 
 nerally introduced, and also for the elegant taste with which 
 he disposed them. 140. 
 
 PARMIGIANO, properly MAZZUOLO, (Frances. 
 co 5 ) a celebrated Italian historical painter and engraver, 
 born at Paris in 1504, and died in 1540, Having been in. 
 structed in the rudiments of the art by two of his relations, 
 he went to Rome, and studied the works of Corregio, Raphael, 
 Michael Angclo, &c. His taste was excellent, but it led 
 him more to imitate the effects than the principles of his 
 masters. The ruling features of his style arc elegance of 
 form, grace of countenance, contrast in attitude, enchanting 
 chiaroscuro, and blandishments of colour ; and when these 
 are pure he is inimitable. His productions at Burghley are 
 of unequal merit, but in a Holy Family and two or three 
 other pieces may be seen the happiest combinations of 
 beauty, grandeur, and effect, exhibiting those decided 
 strokes of the pencil which Albano calls divine. Cupid 
 scooping out his Bow, with two infants at his feet, the one 
 laughing, the other crying, is considered one of his best 
 works. He was an admirable engraver, and the inventor of 
 printing in mezzotinto. 
 
 28, 29, 77, 79, 93, 114, 116, 116, 119. 
 
 PASINELLI, (Lorenzo,) an historical painter, born 
 at Bologna in 1629, and died in 1700. He studied under 
 Simon Cantarini, but quitting the style he obtained in that 
 school, he endeavoured to imitate the more noble manner of 
 Paolo Veronese. His works are universally admired ; the 
 best of which are said to be the Martrydom of St. Ursula 
 and her Companions, and the Roman Charity, both at 
 Bologna. 115. 
 
 PASSERI, or PASSARI, (Giuseppe,) an historical 
 painter, born in J 654, and died in 1714. After receiving 
 instructions from Giam, Battista, he became an imitator of 
 
247 
 
 Domenichino's, and at length both the scholar and distin- 
 guished imitator of Carlo Maratta. One of his best works 
 is St. Jerome meditating on the Last Judgment. He is ce- 
 lebrated for his impartiality in a biographical work of the 
 painters, sculptors, and architects of his time. 58, 60, 75. 
 
 PETERS (William) is a gentleman in holy orders, and 
 the present rector of Knipton, in the Vale of Belvoir. He 
 was educated at Exeter-college, Oxford, and was originally 
 patronized by the late Earl of Grosvenor. Though an oc- 
 casional painter of portraits, he has for the most part exer- 
 cised his pencil on scriptural and allegorical subjects. The 
 greater part, — perhaps the whole, — of this artist's pictures 
 have been transferred to copper, by the burine of Barto- 
 lozzi. In the picture of the Angel and Child, in this 
 collection, the angel is observed to point upwards, with 
 his left hand, in a beautiful curve, intimating the in- 
 tended flight to heaven ; whilst the child is represented en- 
 tering into a world of bliss^ with an air of ineffable sim- 
 plicity. 43, 49, 58, 8.6. 
 
 PETITOT, an Italian miniature painter, born at Ge- 
 neva in 1607, and died in 1691. He studied the art of 
 enamelling with astonishing success, displaying a grace and 
 expression in his works, which perhaps will never be ex- 
 celled. Many of his portraits have been esteemed equal to 
 those of Vandyck, whose works he frequently copied. He 
 was wonderfully patient in his finishing, and had the judg- 
 ment and skill to conceal the labour which the management 
 of his colours peculiarly required. It is asserted by an in- 
 genious French writer, that Petitot, and Bordier, his assist- 
 ant, derived the chemical part of their knowledge of the 
 
 PATOUN. 
 
 PEARSON (Margaret). 
 PESCHI (E.). 
 
 60, 110. 
 58. 
 
 60. 
 
248 
 
 most durable and beautiful colours proper for enamel, from 
 Sir Theodore Mayerne, of London. Petitot was recom- 
 mended by this great physician to Charles I. and had the 
 honour to paint the portraits of that monarch, and the 
 whole royal family. He continued in England till Charles 
 was brought to the scaffold, and in 1649 returned to Paris, 
 where he was highly favoured by Louis XIV. and by his 
 admirable works acquired an ample fortune. His portraits 
 of that monarch he copied from the best pictures of him, 
 but generally obtained one or two sittings for the comple- 
 tion. His pieces at Burghley, particularly, the two of the 
 Virgin and Christ, are exquisitely laboured. The colouring 
 of Petitot is indeed always extremely soft and lively, and is 
 50 artfully managed, that it can never change, which cir. 
 cumstance must ever give his works a superior value. He 
 generally painted on plates of gold or silver, and very 
 rarely on copper. 127, 128, 129, 131. 
 
 PIPPI. See ROMANO. 
 
 POELEMBURG, (Cornelius,) a Dutch landscape 
 and historical painter, born at Utrecht in 1586, and died in 
 1660. He became the disciple of Abraham Bloemart ; but 
 quitted that master, and went to Rome, where he found him- 
 self so touched with the grace of the incomparable Raphael, 
 that he resolved on endeavouring to imitate him. He, how- 
 ever, formed a style for himself, in which he surpassed all 
 Jus contemporaries in the delicacy of his touch, in the sweet- 
 ness of his colouring, and in the choice of agreeable objects 
 and situations. His greatest excellence appeared in his 
 $mall pictures ; in the large size he is not so deserving of 
 recommendation. After his arrival in his own country, 
 where he was received with marked respect by the Grand 
 Duke of Florence, Rubens paid him a friendly visit, and 
 expressed singular satisfaction in examining the works of 
 
249 
 
 his brother artist. Charles I. invited him to London, 
 where he painted many curious pictures, and was nobly re- 
 compensed. Several very eminent artists engaged him to 
 paint the figures in their works, particularly Steenwick and 
 Kierings ; and the excellent perspectives of the former arc 
 rendered still more estimable by the pencil of Poelemburg. 
 The genuine works of this master are very scarce : his dis- 
 ciple, John Vander Lis, imitated his manner so successfully, 
 that his paintings are frequently taken for those of his 
 master. 29, 71. 
 
 POOL, (Juriaen,) a portrait painter, born at Amster- 
 dam in 1666, and died in 1745. He was the husband of 
 the celebrated Rachael Ruisch, to whom his singular merits 
 in painting portraits recommended him, preferably to seve- 
 ral other wealthier competitors. He shared the favour of 
 the Elector Palatine, but after the death of that prince, he 
 entirely quitted Bis profession. 123. 
 
 POUSSIN, (Nicolo,) a celebrated French historical 
 painter^born at Andily, in Normandy, ia 1594, and died 
 in 1665. He was first instructed by Ferdinand Elle, and 
 L'Aliemant; but, eager to obtain further improvement, he 
 went to Rome, and studied very diligently the works of the 
 most celebrated painters, antique statues, and bas-reliefs. 
 The first subjects he painted were chiefly taken from the 
 heathen mythology,but he afterwards em ployed himself in de- 
 lineating the sacred, Grecian, and Roman histories. Titian's 
 works early engaged his attention in colouring, but Raphael 
 and the antique so much enchanted him, that he lost all that 
 warmth in the carnations which appeared in his early pro- 
 ductions. His invention and design were always correct, 
 though, from the disposition of his figures, he appears not 
 to have understood the chiaroscuro. Amongst his best 
 
250 
 
 pieces are mentioned Herod's Cruelty, the Seven Sacraments 
 of the Romish Church, the altar-piece representing the Last 
 Supper, at St. Germain's, the Flight into Egypt, at Naples, 
 the Deluge, the Vision of Coriolanus, and the Infant Pyrr- 
 hus. But none of the designs of Poussin have been more 
 universally admired, than that of Germanicus dying, which, 
 had he painted no other picture, would alone have gained 
 him immortal honour. He chiefly confined himself to easel 
 pictures, which are prized very highly in every part of Eu- 
 rope. 75, 76, 90. 
 
 POUSSIN, or DUGHET, (Gaspar,) a celebrated 
 French landscape painter, born at Paris in 1600, and died 
 in 1663. He appears at first to have been employed to 
 prepare the pencils, pallet, and colours, for Nicolo, his 
 brother-in-law, but by the precepts and examples of that 
 master, he rose into the highest reputation. When he went 
 to Rome, he assumed the name of Poussin, and is now 
 scarcely known by any other. He had a free and delicate 
 manner of penciling, and was exceedingly expeditious in his 
 work, for his imagination was scarcely more ready to invent 
 than his hand to execute : and it is confidently reported by au- 
 thentic writers, thathe finished a large landscape, and inserted 
 all the requisite figures, within the compass of one day. His 
 styles were different at different periods of his life : the best 
 was simple and learned ; in which his colouring appeared so 
 lovely, so fresh, so full of truth and nature, that no one can 
 behold one of his landscapes of that class, without feeling a 
 rapturous delight of admiration. He designed human figures 
 but very indifferently, and for that reason he frequently pre- 
 vailed on Nicolo to paint them for him. No commenda- 
 tion can be bestowed on the works of Gaspar, that can 
 seem superior to his desert; and the exceeding great prices 
 
251 
 
 they afford, shew that they are deservedly admired m every 
 nation, where the art of painting is either cultivated or un- 
 derstood. 48, 59, 
 POWELL. 34, 38. 
 PRETI, (Cav. Mattia,) called IL CAV. CALA- 
 BRESE, an historical painter, born at Taverna, in Cala- 
 bria, in 1613. He became a scholar of Guercino's; and 
 his eagerness to consolidate his notions of design, induced him 
 to defer the practice of colours till the twenty-eighth year of 
 his life. He executed great works in fresco, at Modena, 
 Napoli, Malta, and St. Andrea della Valle in Rome. Many 
 of the churches and galleries in Italy are filled with his pic- 
 tures. His representation of the Progress of Time, at 
 Burghley, is characteristic of his general style of design, 
 being less delicate than vigorous and robust; it displays, 
 Jiowever, upon canvass, the same fine morality, which the 
 elegant pen of Addison, in his celebrated Vision of Mirza, 
 does upon paper. When the productions of Luca Giordano 
 attracted so much attention, Preti retired to Malta, of 
 which order he was a knight, and there died in 1699. 106. 
 
 PROCACCINI, (Giulio Cesare,) an historical painter 
 and sculptor, born at Bologna in 1548, and died in 1626. 
 He was taught by his father, and frequented the academy 
 of the Caracci, where, it is said, that in reply to some sar- 
 casm of Hannibal's, he struck and wounded him. The 
 principal objects of his studies were the works of Corregio, 
 and in the opinion of many, none ever approached nearer 
 the grandeur of that style. His design is in general correct, 
 his forms and draperies select, his invention varied, and the 
 whole together has a certain grandeur and breadth, which 
 he either acquired from the Caracci, or like them derived 
 from Corregio. 45. 
 RAFFAELINO, or RAPHAELLO MOTTA, wa* 
 
252 
 
 born at Reggio in 1555, and died in 1580. He was the pu- 
 pil of Lelio di Novellara, and formed a master-style in 
 Rome, which, if we except a deeper knowledge of design, 
 possessed every requisite excellence; spirit, disposition, 
 mellowness, relief, grace, qualities uncommon in that age. 
 He painted at Caparola, in competition with Zucchari and 
 Vecchi, and such is the difference, that his figures, as Bag- 
 lione expresses it, seem alive, theirs only painted. His oil 
 pictures are few, and his best works are frescos. 117. 
 
 RAPHAEL, properly RAFFAELLO SANZIO, born 
 atUrbino in 1483. He received his first instructions in 
 painting from his father and Pietro Perugino, whom he soon 
 equalled. After devoting himself to the study of the antiques 
 he visited Florence, and improved his taste of design from 
 the works of Lionardo da Vinci and Michael Angelo, his 
 colouring from Masaccio, and his skill in perspective by his 
 intimacy with Bortolomeo Baccio. By these means, assisted 
 by an exalted genius, although he lived in an age, in which 
 the arts flourished with extraordinary lustre, all competi- 
 tion and the most splendid talents were borne down by the 
 sublime productions of his matchless pencil. His celebrated 
 Cartoons,* which have for so many years been the glory of 
 
 * " The inestimable productions of human genius and art, the Car- 
 toons of Raphael, were originally thirteen in number, intended to repre- 
 sent the origin, sanction, economy, and progress of the christian religion s 
 they are deservedly applauded throughout Europe for their unrivalled va- 
 riety of character, matchless expression, and excellence of composition. 
 They were at first designed as patterns for tapestry, to adoin the pon- 
 tifical apartments of Leo X. at Rome. When finished, they were sent 
 to Flanders, and traced in tapestry under the direction of eminent 
 artists; but Leo and Raphael both dying before the work was com- 
 pleted, the tapestries and patterns were not carried to Rome for seve- 
 ral years afterwards. They, however, remained in that city for near 
 a century neglected and despised, till Rubens prevailed on Charles I.. 
 
253 
 
 England, are esteemed his best and most inestimable per. 
 formanccs. " The general opinion," says Mr. Fuseli, 
 " has placed Raphael at the head of his art, not because h© 
 possessed a decided superiority over every other painter in 
 every branch, but because no other artist ever arrived at 
 uniting with his own peculiar excellence all other parts of 
 the art in an equal degree with Raphael. The drama, or 
 in other words, the representation of character in conflict 
 with passions, was his sphere ; to represent this, his inven* 
 Hon in the choice of the moment, his composition in the ar- 
 rangements of the actors, and his expression in the delinea* 
 tion of their emotions, were, and are, and perhaps will be, 
 unrivalled. And to this he added a style of design dictated 
 by the subject itself, a colour suited to the subject, all the 
 grace which propriety permitted, or sentiment suggested* 
 and as much chiaroscuro as was compatible with his supreme 
 desire of perspicuity and evidence. It is, therefore, only 
 when he forsook the drama, to make excursions into the 
 
 to purchase and have them conveyed to England. At the sale of this 
 monarch's effects, after his death, the Cartoons were purchased by the 
 order of Cromwell, who commissioned one of his officers to bid for 
 them, and publicly to declare the bidding was for his highness : fifty 
 pounds was the sum offered ; and such was the respect, or dread, of 
 the name of the bidder, that they were instantly knocked down to 
 him; though at the same time it was known, unlimited commissions 
 vere then in the room from France, Spain, Italy, &c. They were 
 afterwards pawned, in a state exigency, to the Dutch for fifty thou- 
 sand pounds, and remained in Holland till the revolution ; after which 
 King William ordered them into this country, when they were depo- 
 sited in a gallery built expressly for their reception at Hampton-court, 
 From this place they were removed in 1766 to Buckingham-house, and 
 in 1788, upon the recommendation of Ben. West, Esq. President of 
 the Royal Academy, his majesty had them placed in their present situ- 
 ation, in apartments at Windsor Castle." 
 
 Beauties of England and Wales, vol. i. p. 20T„ 
 
254 
 
 pure epic or sublime, that his forms became inadequate, 
 and were inferior to those of Michael Angelo ; it is only in 
 subjects where colour from a vehicle becomes the ruling 
 principle, that he is excelled by Titian ; he yields to Cor- 
 regio only in that grace and in that chiaroscuro which is 
 less the minister of propriety and sentiment than its charm- 
 ing abuse or voluptuous excess, and sacrifices to the eye 
 what was claimed in vain by the mind." — Being alike emi- 
 nent as an architect, he was employed by Pope Leo X. to 
 build St, Peter's, at Rome, and lived in the greatest splen- 
 dour imaginable. Such was his fame, that Cardinal Bibiano 
 offered him his niece in marriage : and he is said to have 
 engaged himself : but Leo X. having given him reason to 
 expect a cardinal's hat, he contrived to delay the perform- 
 ance of his promise. His manners were peculiarly pleasing, 
 and he was a very handsome man ; but being immoderately 
 addicted to those females who are the reproach of their sex, 
 his constitution was destroyed, and he was taken off in the 
 flower of his age. He died on his birth-day in 1520, and 
 was buried in the church of the Rotunda, at Rome. 
 
 23, 68, 89, 89, 134. 
 RATH. 86, 86. 
 
 RAVESTEYN, (Hubert Van,) a Dutch painter of 
 low subjects, born about 1647. He became a painter of 
 very great reputation, making a proper allowance for the 
 meanness of his subjects. They were all taken from the 
 lowest life, such as the houses of boors and villagers ; and 
 generally he chose to describe the inside of those miserable 
 habitations, where sheep were penned up, and maids were 
 busied in scouring kitchen utensils; slaughtering-times, 
 boys blowing up bladders of animals, entrails of hogs, sau- 
 sages, baskets, and such like objects. But it must be con- 
 fessed, that every subject he painted shewed a wonderful 
 
955 
 
 neatness in the execution. The tints of his colouring had 
 truth and nature to recommend them to the eye ; his draw- 
 ing was correct ; his pictures shewed that the artist had a 
 fine understanding of the chiaroscuro, and they were remark- 
 ably transparent. 106- 
 
 REIFFENSTEIN. 45. 
 
 REMBRANDT VAN RYN, an eminent painter, bom 
 at a Tillage near Leyden in 1606. His real name was 
 GERRETSZ, but he obtained that of Van Ryn from the 
 place where he spent the youthful part of his life, which 
 was on the borders of the Rhine. He studied successively 
 under Jacques Van Zwanenburg, Peter Lastinan, and Jacob 
 Pinas, from the last of whom he acquired that taste for 
 strong oppositions of light and shadow, which he ever after 
 so happily cultivated. He was equally skilled in portrait 
 and in history ; yet it is thought he had more solid delight 
 in contemplating his own repository of old draperies, 
 armour, weapons, and turbans, which he jocularly called 
 his antiques, than he ever felt from surveying the works 
 of the Grecian artists, or the compositions of Ra- 
 phael. His works at Burghley are all portraits, in which 
 walk of his art he is confessedly excellent ; but by his being 
 accustomed to imitate nature exactly, and the nature he 
 imitated being always of the heavy kind, his portraits, 
 though admirable in respect of the likeness, and the look of 
 life, want grace and dignity in the airs and attitudes. In 
 regard to other particulars, he was so exact in giving the 
 true resemblance of the persons who sat to him, that he dis- 
 tinguished the predominant feature and character in every 
 r face, without endeavouring to improve or embellish it. 
 And in many of his heads may be seen such a minute exact- 
 ness, that he represented even the hairs of the head, and the 
 wrinkles of old age : yet, at a proper distance, the whole 
 
256 
 
 has an effect that astonishes ; for he imitated his model i*. 
 so true, so plain, and so faithful a manner, that every por- 
 trait appears animated, and as if starting from the canvass, 
 iQ Rembrandt Van Ryn, w observes Mr. Fuseli, " was a 
 meteor in art. Disdaining to acknowledge the usual laws 
 of admission to the Temple of Fame, he boldly forged his 
 own keys, entered, and took possession of a most conspicu- 
 ous place by his own power. He was undoubtedly a genius 
 of the first class in whatever is not immediately related to 
 form or taste. In spite of the most portentous deformity, 
 and without considering the spell of his chiaroscuro, such 
 were his powers of nature, such the grandeur, pathos, or 
 simplicity of his composition, from the most elevated or ex- 
 tensive arrangement to the meanest or most homely, that the 
 most untutored and the best cultivated eye, plain common 
 sense, and the most refined sensibility, dwell on them equally 
 enthralled. Shakspeare alone excepted, no one combined 
 with so much transcendant excellence so many in all other 
 men unpardonable faults ; and reconciled us to them. He 
 possessed the full empire of light and shade, and of all the 
 tints that float between them. He tinged his pencil with 
 «qual success in the cool of dawn, in the noon-tide ray, in 
 the vivid flash, in evanescent twilight, and rendered dark- 
 ness visible. Though made to bend a stedfast eye on the 
 bolder phenomena of nature, yet he knew how to follow 
 her in her calmest abodes, gave interest to insipidity or 
 boldness, and plucked a flower in every desert. Few like 
 Rembrandt kuew how to improve an accident into a beauty, 
 or give importance to a trifle. If ever he had a master he 
 had no followers : Holland was not made to comprehend 
 his power: the succeeding school consisted of colourists, 
 content to tip the cottage, the hamlet, the boor> the ale-pot, 
 the shambles, and the haze of winter, with orient hues, or 
 
257 
 
 the glowing of setting summer suns." — Mr. Walpole says, 
 Rembrandt was in England in 1661, and lived sixteen or 
 eighteen months at Hull, where he drew several gentlemen 
 and sea-faring persons. His etchings are not less admired 
 than his paintings ; there does not seem a single touch of his 
 graver that does not produce expression and life. He died 
 at Amsterdam in 1674. 49, 49, 52, 68. 
 
 REMEE, (Lemput Van,) a Flemish portrait painter, 
 who died in London about 1675. He came to England in the 
 reign of Charles II. and was encouraged by Vandyck, 
 whose manner he imitated with such success, that several of 
 his pictures have passed for that master's. He received ^150. 
 for copying two pictures of Henry VII. and Henry VIII. 
 painted by Holbein, being the famous picture that was on 
 the wall at Whitehall, which was afterwards burnt. The 
 Earl of Pomfret, at Easton, had a copy of Raphael's Gala- 
 tea, by him. He bought the celebrated picture of Charles I. 
 on horseback, by Vandyck, now at Hampton-court, for a 
 small sum, which carrying over to Antwerp, he was offered 
 j£1050. for it ; and stood for .€1575. ; but thinking that 
 not enough, he brought it back to England again, where he 
 was compelled to restore it. — The Virgin and dead Christ, 
 in the Chapel Room, is perhaps by the hand of this master, 
 although ascribed to R. Van Reni, of whom we find biogra- 
 phers make no mention. 124. 
 
 RICCI, (Sebastian,) an Italian historical painter, born 
 at Belluno in 1659, and died in 1734. He was a disciple 
 Of Frederico Cervelii's, but afterwards improved himself by 
 travelling through Italy and copying the works of the best 
 masters. In his progress he obtained the favour and patron- 
 age of the Duke of Parma, for whom he finished some grand 
 designs. The fame of Sebastian fled through every part of 
 Europe, and after visiting Vienna, where he had been invited 
 
 M M 
 
258 
 
 by the Emperor, he came to England, and was immediately 
 and incessantly employed by the court, nobility, &c. He 
 had a fruitful imagination, ready execution, an harmonious 
 and light touch, and his tone of colouring is agreeable, 
 though sometimes a little too black : and had he consulted 
 nature more attentively, his figures would have been more 
 correct. However, his paintings have maintained an uni- 
 versal reputation, and are bought by the most able judges 
 at considerable prices. His three best pieces are said to be 
 in the churches of St. Cosmus and Damian, at Venice ; viz. 
 David bringing back the Ark in Triumph, the Dedication 
 of the Temple by Solomon, and Moses striking the Rock. 
 
 30, 54. 
 
 RICCIO, or RICCO, (Domenico,) an Italian histori- 
 cal painter, born at Verona in 1494, and died in 1567. 
 Being first taught design by Caroto, he at length arrived at 
 such great perfection as to find a zealous protector and 
 friend in the Cardinal Gonzaga, and had the honour of 
 painting in competition with Paolo Veronese and Paolo 
 Farinato, the latter of whom he is said to have excelled in 
 his picture of Gathering Manna in the Wilderness. As 
 there are numerous other historical works mentioned by his 
 biographers, in which he appears to have been wholly em- 
 ployed, it is probable that the beautiful Flower-pieces at 
 Burghley, attributed to him, are by another hand ; perhaps 
 by that of Mario Ricci, the nephew and disciple of Sebas- 
 tian, who is recorded as a most excellent landscape painter. 
 
 89, 90. 
 
 RICHARDSON, (Jonathan,) an English painter, born 
 in 1665, and died in 1745. After being apprenticed to a 
 scrivener, he became the disciple of Riley. He principally 
 excelled in portraits, and was the best painter of a head 
 that England had produced; but his draperies and attitudes 
 
259 
 
 were insipid and unmeaning. No man dived deeper into 
 the inexhaustible stores of Raphael, and though capable of 
 tasting all the sublimity of that master, he could never con- 
 trive to see with his eyes when he was to copy nature him- 
 self. He published some Essays on Painting ; and an edi- 
 tion of Milton's Paradise Lost, with a Discourse on the 
 Poem, and explanatory notes. In this last work he informs 
 us, that if painting was his wife, poetry had been his secret 
 concubine. The sale of his collection of drawings lasted 
 eighteen days, and produced about *€2060. 35. 
 
 RILEY, (John,) an English portrait painter, born in 
 London in 1646, and died in 1691. He received his instruc- 
 tions from Fuller and Zoust ; and, according to Mr. Wal- 
 pole, became one of the best native painters that has flou- 
 rished in England. His talents were obscured by the fame 
 rather than by the merit of Kneller, with a quarter of whose 
 vanity he might have persuaded the world he was a great 
 master. Charles II. sat to him, but almost discouraged the 
 bashful artist from pursuing a profession so proper for him. 
 Looking at the picture, he cried, u Is this like me ? then, 
 od's fish, I am an ugly fellow." This discouraged Riley 
 so much that he could not bear the picture, though he sold 
 it for a large price. 141. 
 
 ROCQUET. 128. 
 
 ROMANO, properly PIPPI, (Giulio,) an Italian histo- 
 rical painter, born at Rome in 1492, and died in 1546. He is 
 considered the principal scholar of Raphael, his heir, and the 
 continuator of his works. As a designer he commands the 
 whole mechanism of the human body, and without fear of 
 error, turns and winds it about to serve his purposes, but 
 sometimes oversteps the modesty of nature. In colour, 
 whether fresco or oil, his hand was expeditious, and in the 
 former his touch is decided, but in the latter it is distin* 
 
260 
 
 guished by a raw opaque tone. After a careful study 
 of his master, and the antiques at Mantua, the call of the 
 Gonzaghi roused that loftiness of conception, and gave birth, 
 to those magnificent plans, from which that city, and the 
 -wonders of the Palace del T. as from enchantment rose. 
 This palace furnishes specimens in every class of picturesque 
 imagery. Whatever be the dimension, the subject, or the 
 scenery, minute or colossal, simple or complex, terrible or 
 pleasing, we trace a mind bent to surprise or dazzle by po- 
 etic splendour; but hurried by the torrent of a fancy more 
 lyric than epic, it often leaves the task of connection to 
 the spectator. In the Palace del T. Giulio adopted the me- 
 thod of his master. He prepared the Cartoons, they were 
 executed by his pupils, and he thoroughly retouched, cor- 
 rected, and gave the last finish to the pictures : but, unfortu- 
 nately, they have been covered again by modern pencils ; and 
 the Fable of Psyche, the Allegories of Human Life, the Giants 
 storming Heaven, exhibit, now indeed, his composition and 
 design, but not his hand. 29, 115. 
 
 ROMNEY, (George,) a distinguished English portrait 
 painter, born in 1734, and died in 1802. He was the son 
 of a cabinet-maker, at Daiton, in Lancashire, and served 
 his time to an itinerant painter, whom he soon surpassed. 
 He went when very young to London, with a picture of the 
 Death of General Wolfe, which obtained the second prize 
 in the exhibition. In 1764 he visited Paris, and afterwards 
 Italy, where he was distinguished by his assiduous and soli- 
 tary study. When he returned to London the unprofitable 
 visions of Michael Angelo gave way to the more substantial 
 allurements of portrait, in which practice gave him rapidity 
 of execution, and nature an eye sufficiently just for form 
 and not ungenial for colour. His women have often naivete, 
 sometimes elegance, with an artless bloom and freshness of 
 
261 
 
 tint. His men in general have more spirit than dignity, 
 and more of pretence than reality of character. 139. 
 
 ROSA, (Salvator,) an admirable painter, born at 
 Naples in 1614, and died in 1673. He received his first 
 knowledge of design and colouring from Francesco Franca- 
 zano, who was his kinsman ; but, by the death of his father, 
 being reduced to the lowest poverty, he was coustrained 
 to provide a maintenance by sketching designs on paper, 
 and selling them at a very mean price to any who seemed 
 inclined to purchase them. In that wretched situation he 
 laboured for some time, till one of his designs, and an 
 historical piece of Hagar and Ishmael, which he painted, ac- 
 cidentally happened to fall into the hands of Lanfranco ; 
 and that famous artist was so affected with the sight of those 
 performances, that he eagerly enquired after the author, 
 expressed an eager desire to know him, and as soon as he 
 saw him, took him under his protection, and provided for him 
 generously. This happy alteration in his circumstances en- 
 abled him to study under Spagnoletto, and Daniel Fancone, 
 from whom he acquired more freedom of hand and greater 
 force of colouring. He painted history, landscape, battles, 
 sea-pieces, &c. but of these his genius was most predomi- 
 nant in landscape, a choice and exquisite specimen of which 
 is in the Third George Room at Burghley. In the forms 
 of his trees, and the breakings of his grounds, a grandeur of 
 thought is always apparent; his foliage is light, and admi- 
 rably touched : the figures have attitudes and actions that 
 are easy and natural, yet full of dignity ; and his expression 
 is excellent. His genuine works are exceedingly rare and 
 valuable: of these Saul and the Witch of Endor, at Ver- 
 sailles, is his best historical production. He was also an 
 elegant poet, and a musical composer, as well as an artist; 
 yet although so accomplished a person, a wild and dissi- 
 
262 
 
 pated life made him one of the most miserable of men. The 
 greater part of his cantatas are filled with the bitterest com- 
 plaints, either against his mistress or against mankind in ge- 
 neral. He says of himself that he has had more misfortunes 
 than there are stars in the firmament, and that he lived 
 thirty years without one happy day. 56, 90. 
 
 ROTHENAMER, (John,) an historical painter, born 
 at Munich in 1564. His first master was Donouwer, an 
 indifferent artist, whom he left to study at Rome, and from 
 thence went to Venice, where he fixed on Tintoretto as his 
 model for both design and colouring. He had a ready in- 
 vention, and his design was tolerably correct : his attitudes 
 were usually genteel, his tone of colouring was agreeable, 
 and his pictures were well finished. In his small sized paint- 
 ings he had the good fortune to be assisted by Paul BriL 
 and the Velvet Brueghel, who frequently painted the land- 
 scapes and back grounds of his historical compositions. 
 The Banquet of the Gods, painted for the Emperor Rodolph 
 II. gained him very high reputation. He contrived to be 
 perpetually necessitous by his profusion and extravagance, 
 and died in the most extreme poverty in 1604. 76. 
 
 RUBENS, (Sir Peter Paul,) a celebrated Flemish his- 
 torical and landscape painter, was descended from respect- 
 able parents, and born at Cologne in 1577. He was at first 
 instructed by Tobias Veraecht, a painter of architecture 
 and landscape ; afterwards by Van Oort, but whose surly 
 disposition iuduced him to place himself under Otho Venius. 
 From this master, whose learning, temper, and inclinations 
 being similar to those of Rubens, he acquired an ardent love 
 for the art, in which he attained great perfection. He was 
 recommended by the Archduke Albert, governor of the 
 Netherlands, to the Duke of Mantua, at whose court he 
 was received with a degree of distinction worthy of his me* 
 
263 
 
 rit Eager still further to improve himself, he travelled 
 through Italy, and studied the various works of Raphael, 
 Titian, Paolo Veronese, and other eminent masters ; but ap- 
 pears to have neglected in too great a degree those invalu- 
 able models, the antiques. However, his fame extended to 
 every part of Europe, and his works were universally ad- 
 mired and coveted. His learning, his politeness of manner, 
 and amiable accomplishments of mind, introduced him to 
 the particular affection of the Kings of England, Spain, &e. 
 and he was even employed by the latter to negociatc a 
 peace with Charles I. who received him with marked re- 
 spect. Rubens was engaged by this Prince to adorn some 
 of the apartments at Whitehall, for which he was afterwards 
 honoured with knighthood. The French have absurdly 
 affirmed, that he was knighted by the King, sitting on his 
 throne in full parliament. On his return to Flanders, he 
 still continued in the dissimilar functions of statesman and 
 painter, by which he amassed vast wealth ; but at length 
 died in 1640. — The works of tjiis artist are exceedingly nu- 
 merous, being found in almost every part of Europe. 
 Many of them are in the elegant collections of the nobility 
 and gentry of Great Britain and Ireland. Of those at 
 Burghley, although the Three Goddesses sending Mercury 
 to Paris is distinguished by its brilliant and warm tone of 
 colouring, the Cabinet, which he has there adorned, is the 
 most highly-prized curiosity of his productive pencil. The 
 Luxembourg Gallery, now broken up and dispersed, which 
 described the Life of Mary de Medicis, the Queen of Henry 
 IV. of France, is thus spoken of by Mr. Fuseli : — " It com- 
 mands our most submissive admiration. In whatever light 
 we consider that astonishing work, whether as a series of 
 •ublime conceptions, regulated by an uniform comprehen- 
 sive plan, or as a system of colours and tones, exalting the 
 
264 
 
 subject, and seconded by magic execution; whatever may 
 be its Venetian, or Flemish flows of mythology and Chris- 
 tianity, antique and modern costume, promiscuously dis- 
 played, it leaves all plans of Venetian allegory far be- 
 hind, and in what came from his own hand, rivals all 
 their execution. If it be not equal in simplicity, or 
 emulates in characteristic dignity, the plans of Michael 
 Angelo, and Raphael, it excels them in the display of 
 that magnificence which few modern eyes can separate 
 from the idea of majesty." — Rubens is allowed to have 
 carried the art of colouring to its highest pitch ; for he so 
 thoroughly understood the true principles of chiaroscuro, 
 and so judiciously and happily managed it, that he gave the 
 utmost roundness, relief, and harmony to each particular 
 figure, and to the whole together; and his groups were 
 disposed with such accurate skill, as to attract, and indeed 
 generally to compel the eye of the spectator to the princi- 
 pal object. His draperies are simple, but grand, broad, 
 and well placed; and his carnations have truly the look of 
 nature, and the warmth of real life. 29, 47, 67, 75. 
 
 RUSSEL. 110, 110. 
 
 RUTTER (D.). 89,90. 
 
 RUYSDAAJL, (Jacob,) a Flemish landscape painter, 
 born at Haerlem in 1636, and died in 1681. He appears 
 very jearly to have formed an intimacy with Berchem, from 
 whom he received considerable instruction. The grounds 
 of his landscapes are agreeably broken, his skies are clear, 
 his trees are delicately handled, every leaf is touched dis- 
 tinctly and with a great deal of spirit ; and every part has 
 the look of true nature, and shews that he perfectly under- 
 stood chiaroscuro. His works are distinguished by a natu- 
 ral and pleasing tone of colour; by a free, light, firm, and 
 spirited pencil; and also by a very agreeable choice of situ* 
 
265 
 
 ations. As he could not design figures with any degree of 
 elegance, he was frequently assisted in them by Ostade, Van- 
 der Velde, and Wouvermans, which circumstance adds con- 
 siderably to the value of his pictures. Most of the collec- 
 tions in England are adorned by the works of this master. 
 
 63, 65. 
 
 SACCHI, (Andrea,) a celebrated Italian historical 
 painter, born at Rome in 1594, and died in 1668. He was 
 a disciple of F. Albano's, with whom he spent several years 
 in such close application, that at last he was accounted su- 
 perior to his master. He devoted a great part of his time 
 to the study of the antiques, Raphael, and other illustrious 
 artists; and was allowed to have no superior in fresco. 
 Pietro di Cortona being equally desirous of fame, a strong 
 emulation subsisted between the two artists, which proba- 
 bly enabled both of them to arrive at a higher degree of per- 
 fection, than they would have done without such a compe- 
 tition. The ideas of Sacchi were grand and elevated ; and 
 he gave to his figures a beautiful and fine expression. The 
 choice of his draperies is judicious, the disposition of 
 them is delicate, and they shew an union of elegance and 
 simplicity rarely to be met with in other painters. His 
 works are finished with uncommon care and exactness, and 
 they have such intrinsic merit in respect of taste, composi- 
 tion, correctness, elevation of thought, colouring, and ex- 
 pression, as will secure the admiration and applause of the 
 judicious, and always render them truly valuable. At 
 Rome are, an allegorical picture representing Divine Wis* 
 dom, in the Palazzo Barberini ; a St. Augustin, in the 
 church of St. Peter; and the Angel appearing to Joseph, in 
 the church of St. Joseph; which are esteemed his best 
 works. 28, 89, 116, 116, 117, 117. 
 
 N N 
 
266 
 
 SARTO, (Andrea del,) properly VANUCCHI, an 
 historical and portrait paiuter, born at Florence in 1488, 
 He received his instructions in the art from Giovanni Da rile 
 and Pietro Cosimo ; and whilst in the school of the latter 
 master, he frequently designed after the works of Vinci, 
 Raphael, and Michael Angelo. He contracted an intimate 
 friendship with Francesco Bigio, and at length raised his 
 fame to the highest pitch by a picture of St. John preaching. 
 He afterwards went to Rome to study the antiques and emi- 
 nent masters, and it is not doubted, that if he had spent a 
 few more years in that city, he would have surpassed all the 
 artists of his time. The excellence of his pencil, and his 
 power of imitation, cannot be more strongly illustrated than 
 by the following incident mentioned by Vasari : by order 
 of Octavian de Medici he copied a portrait of Leo X. be- 
 tween Cardinal Medici and Cardinal Rem, the heads and 
 hands of the figures having been painted by Raphael, and 
 the draperies by Julio Romano ; and he imitated every part 
 of it with such amazing exactness, that Julio, after the most 
 minute inspection, and also being assured it was a copy, 
 could not distinguish it from the original. 46 The great pe- 
 culiarity," says Mr. Fuseli, 44 perhaps the great prerogative 
 of Andrea, appears to me that parallelism which distinguishes 
 the best of his historic works, seemingly as natural, obvious, 
 and easy, as inimitable. In solemn effects, in alternate 
 balance of action and repose, he excels all the moderns, and if 
 he was often unable to conceive the actors themselves, he gives 
 them probability and importance by place and posture* 
 Of costume he was ignorant, but none ever excelled, and 
 few approached him in breadth, form, and style of drapery, 
 which ought to distinguish solemn, grave, or religious sub- 
 jects. " He was employed by the French King, Francis L 
 
267 
 
 who was remarkably fond of his works, and who would 
 have enabled him to live in esteem and affluence, had he not 
 violated every tie of honour with that monarch. He soli- 
 cited permission to visit his wife at Florence for a few 
 months, which request was not only granted, but large sums 
 of money given him to purchase statues, paintings, designs^ 
 &c. Andrea, however, after he arrived at his native city 
 squandered away the King's property as well as his own, 
 and never returned to his friend aud benefactor. At last 
 fee sunk into deserved poverty, and died of the plague in 
 1530. 77, 93. 
 
 SAVERY, (Roland,) a Flemish landscape painter, 
 born at Courtray in 1576, and died in 1639. He received 
 his instructions from his father and brother, and according 
 to some from Paul Bril. . He had a delicate pencil, and 
 touched his objects with great spirit and freedom ; he shews 
 a pleasing opposition in his lights and shadows; and his 
 works are generally executed in a masterly manner. His 
 small easel pictures, of the same class as his landscape at 
 Burghley, are accounted little inferior to those of Paul Bril 
 and Brueghel, in the neatness of the finishing. 123. 
 
 SCHIAVONE, surnamed MEDULA, (Andrea,) an 
 Italian historical painter, born at Sebenico in 1552, and died 
 in 1582. Being sent when very young to Venice, he attended 
 upon indifferent painters who worked in shops, from some 
 of whom he, however, obtained a slight knowledge of the 
 art. Parmigiano's etchings and compositions first gave him 
 the notion of design ; and he acquired his colouring from 
 the works of Giorgione and Titian. The latter master acci- 
 dentally met with some of Schiavone's pictures, which in- 
 duced him, on being informed of the wretched situation of 
 the author, to provide for him by employing him in the lu 
 brary of St. Mark's church, where he executed three entire 
 
268 
 
 ceilings. He was undoubtedly one of the finest colourists of 
 the Venetian school; his manner was lively, and exceedingly 
 pleasing; he shewed an elegant choice in the attitudes of 
 his figures, and contrasted them with judgment: and the 
 graceful taste of his draperies was admired by all the artists 
 of his time. His carnations were full of truth, freshness, 
 and warmth ; and the only imperfection was in the incor- 
 rectness of his design. The Apostles at the Sepulchre, and 
 Perseus and Andromeda, by Schiavone, are in the royal pa- 
 lace at Windsor. 77, 115. 
 
 SCHIDONE, (Bartholomeo,) an historical painter, born 
 at Modena in 1560, and died in 1614. He was a disciple in 
 the school of the Caracci ; but afterwards devoted himself 
 entirely to the manner of Corregio, and imbibed so strongly 
 the graces and delicacies of that wonderful artist, that none 
 ever imitated his style and lovely ideas more happily than 
 Schidone. His great excellence soon introduced him into the 
 service of Ranuccio, Duke of Parma, who appointed him 
 his state painter, and for whom he executed a great num- 
 ber of sacred and other historical works, extremely in the 
 taste of Corregio : but his principal employment was to 
 paint the portraits of his patron and family, which he pro- 
 duced in such a masterly style, as caused him to be num- 
 bered amongst the best artists of Italy. While in the service 
 of this Duke, it appears, he painted the four female por- 
 traits, at Burghley, which are greatly admired : the airs 
 are graceful and lovely, the expression excellent, and the 
 colouring very delicate. His Holy Families, in the same 
 collection ; a Virgin and Saints, at Placentia ; and the Vir- 
 gin teaching Christ to read, in the possession of the Duke 
 of Orleans, — are also executed with great taste and beauty. 
 The genius of Schidone was noble and elevated ; his stvle 
 of painting was exceedingly elegant ; his touch lights deli- 
 
269 
 
 cate, and admirable ; and although he is not always criti. 
 cally correct in his outline, yet his heads are always grace* 
 ful, and his pictures exquisitely finished. His works are 
 very scarce, and are frequently taken for those of Corregio 
 or Parmigiano. To an unconquerable passion for gaming 
 this scarcity is attributed; and his death is said to have been 
 hastened by the same cause. 
 
 75, 76, 77, 93, 106, 106, 106, 106, 117. 
 
 SCIARPELLONI, (Lorenzo,) called LORENZO DI 
 CREDI, born in 1452, and died in 1530. He studied under 
 Verrocchio with Lionardo da Vinci, and is celebrated as so 
 exact a copiest, that his paintings of that class cannot some- 
 times be distinguished from the originals of the best artists. 
 His Presepio, at St. Chiari, is perhaps his best public work, 
 being lively in its expression and well coloured. 30. 
 
 SEGERS, (Daniel,) a Flemish painter of fruit, flowers, 
 &c. born at Antwerp in 1590, and died in 1660. He was 
 the disciple of Velvet Brueghel, and usually disposed his 
 subjects in garlands of flowers, or in festoons around elegant 
 vases of marble. His pencil was light, his touch free and 
 delicate; his objects have all the freshuess and bloom of 
 nature, and the whole are finished with uncommon neatness. 
 Kis most capital performance was in the Jesuits' church, at 
 Antwerp. The picture was a garland composed of flowers 
 and fruits, in which seemed to be collected and combined 
 every thing that was beautiful in nature of those kinds of 
 objects, as well as insects ; and in the middle was the picture 
 of the Virgin and Child, painted by Rubens, 137. 
 
 SESTRI (A. de). 89. 
 
 SHEE, (A.) an eminent portrait painter, by whose 
 able hand several excellent works are highly executed, and 
 annually exhibited at Somerset. house. He has long been 
 ranked amongst the first academicians of that society ; and 
 
270 
 
 it is but justice to say that bis portraits at Burghley, if not 
 handled with so exquisite a taste of expression and grace as 
 some of his later pieces, are not unworthy of him. 
 
 110, 111. 
 
 SILLA (A.). 54. 
 
 SIRANI, (Elizabeth,) an Italian historical paintress, 
 born at Bologna in 1638, and died in 1664. She was the 
 daughter and disciple of Andrea Sirani, and was accounted 
 a prodigy before she arrived at her fifteenth year. Her best 
 pieces are, a St. Anthony kissing the Feet of Christ, in a 
 church at Bologna; and a Virgin, a Magdalen, and a St. 
 Jerome, in the Palazzo Zambeccari. At the time she became 
 universally admired for her talents and amiable qualities, 
 she died of poison, supposed to be administered by those 
 who were envious of her merit. 90. 
 
 SMITH, or SMITZ, (Gaspar,) a Dutch painter of 
 eminence, who came to England soon after the restoration, 
 and who, from painting great numbers of Magdalens, was 
 called Magdalen Smith. For these penitents sat a woman 
 whom he kept and called his wife. He was alike distin- 
 guished as a portrait painter and a painter of fruits and 
 flowers ; and it is said a bunch of grapes of his hand was 
 once sold in Ireland for £40. He died in 1707. 140. 
 
 SPAGNOLETTO, (Joseph Rebera,) a Spanish histo- 
 rical painter, born at Xativa in 1589, and died in 1656. 
 After studying the works of the greatest masters, he settled 
 at Naples, where he was employed by the Viceroy and 
 other great persons. His subjects were mostly tragical 
 scenes, which he painted with uncommon force and expres- 
 sion. 77, 93. 
 
 SPENCER. 129. 
 
 STENWYCK, (Henry,) a Flemish painter, born in 
 1550, and died in 1603. He was the pupil of John de 
 
271 
 
 Vries, and excelled in painting architectural subjects, or in- 
 sides of churches and gothic buildings. ] 17. 
 
 STERN (Silvia). 127, 129, 129, 134, 134. 
 
 STONE, (John.) an English painter, who died about 
 1653, was an extraordinary copier in the reigns of Charles 
 I. and II. He was the disciple of Cross; and having the 
 advantage of being a good draftsman, he performed several 
 admirable copies from the best collections in England. His 
 works are held in great repute, and find a place in the best ex- 
 hibitions. His portrait of Charles I. in this collection, is finely 
 executed, and is said to be an original. The young family 
 of that unfortunate Prince, accompanying it, is also well 
 painted, and the figures grouped with considerable effect. 
 The large dog, on the head of which the young Prince of 
 Wales is seen to rest his arm, is an effort of great and very 
 natural performance. 64, 64. 
 
 STOTHARD, (T.) a celebrated historical painter, and 
 a distinguished member of the Royal Academy. Several of 
 this artist's designs have been engraved, and form highly 
 approved ornaments to a variety of literary productions. 
 He was engaged by the late Marquis to paint the walls of 
 the Grand Staircase, or Hell, which he has executed with a 
 degree of boldness and strength that clearly evince the hand 
 of a superior master. The want of light will not admit of 
 a very clear inspection of the paintings ; but there appears 
 in the air of the Egyptian Queen at the Banquet an elevated 
 display of those fascinating and lascivious charms, that so fa- 
 tally extinguished every spark of honour in the heart of 
 the betrayed Antony. Not less powerfully represented is 
 the eagerness and anxiety of Orpheus whilst endeavouring 
 to conduct his Eurydice from the infernal shades. And 
 with equal faithfulness are depicted the Horrors of War : 
 
272 
 
 the battle rages with fierce and savage contention, and ex- 
 cites a chilling fear for its helpless victims : 
 
 " Now shield with shield, with helmet helmet clos'd, 
 To armour armour, lance to lance oppos'd, 
 Host against host with shadowy squadrons drew, 
 TJie sounding darts in iron tempesis flew. 
 Victors and vanquish'd join promiscuous cries, 
 And shrilling shouts and dying groans arise ; 
 With streaming blood the slipp'ry fields are dyM, 
 And slaughter'd heroes swell the dreadful tide." 
 
 103, 103, 103, 104. 
 SUEUR, (Eustachius le,)a celebrated French histori- 
 cal painter, born at Paris in 1617, and died in 1655. He 
 was instructed in the rudiments of the art by Simon Vouet, 
 after which he studied the antiques and the works of Ra- 
 phael with such attention and success, that he was called the 
 French Raphael. His taste of design, and the airs of his 
 heads, are justly to be admired ; but his naked figures are 
 usually faulty in the disposition, as well as in the action of 
 the muscles. The distribution of his lights and shadows is 
 not judicious ; his colouring is bold, but not free ; and there 
 seems to be too much strength in proportion to the design ; 
 yet his attitudes are always noble, simple, and natural ; his 
 expression is great, and well adapted to his subject ; and he 
 was ingenious in the choice of his objects. His principal 
 work is the Life of St. Bruno, in twenty-two pieces, in the 
 cloister of the Chartreux, at Paris ; but it has not escaped 
 the mutilating hands of modern and inferior artists. 
 
 116, 117. 
 
 TASSI (Agostino) was born at Bologna about 1580, 
 and became an eminent painter of landscapes, sea-views, 
 and architecture, but is unnoticed as a composer of histo- 
 rical subjects. 141. 
 
273 
 
 TASSI, a modeller, of Leicester-fields, London. 90. 
 TEMPE3TA, properly MOLYN, (Peter,) a Dutch 
 painter of storms, shipwrecks, &c. born atHaerlem in 1637, 
 and died in 1701. Of the thirteen pieces ascribed to him at 
 Burghley, it would seem five only are by his hand; the 
 remainder being historical, and for the most part admirably 
 executed, compose a style which we are not informed of his 
 ever having studied. His landscapes in this collection, par- 
 ticularly those descriptive of Morning and Evening, shew a 
 considerable freedom of pencil and mellowness of colour. 
 He first imitated Snyders, in painting hunting scenes and 
 large animals ; but afterwards followed the impulse of his 
 nature, in painting tempests, storms at sea, &c. which he 
 executed in a natural and spirited manner, so as to procure 
 him the appellation of Peter Tempesta. After travelling 
 through Flanders, and residing some time at Rome, where 
 he accumulated a handsome fortune, he determined to visit 
 Genoa. In this city he grew not only dissolute, but un- 
 pardonably vicious ; for having fallen in love with a 
 Genoese lady, he left no art untried to debauch her ; but 
 finding all his attempts ineffectual, he proposed to marry 
 her, although it was sufficiently known that he had a wife 
 then living at Rome. When that objection was made to 
 him by the lady and her friends, he formed the villainous 
 design of murdering his wife ; and dispatched a ruffian for 
 that purpose, with an affectionate letter requesting her to 
 accompany the bearer to Genoa. No sooner was the hor- 
 rid transaction committed than known, and Tempesta was 
 seized, imprisoned, and sentenced to be hanged: but by 
 the interest of the nobility his sentence was suspended. 
 After sixteen years of confinement, during which time he 
 executed his best works, he obtained his release by a very 
 critical accident ; for when Louis XIV. bombarded Genoa, 
 
 O O 
 
274 
 
 all the prisons were set open, and Tempesta laid hold of 
 that opportunity to escape to Placentia. 29, 49, 63, 65, 
 76, 77, 77, 116, 117, 138, 138, 138, 139. 
 
 TENTERS, the YOUNGER, (David,) a Flemish paint, 
 er, born at Antwerp in 1610, and died in 1694. He was in. 
 structed by his father and Adrian Brouwer, and had the 
 advantage of receiving great improvement from Rubens. 
 He struggled with many difficulties before his merit was dis- 
 covered; but at length found a patron in the Archduke 
 Leopold ; and afterwards received particular marks of 
 esteem from the King of Spain, Don John of Austria, and 
 Christina Queen of Sweden. He frequented village feasts 
 andholydays; and by that means gathered his extensive 
 knowledge of the actions, attitudes, characters, and passions 
 of the peasants. Nature was always his model, and he 
 imitated it with astonishing exactness and truth. His pen- 
 cil is free and delicate ; the touching of his trees is light 
 and firm ; his skies are admirable, and, although not much 
 varied, are clear and brilliant. And as to the expression 
 of his figures, whether they are mirthful or grave, in anger 
 or in good humour, nothing can be more strongly marked, 
 more striking, or more natural. Teniers was also remark- 
 able for his powers of imitation : he knew how to adapt 
 his pencil to a variety of eminent artists, whose touch and 
 colouring were exceedingly different, and yet could give his 
 pieces so strong a character of the originals, as to render 
 it difficult to distinguish the one from the other. The in- 
 credible prices which are at this day given for the paintings 
 of this master, in every part of Europe, are an incontest- 
 able evidence of the universal esteem and admiration in 
 which they are held. * 29, 30, 68. 
 
 TINTORETTO, properly ROBUSTI, (Giacopo,) a 
 celebrated painter, born at Venice in 1512, and died in 
 
2?5 
 
 1594. He became the disciple of Titian, and discovered 
 the true principles by which his master had arrived at such 
 a degree of excellence. His very splendid talents, it is 
 supposed, occasioned his being hurried from this school, 
 Titian being apprehensive of being excelled by his pupil, 
 Tintoretto being qualified to pursue his studies without a 
 director, applied himself to design after the works of 
 Michael Angelo, and to acquire elegance of taste by a more 
 intimate knowledge of the antique. u He now boldly aimed 
 at erecting himself into the head of a new school, which 
 should improve the principles of that established by Titian, 
 and supply its defects ; he wrote over the door of his apart- 
 ments, — The design of Michael Angelo, and the colour of 
 Titian. This vast idea, the conception of an ardent mind, 
 he strove to substantiate by a course of studies, equally 
 marked by discretion and obstinate perseverance. The day 
 was given to Titian, the night to Michael Angelo. The 
 artificial light of the lamp taught him those decided masses, 
 that energy of chiaroscuro which generally stamps each 
 group and single figure in his works. From the latter artist 
 he procured casts from his statues, and copies from his 
 frescos. He modelled in wax and clay, and studied anato- 
 my and the life to make himself master of the body, its pro- 
 portions, its springs of motion, and its fore-shorteningS. 
 Add to this exuberant fertility of ideas, glowing fancy, and 
 the most picturesque eye, and what results might not have 
 been expected from their union with such methods of study, 
 had uniformity of pursuit, and equal diligence in execution, 
 attended his practice ?" Tintoretto was perhaps the most 
 expeditious painter that ever appeared; and he is said to 
 have frequently painted his pictures without any prepara- 
 tory outline, as if he only sported with his pencil. 115, 
 
276 
 
 TITIAN, (Cavaliere,) properly TITTANO VECELLI, 
 an eminent artist, born at the Castle of Cador, in Friuli, in 
 1480, and died in 1576. His education under Sebastiano 
 Zuccati, and afterwards under Giovanni Bellini, rendered 
 him a diligent and subtle observer of every object that 
 strikes the senses. But as soon as Titian had seen the works 
 of Giorgione, he formed an intimacy with him, and pur- 
 sued his style and manner with such astonishing success as in- 
 spired that artist with an invincible jealousy, which broke 
 off their connexion for ever after. The Emperor Charles 
 V- knew how to appreciate the talents of an artist like 
 Titian: he enriched him by repeated bounties, allowed him 
 a considerable pension, conferred on him knighthood, and, 
 what was still more, honoured him with his friendship. He 
 painted the portrait of that benefactor several times ; and it 
 is recorded by Sandrart, that one day, while the Emperor 
 was sitting for his picture, a pencil happening to drop from 
 the painter, he stooped, took it up, and returned it, oblig- 
 ingly answering to the apology of the artist, that the merit 
 of a Titian was worthy of the attendance of an Emperor. 
 The excellence of Titian was not so remarkably apparent 
 in the historical compositions which he painted, as in his 
 portraits and landscapes, which seem to be superior to all 
 competition ; and even to this day many of them preserve 
 their original beauty, being as much the admiration of the 
 present age, as they have deservedly been of the ages past, 
 6 < To no colourist, before or after him," observes Mr. Fu- 
 sel i, 4C did nature unveil herself with that dignified famili- 
 arity in which she appeared to Titian. His organ, univer- 
 sal, and equally fit for all her exhibitions, rendered her 
 simplest to her most compound appearances with equal pu- 
 rity and truth. He penetrated the essence and the general 
 
277 
 
 principle of the substances before him, and on these estab- 
 lished his theory of colour. He invented that breadth of 
 local tint which no imitation has attained; by taking the 
 predominant quality of colour in an object, for the whole; 
 by painting flesh which abounded in demitints, entirely in 
 demitints, and depriving of all demitints, what had but few. 
 He first expressed the negative nature of shade. Perfect 
 master of contrast, of warm and cold tints, he knew by their 
 balance, diffusion, recall, to tone the whole. His are 
 the charms of glazing, and the mystery of reflexes, by 
 which he detached, rounded, connected, or enriched his ob- 
 jects. He was the first who changed stuffs to drapery, gave 
 it local value, and a place, subordination, and effect. His 
 harmony is less indebted to the force of light and shade, 
 than to true gradation of tone. His tone springs out of his 
 subject, grave, solemn, gay, minacious, or soothing. His 
 eye tinged nature with gold, without impairing her freshness. 
 She dictated his scenery. Landscape, whether it be consi- 
 dered as the transcript of a spot, or the rich combination of 
 congenial objects, or as the scene of a phenomenon, as sub- 
 ject and as back ground, dates, if not its origin, its real 
 value from him. He is the father of portrait painting; of 
 resemblance with form, character with dignity, grace with 
 simplicity-, and costume with taste." 
 
 75, 115, 117, 124, 129. 
 URBANE (U.). 129. 
 VAGNEER (L ). 59. 
 VALENTINO, or VALENTINE, (Moses,) a French 
 painter of history, soldiers playing at cards, &c. After 
 receiving some instruction from Vouet, he visited Rome 
 where he studied the works of the greatest masters, and 
 more particularly those of Caravagio. He disposed his 
 figures with considerable judgment; his pencil is firm, and 
 
278 
 
 his colouring has remarkable force. But for the elegance 
 of his figures, or the grace and grandeur of his design, he 
 cannot be commended ; nor was he very correct. Several 
 of the works of this master are in the royal collection at 
 Paris, among which are, Judith with the Head of Holofernes, 
 the Judgment of Solomon, Susanna and the Elders, two 
 Musical Assemblies, and Soldiers playing at Cards. But 
 his best piece is the Martrydom of St. Martinian, painted 
 for St. Peter's, at Rome. 59, 138. 
 
 VANDERMIN, or VANDERMIJN, (H.) a Dutch 
 painter of history and portraits, who came to England in 
 the reign of Geo. I. In his manner he carried to excess 
 the laborious minuteness of his countrymen, faithfully imi- 
 tating the details of lace, embroidery, fringes, and even the 
 threads of the stockings : but in his heads his precision had 
 a better effect. The Prince of Orange sat to him, and he 
 succeeded so well in the likeness, that the late Prince of 
 Wales not only sent for him to draw his picture, but pre- 
 vailed on his sister, the Princess, to draw Vandermijn's. 
 Mr. Walpole, after speaking of the time he wasted on his 
 works, which perhaps prevented him from enriching him- 
 self, adds, that he was more fortunate in receiving ^500. 
 for repairing the paintings at Burghley. He had a sister 
 called Agatha, who came over with him, and painted fruit, 
 flowers, and dead fowls: the two pieces in this collection 
 are by her hand. 63, 65. 
 
 VANDYCK, (Sir Anthony,) a celebrated historical 
 and portrait painter, born at Antwerp in 1599. He received 
 his first instructions in the art of painting from Henry Van 
 Balen, but afterwards became the disciple of Rubens, under 
 whom he so highly distinguished himself, as in some respects 
 to approach very near his master. He afterwards, by the 
 advice of Rubens, went to Italy, where he conceived that 
 
279 
 
 exquisite notion of colouring, which hath secured to him the 
 admiration of the whole world. His fame having spread it- 
 self over Europe, he was entertained by Cardinal Richelieu ; 
 and afterwards by Charles I. who invited him to England, 
 appointed him his painter, and conferred knighthood on 
 him in 1632. He excelled in history and portrait, but his 
 greatest power appeared in the latter ; and no painter better 
 understood the principles or practice of chfaroscuro than 
 Vandyck. His choice of nature, when he painted portraits, 
 was always that which was most agreeable ; he gave an in- 
 expressible grace to his heads ; he shewed abundant variety 
 in the airs, and in some of them the character was even sub- 
 lime ; and as to his expression, it was inimitable, the very 
 soul of the person represented being visible in the portrait. 
 The extremities of his figures are delicately exact in their 
 proportions, his draperies are disposed in a grand and 
 simple style, and his colouring is lovely. The most capital 
 works of Vandyck are in England, of which a very consi- 
 derable number has been engraved.* At Blenheim is the 
 portrait of King Charles I. in armour, on a dun horse. At 
 Hampton-court, the King in armour on a white horse, his 
 equerry holding his helmet. (See Remee.) At Kensing- 
 ton, the second Duke of Buckingham and his brother ; Lord 
 
 * Mr. Walpole speaks of a print from Vandyck of the Earl and 
 Countess of Arundel, in which is engraved the head of Homer, taken 
 from an ancient bust, then in the possession of that family. When the 
 Arundelian maibles and curiosities were disposed of, this bust was 
 bought by Dr. Meade, and after his death purchased by Brownlow the 
 ninth Earl of Exeter. It is believed to have been brought from Con* 
 stantinople, and to have been the head of the very statue in the impe- 
 rial palace, described by Cedrenus: the rest of the figure was melted 
 in the fire. In what room this antique is preserved we cannot say : 
 but this notice of it, if a little misplaced, will probably be more ac- 
 ceptable than if omitted altogether. 
 
280 
 
 Strafford, at the Marquis of Rockingham's; the greatly 
 celebrated picture of Mary de Medicis, in the possession of 
 the Duke of Orleans ; and many others of equal perfection 
 in the seats of the English nobility. His pictures in this 
 collection, which are chiefly portraits, are penciled in a 
 masterly and exquisite style : his small design of a study, 
 represented by a dead figure supinely extended on a sort 
 of table, is touched with admirable skill and spirit. — He 
 amassed great riches in England, and married one of the 
 greatest beauties of the British court — a daughter of the 
 Earl of Gowry's. He died in 1641, and was buried in St. 
 Paul's near the tomb of John of Gaunt. 
 
 45, 64, 66, 90, 118, 137, 139. 
 
 VANNI, called VANNI DI SIENA, (Francesco,) an 
 historical painter, born at Siena in 1563, and died in 1610. 
 He was successively taught by Archangelo, Salimbeni, Pas- 
 serotti, and Vecchia ; but considerably improved himself in 
 colouring by studying the works of Baroccio and Corregio. 
 his invention was fruitful and ready, his style of composition 
 truly fine, and his design correct. His manner of colour- 
 ing was bold, lively, and beautiful ; his penciling tender and 
 delicate; and the airs of his heads were remarkably grace- 
 ful. His best works are, Simon the Sorcerer reproached 
 by Peter, in the church of that. saint at Rome; a Cruci- 
 fixion, a Flight into Egypt, the Wise Men offering, and the 
 Marriage of St. Catherine, — all of* which are esteemed ad- 
 mirable. 28. 
 
 VANUDEN*, (Lucas,) a Flemish painter, born in 
 1595, and died in 1660. He was instructed by his father, 
 and is mentioned by his biographers as one of the most de- 
 licate landscape painters in the Low Countries : his trees, 
 skies, figures, and all his objects, are executed with aston- 
 ishing beauty, and admirably adapted to each other. But 
 
281 
 
 no mention is made of his studying history, though if he be 
 the artist who painted the picture of Christ amongst the 
 Doctors in the Temple, in this collection, he will also rank 
 as an extraordinary master in that style of composition. 
 Jesus is represented as an infant sitting on a kind of throne, 
 with a countenance beaming forth extraordinary wisdom 
 and sublimity. His conversation appears to have excited 
 the utmost astonishment in his learned auditors, who are 
 all depicted as eager to listen to, and as if constrained to 
 admire, his discreet remarks. The whole picture is finished 
 very highly, though in point of historical accuracy it must 
 be acknowledged that the figure of Jesus is much too 
 young, as we are told that he was twelve years old when 
 the event thus recorded took place. 77. 
 
 VARELTS, properly VERELST, (Mrs.) an histori- 
 cal and portrait paintress, born in 1680, was taught the 
 rudiments of the art by her father and uncle. She gave her 
 portraits a fine expression, not only in respect of the fea- 
 tures, but also of the mind of her models ; and those who 
 possess her works hold them in the highest esteem. She 
 was also a fine performer on several instruments of music, 
 and spoke and wrote the German, Italian, and Latin, the 
 English and French languages, with fluency and elegance. 
 
 35. 
 
 VASI (Giuseppe). 20. 
 
 VECCHIA, (Pietro da,) an Italian historical painter, 
 born at Vicenza in 1605, and died in 1678. He was the 
 disciple of Alessandro Varotari, but afterwards studied the 
 style of Giorgione. The figures in his compositions are of 
 a large size, and he always painted with a strong body of 
 colour, so that his carnations have a remarkable force ; and 
 by his skill in the chiaroscuro, every figure, and every 
 limb, apparently projects from the canvass. His imitations 
 
282 
 
 of Giorgione were so true, that the best judges could not 
 distinguish them from the originals. His best works are at 
 Venice: two of them, a Crucifixion, and Christ driving the 
 Money-changers out of the Temple, are highly admired. 93. 
 
 VELASQUEZ DE SILVA, (Don Diego,) an histori- 
 cal and portrait painter, born at Seville in 1594, and died 
 in 1660. He was first instructed by Francesco Herrera, 
 but afterwards became the distinguished disciple of Pacheca. 
 His eminent abilities procured him the patronage of Philip 
 IV. of Spain, who appointed him his principal painter, with 
 an honourable pension. Being advised by Rubens, who 
 there paid him a visit, he went to Italy to study the best 
 masters and the antiques ; by which means he acquired such 
 an improvement of taste, and correctness of composition and 
 colouring, as placed him at the head of his profession. On 
 his return to Spain he was received with every mark of 
 esteem, and after a short stay, went again to Italy, by de- 
 sire of his patron, the King, to collect antiques, and choice 
 paintings. The compositions of Velasquez were remark- 
 able for strong expression, for a freedom of pencil, for a 
 spirited touch, and such a tone of colour as almost equals 
 nature itself. The most capital performance of this emi- 
 nent master, is the historical representation of the Expulsion 
 of the Moors by Philip III. which is in the grand saloon at 
 Madrid. 119, 138. 
 
 VERDIZOTTO, (Giovanni Mario,) an Italian land- 
 scape painter, born at Venice in 1525, and died in 1600. 
 He was adopted by Titian, who took every pains to render 
 him eminent. In return he shewed his master and friend 
 every mark of affection ; and, having received an excellent 
 education, acted as his secretary whenever he had occasion to * 
 correspond with princes or nobles. His favourite subjects 
 were landscapes, which he designed and painted in an admi- 
 
283 
 
 rable style, very much in the manner of his master. II U 
 pictures are usually of a small size, but excellently coloured, 
 and enriched with figures that are delicately penciled. 30. 
 
 VERHOEK, (Peter Cornelius,) a Flemish painter of 
 battles, landscapes, &c. born about 1642. He became the 
 disciple of Abraham Hendius, but afterwards industriously 
 and incessantly studied the works of Burgognone. By a 
 careful observation of the excellencies of this master, he ac- 
 quired the skill to paint battles in his style, with a lively- 
 tint of colour, and a competent degree of force. 59. 
 
 VERONESE, properly CAGLIARI, (Paolo,) an his- 
 torical painter, born at Verona in 1530, and died in 1588. 
 He was a disciple in the school of Antonio Badile, and 
 when young painted in the cathedral of Mantua, where he 
 displayed his superiority over his competitors. He went to 
 Venice, and afterwards to Rome, where from the frescos of 
 Michael Angelo, and Raphael, he acquired the idea of that 
 breadth which distinguishes him in his allegorical and my- 
 thological pieces. The Apotheosis of Venice, in the Ducal- 
 palace, for magnificence of combination, loftiness, splen- 
 dour, and variety, offers in one picture, the elemental beau- 
 ties of his style. It was, however, less in this work, than 
 to his convivial compositions, that Paolo owes his celebrity* 
 He painted four at Venice, for four refectories of convents, 
 all of enormous dimensions. Light grounds, and virgin 
 tints, have contributed to preserve the freshness of his pic- 
 tures ; of which the Family of Darius presented to Alex- 
 ander, and a St. Giorgio, are examples ; they have received 
 that rich mellowness which time alone can give. — There 
 was also a brother and two sons of Paolo's, all artists ; and 
 it is probable that Gabriel, his eldest son, (who, when em- 
 ployed in painting, directed himself principally to portraits,) 
 is the artist of some of the pieces at Burghley. The whole- 
 
284 
 
 length of Eve is considered very fine, and the best produc- 
 tion of Veronese in that collection ; though the various 
 Saints have great variety of expression in the airs of the 
 heads, and are coloured with peculiar liveliness. If not 
 an exquisite specimen of art, the portrait of the Duke of 
 Alva cannot but attract attention, by the iron features 
 which he wears : there may be read in the eye the imperious 
 tyrant and murderer not less forcibly than in every linea- 
 ment and muscle of the face; and the ruggedness with 
 which the pencil of the artist has touched this latter very 
 legible index, corresponds with critical accuracy to the 
 mind of him for whom it is designed.* 
 
 31, 45, 67, 7b, 76, 89, 93, 94, 140. 
 VERRIO, (Antonio,) an Italian historical painter, 
 born at Naples in 1634. Having learned the rudiments of 
 the art in his own country, Charles II. introduced him into 
 England, employed him in the embellishment of Windsor 
 Castle, and presented him with a gold chain worth ^£200. 
 The Earl of Exeter afterwards engaged him at Burghley, 
 where he continued during twelve years, being allowed a 
 separate table, an equipage, and a salary of «s£l500. per 
 annum. Laguerre, Lanscroon, Richard, &c. were his as- 
 sistants during the time he was employed here. He is said 
 to have been very indolent, frequently neglecting his work, 
 
 * Veronese appears to have been more fortunate in painting this 
 basilisk in human shape, than a brother artist, of whom the following 
 anecdote is related : — Alva was one day sitting to Kay, a Dutch 
 painter, for his portrait, when the judge. criminal and other officers 
 waited on the Duke to receive his determinate orders, in regard to the 
 Counts Egmont and Hoorn. The Duke, with a terrible austerity of 
 countenance, ordered their immediate execution. Kay was so vio* 
 lently affected by the piercing look and peremptory command of Alva, 
 that he went home, fell sick, and died through the terror impressed 
 upon his mind by the transaction. 
 
285 
 
 drinkingand gambling at Stamford ; and neither the promises 
 nor threats of his employer, which his conduct often urged, 
 proved effectual in restraining him from these propensities. 
 An instance of his prodigality is recorded while he was at 
 Hampton-court. He had lately received an advance of 
 j£1000. and finding the King in such a circle that he could 
 not approach, he called out, sire, I desire the favour of 
 speaking with your majesty. Well, Verrio, said the King, 
 what is your request ? Money, sire; I am so short in cash, 
 that I am not able to pay my workmen, and your majesty 
 and I have learned by experience that pedlars and painters 
 cannot give credit long. The King smiled and said he 
 would spend more money than he did to maintain his family. 
 True, answered, Verrio, but does your majesty keep an 
 open table as I do ? — The performances at Burghley are 
 considered his chef d'ceuvres^ which may be characterised 
 in the description Mr. Wajpole gives of his general merits 
 and defects as an artist. u Without much invention," says 
 that author, u and with less taste, his exuberant pencil was 
 ready at pouring out gods, goddesses, kings, emperors, and 
 triumphs, over those public surfaces on which the eye never 
 rests long enough to criticise, and where one should be 
 sorry to place the works of a better master, I mean, ceil- 
 ings and staircases. The New Testament or the Roman 
 History cost him nothing but ultramarine ; that, and marble 
 columns and marble steps, he never spared. " In like man- 
 ner, as he introduced a divine, his favourite lady, and a 
 maid servant* in his paintings at Burghley, so, on the ceil- 
 ing at Windsor, he has pictured Antony Earl of Shaftsbury, 
 
 * Mr. Peck has a list of the Earl of Exeter's family in 1594, 
 April 25th, consisting of seventy-three persons, among whom are enu- 
 merated Verrio, and a Betty Prick, the latter of whom, says that au* 
 thor, * ib the girl that Seignior Verrio put into bfr picture of Hell." 
 
286 
 
 in the character of Faction dispersing libels ; and in another 
 place he revenged a private quarrel with the housekeeper, 
 Mrs. Marriot, by borrowing her unprepossessing face for 
 one of the furies It was more excusable, that when he was 
 once obliged to insert a pope in a procession not very hon- 
 ourable to the Romish religion, he added the portrait of the 
 Archbishop of Canterbury then living. With great impro- 
 priety he has introduced himself and Sir Godfrey Kneller, 
 in long periwigs, as spectators, in a picture of Christ heal- 
 ing the Sick. He decorated the Hall and Chapel, at Chats- 
 worth, where the altar-piece, the Incredulity of Thomas, 
 is said to be his master-piece. Verrio refused for a long 
 time to work for King William, not relishing the revolu- 
 tion, but at last by the persuasion of Lord Exeter he con- 
 sented to paint Hampton-court: he had the place of master 
 gardener, and lived where Carlton-house now stands. His 
 eyes failing him, Queen Anne gave him a pension of «s£200. 
 a year for life, which he did not long enjoy, as he died at 
 Hampton-court in 1707. 
 
 73, 74, 75, 83, 88, 92, 96, 97, 98, 101, 141. 
 
 VIEN, properly VIANEN, (Christian Van.) He is 
 considered by Ashmole as the most elegant artist in chasing 
 and embossing plate in the reign of Charles I. Several 
 pieces of plate of his design were at Windsor, particularly 
 two gilt water pots, which cost ,£235. and two candlesticks, 
 weighing four hundred and seventy-one ounces; on the 
 foot of one of them was chased Christ preaching on the 
 Mount; on the other, the Parable of the Lost Sheep. 81. 
 
 VINCI, (Lionardo da,) a most distinguished Italian 
 painter, born in the castle of Vinci, near Florence, 
 in 1445. He was placed under Andrea Verocchio, but 
 soon surpassed him and all his predecessors so much, as 
 to be master of the third, or golden age of modern paint- 
 
287 
 
 ing. He studied nature with a curious and critical obser- 
 vation ; and to strengthen his ideas he attended the process 
 sions of criminals to execution, that he might impress on 
 his memory the variety of passions which he noticed among 
 the crowd. In 1494 he went to Milan, where he was most 
 affectionately received by the Duke of Sforza, and for whom 
 he painted his incomparable picture of the Last Supper, 
 which will, to the end of time, display the elevated genius 
 of its author. Mr. Cochin, a late traveller, has mentioned 
 a very singular impropriety in this piece, which is, that the 
 hand of St. John has six fingers. Vinci was remarkably 
 slow in finishing his pictures, but when he did finish them 
 they were exquisite. He spent four years on the por- 
 trait of Mona Lisa, in which it is astonishing to observe 
 how closely he has imitated nature : the eyes have all the 
 lustre of life ; the hairs of the eyebrows and lids seem real, 
 and even the pores of the skin are perceptible. Mr. Fuseli 
 describes him as 66 made up of all the elements of genius, 
 favoured by form, education, and circumstances ; all ear, 
 all eye, all grasp ; painter, poet, sculptor, anatomist, archi- 
 tect, engineer, chemist, machinist, musician, philosopher, 
 and sometimes empiric ; he laid hold of every beauty in the 
 enchanted circle, but without exclusive attachment to one 
 dismissed in her turn each. Fitter to scatter hints than to 
 teach by example, he wasted life insatiate in experiment. 
 To a capacity which at once penetrated the principle and 
 real aim of the art, he joined an inequality of fancy that at 
 one moment lent him wings for the pursuit of beauty, and 
 the next flung him on the ground to crawl after deformity. 
 We owe to him chiaroscuro with all its magic, but character 
 was his favourite study ; character he has often raised 
 from an individual to a species, and as often depressed to 
 a monster from an individual His notion of the most 
 
288 
 
 elaborate finish, and his want of perseverance, were at 
 least equal. Want of perseverance alone could make him 
 abandon his cartoon designed for the great council. chamber 
 at Florence, of which the celebrated contest of horsemen 
 was but one group; for to him who could organize that 
 composition, Michael Angelo himself might be an object of 
 emulation, but could not be one of fear. His line was free 
 from meagrencss, and his forms presented beauties, but he 
 appears not to have ever been much acquainted, or to have 
 sedulously sought much acquaintance, with the antique. The 
 strength of his conception lay in the delineation of male 
 heads ; those of his females owe nearly all their charms to 
 chiaroscuro, they are seldom more discriminated than the 
 children they fondle, they are sisters of one family." The 
 violet tint which predominates in his colouring, is thought 
 to have arisen principally from age, owing to his wanting 
 a sufficient experience in the quality of oils. While he was 
 at the court of France, he fell sick, and Francis I. went up 
 to his room to see him. He raised himself in his bed to ac- 
 knowledge the honour which was done him by that visit. 
 The King embraced him, and Lionardo fainting at the same 
 instant, expired in the arms of that great monarch in 1520. 
 
 93, 137, 138. 
 
 VIVIANT, (Ottavio,) an Italian painter of architec- 
 ture, born at Brescia, in 1599, and died in 1674. He stu- 
 died under Sandrino and Tassi, and surpassed them both 
 considerably. His perspective is exactly true, his figures 
 are generally placed with peculiar judgment, and his know- 
 ledge of chiaroscuro and colouring gave to every column 
 and elevation the look of real nature. 121. 
 
 VOLINGNY. 132, 132. 
 
 WALKER, (Robert,) an English portrait painter, 
 who died about 1658. He improved himself by studying 
 
2S9 
 
 the works of Vandyck, and being much esteemed by the 
 republicans, painted the portraits of Cromwell and all the 
 principal officers of his army. One of his portraits of the 
 Protector was accidentally sold for SbQO. to the D*ke of 
 Tuscany's resident in London ; but whether he paid that 
 immense price out of compliment to the pride and power 
 of Oliver, then subsisting, or to the merit of the perform- 
 ance, may easily be conjectured. Walker's own portrait, 
 painted by himself, is in the founder's gallery, near the 
 public library, Oxford. 128, 138. 
 
 WENT WORTH, (A.) Countess Fitzwiliiam. 63, 63. 
 
 WEST, (Benjamin,) the much respected president of 
 the English school of painting, to which eminent situation 
 he has been unanimously elected for several successive 
 years. His style is history, and his subjects are generally 
 chosen from the most striking and powerful records. At 
 the Exhibition in 1814, he produced his great work of 
 Christ Rejected, in which he has endeavoured to delineate 
 nearly the whole scale of human passions, from the basest 
 to those which partake most of the divine. In the cata- 
 logue which accompanied this piece, he expresses his 
 gratitude in having been enabled to present it as his fif- 
 tieth annual exhibition to the public, without an omission. 
 His earlier pictures, such as the Healing of the Sick, Cicero 
 at the Tomb of Archimedes, Death on the Pale Horse, Lear 
 in the Storm, ihe Harmony of Affection, &c. have been com- 
 pared to some of the best works of the old masters, for co- 
 louring, anatomical science, and variety and dignity of*ex- 
 pression: — while other critics have considered his style as 
 hard and frigid, and that he by no means merits the praises 
 thus lavished on him. The picture of Agrippina landing 
 at Brundusium, in the collection at Burgbley,— a still earlier 
 
 QQ 
 
290 
 
 production of his pencil, — has been too highly panegyrised, 
 it being evidently deficient in that sublime expression 
 which the following description allows it to possess : — 
 The temple, the huge galley, the virgin train, and the urn 
 in the arms of the mourning Agrippina, are all objects 
 strikingly interesting. The black dishevelled air of the 
 heroine assists in casting a pale tinge upon her face, deepen- 
 ing her anguish. While she rivets her dejected eyes upon 
 the urn, her children appear as if catching the overwhelm- 
 ing influence of sorrow ; and as they grasp her robe on 
 each side, look up deploringly at the pathetic silence of 
 their existing parent. The temple is thronged with anxious 
 spectators, and the matrons at its foot, with their faces in 
 their hands, are vainly attempting to disguise their conster- 
 nation. In the last figure of the white-robed train of vir- 
 gins the artist has displayed the most prepossessing beauty: 
 like a very woman she appears less intent upon thesolemnk. 
 ties, than modestly conscious that her captivating charms 
 will attract the eye of every beholder. Lastly may be no- 
 ticed the muscular vigour of the sailors straining at the 
 Topes and cordage, and their dignified commander preparing 
 again to sail. The whole forms a most admirable produc- 
 tion of art, in the execution of which the author has em- 
 ployed much irresistible expression and pathos. 86. 
 
 WISSING, (William,) a celebrated Dutch portrait 
 painter, born at the Hague in 1656. He learned the art of 
 painting from William Dodaens, with whom he studied his- 
 torical designs as well as portrait. He visited France, 
 where he contracted the furbelowed style of that country 
 and age, and afterwards learned it to greater perfection in 
 England from Sir Peter Lely, under whom he was employed. 
 After the death of that artist, he grew into fashion, and his 
 
291 
 
 mtld and complaisant manners, as well as his abilities, 
 always ensured him respect. He became a formidable rival 
 of Sir Godfrey Kneller's, and drew all the royal family, 
 particularly the Duke of Monmouth, several times, which 
 ingratiated "him with the King and the ladies. Prior's* 
 poem, a part of which is quoted in the Catalogue, was writ- 
 ten upon the last picture he painted. He died soon after it 
 was finished, at Burghley, and was buried at the expense of 
 the Earl of Exeter, in St. Martin's, Stamford, where, against 
 a pillar in the middle aisle of the church, is a monumental 
 tablet* to his memory. 108, 138, 140. 
 
 ZINCKE, (Frederic,) a celebrated enameller, was born 
 at Dresden about 1684, and came to England in 1706, 
 where he studied under Boit, whom at length he sur- 
 passed, and rivalled Petitot. His business increased so 
 much, that he raised his price from twenty to thirty guinea* 
 to lessen his fatigue. He was particularly patronized by 
 George II. and his Queen, and was appointed cabinet 
 painter to the Prince of Wales. The beautiful miniature at 
 Burghley may be classed with his best works, among which 
 are distinguished the Queen of Scots and the poet Cowley, 
 His eyes failing him, he retired from business to South Lam* 
 beth, but was afterwards prevailed upon by Madame Pom« 
 
 * Prior early in life was patronized by the same noble family, 
 and by bis pleasing verses has added celebrity to their venerable 
 palace. 
 
 •fr The inscription on this monument is in Latin, importing that 
 John Earl of Exeter erected it to the memory of William Wissing, an 
 ingenious painter, of Amsterdam, who lies near it, and who was the 
 disciple of the famous Lely. He is compared to an early bunch of 
 grapes, which, because it is ripe sooner than the rest, is on that ac- 
 count first plucked from the vine ; for he was snatched away in the 
 flower of his age, September 10, 1687, aged thirty-two years. 
 
292 
 
 padour to copy in enamel a picture of the Kiug of Francs, 
 which she sent over on purpose. He died in 1767. 118. 
 
 ZUCCHERO, or ZUCCARO, (Frederico,) an emi- 
 nent Italian historical painter, born in the Duchy of Urbino 
 in 1543, and died in 1609. He derived his knowledge of 
 drawing from his father and his brother Taddeo, and not- 
 withstanding some defects, obtained very great reputation. 
 Gregory XIII. invited him to Rome, where, receiving some 
 indignity from that Pope's officers, he painted an allegorical 
 picture of Calumny to expose them, in which he introduced 
 the portraits of all those who had given him offence, and 
 represented them with asses' ears. He ordered this picture 
 to be placed over the gate of St. Luke's church, on the fes- 
 tival of that Saint, and then quitted the Pope's dominions. 
 He afterwards worked in France, Spain, and England, at 
 the latter of which places he painted a portrait of Queen 
 Elizabeth, which gained him great applause. Gregory, 
 however, recalled him to Rome, and erected an academy 
 for him, of which he was titled prince. 70, 
 
 THE END. 
 
INDEX TO THE PORTRAITS. 
 
 Aislabie, William,.... .... 33 
 
 Lady Elizabeth,.. 34 
 
 Alvarez, Duke of Alva, 45 
 
 Baglione, Francisco, 93 
 
 Banks, Sir Joseph, 99 
 
 Bates, Mrs...... 139 
 
 Bennet, Lady Anabella, . . . . . L . • 38 
 
 Boyle Hon. Robert,. 128 
 
 Brown, Launcelot,.. .. ...«.,.••, 21 
 
 Caesar,. , 81 
 
 Caracci, Hannibal...... 1 64 
 
 Catherine, Empress of Russia........ .......112, 141 
 
 Cavendish, William, Duke of Newcastle........ 13T 
 
 Hon. Charles, •••»•..«••..«.••«•.••« ....p.. 124 
 
 Hon. Charles,.., 59 
 
 Cecil, Jane, the Lord Treasurer's Mother, ..^ 124 
 
 William, first Lord Burghley,.* 63, 81, 121 
 
 Sir Robert, Knt 125 
 
 Thomas, the first Earl, 46 
 
 Lady Dorothy, his first Wife,... *. .... 43 
 
 Lady Sophia Ann, 57 
 
 Sir Edward, Knt, , ....«•••..».. .134 
 
INDEX. 
 
 Cecil > Elizabeth, Countess of the second Earl,,.... 139 
 
 William, Lord Ross, , 109, 134 
 
 Elizabeth, Countess of the third Earl, 133, Hi 
 
 Lady Ann 66, 133 
 
 John, the fourth Earl, 133 
 
 Lady Frances, his first Wife, . 108 
 
 John, the fourth Earl, and Lady Frances, 38 
 
 Elizabeth, Countess of Devonshire,.,^ 132 
 
 John, the fifth Earl, ...32, 95, 108 
 
 Anne, his Countess, 32, 95, 108, 131 
 
 John, the fifth Earl, his Brother David and Sister Frances, 109 
 
 William, Brother to the fifth Earl, 99 
 
 Hon. David, ..125 
 
 John, the sixth Earl, 108, 138 
 
 Lady Anabella, his first Wife, 38 
 
 Countess Elizabeth, his second Wife, 34 
 
 John, the sixth Earl ; the Hon. Charles Cecil, his Brother ; 
 
 and Lady Elizabeth, his Sister, 109 
 
 Hon. Edward,.....* .... 34 
 
 Hon. William,... 35, 42, 140 
 
 Hon. William and Charles,.. 42 
 
 John, the seventh Earl, 38 
 
 Brownlow, the eighth Earl,, . 35, 128 
 
 Countess Hannah Sophia, 35, 118, 123 
 
 Lady, . 128 
 
 Lady Elizabeth, » 129 
 
 Brownlow, the ninth Earl...... 34, 128 
 
 Couutess Letitia, * 34, 128 
 
 Lady Elizabeth,. » « 110 
 
 Henry, the first Marquis, 110 
 
 .Henry, the first Marquis, Countess Sarah, and Lady Sophia, 36 : 
 
 Elizabeth, Dowager Marchioness,. ..143 
 
 Chambers, Thomas, Esq 125 
 
 Chaplin, Lady Elizabeth, 110 
 
 Charles I..... 64 
 
 , Henrietta Maria, Queen of, 64, 135 
 
 Charles II 124 
 
 and his Brothers and Sisters,... 64 
 
 Charles XII. King of Sweden,.. 51 
 
 Charles. IX, of France, ....123 
 
INDEX. 
 
 Charles V. of Spain, 116 
 
 Cleveland, Barbara, Duchess of, » 35 
 
 Cranmer, Archbishop, 50 
 
 Cromwell, Thomas, Earl of Essex, 136 
 
 Cromwell, Oliver, 128, 1S8 
 
 Desmond, Countess of, 52 
 
 Devereux, Robert, Earl of Essex, 56 
 
 Devonshire, William, the first Duke of, - .34, 109 
 
 Rachael, Duchess of, 34 
 
 Domenichino's Mistress, 58 
 
 Edward VI 43 
 
 Elizabeth, Queen of England, 81, 116 
 
 Ernestus Augustus, and Sophia, his Wife, 133 
 
 Essex, Lady Elizabeth, 128 
 
 Garrick, David, 144 
 
 Gilpin, Sawrey, 99 
 
 Giordano, Luca, 134 
 
 Gregory the Great, Pope of Rome, 89 
 
 Guido, , 129 
 
 Haschard, Dr 141 
 
 Hauchecorne, Mrs 110 
 
 Henry VIII , 45, 131 
 
 and his Children, 81 
 
 Hobbes, Thomas, 141 
 
 Howard, Thomas, Duke of Norfolk, 136 
 
 Isabella Clara Eugenia, Princess of Spain, 53, 80 
 
 Kauftman, Angelica, 144 
 
 Kirk, Mrs. Ann, 134 
 
 Kneller, Sir Godfrey, 141 
 
 Lipsius, Justus, 125 
 
 Li via, Empress........ 95 
 
 Louis XIV 129 
 
 Luther, Martin, 64 
 
 Maintenon, Madam de, 48 
 
 Mary, Queen of England, 120 
 
 Matilda, Countess, 58 
 
 Montrose, Lucy, Duchess of, ■. 38 
 
 Nevill, Lady Dorothy, , , . . 43- 
 
 Newton, Sir Isaac, 126, 141 
 
 Noel, Baptist, Earl of Gainsborough, ........ 141 
 
INDEX. 
 
 Paoli, Pascal, 130, 141 
 
 Parmigiano's Mistress, 60 
 
 Pelham, Mrs £ .139 
 
 Pembroke, Lady Elizabeth Maria,..., „ 55 
 
 Percy, Lady Elizabeth, 133 
 
 Pierrepont, Captain, ....Hi 
 
 Queroualle, Louisa de, ... * 129 
 
 Raleigh, Sir Walter, and his Son, 24 
 
 Raphael, • 134 
 
 Russel, Lady Rachael,. 139 
 
 Sevigne, Madam, 129 
 
 Stanley, Venetia, Anastatia, 131 
 
 Stern, Silvia, 134 
 
 Stothard, , 104 
 
 Stuart, Charles Edward, 133 
 
 Maria Matilda, 134 
 
 Tell, William, 68 
 
 Titian, 12^ 
 
 Titian's Wife and Son, 29 
 
 Tuscany, Duke of, 110 
 
 Valliere, Madam, . 4 % 1 1 1 
 
 Verno, , 98, 141 
 
 Villiers, Barbara, .> 141 
 
 Warwick, Lady, £ 6ft 
 
 William?, Lady, 140 
 
 Willis, Dr. Francis *..99, HO 
 
 . . n - , % 
 
 J. Drakard, Printer, Stamford.