Burlington jfine Hrts Club. 
 
 i 884. 
 
 EXHIBITION OF DRAWINGS 
 
 OF 
 
 ARCHITECTURAL SUBJECTS 
 
 BY 
 
 DECEASED BRITISH ARTISTS. 
 
 PRINTED FOR THE BURLINGTON FINE ARTS CLUB. 
 
 1884. 
 
From the Library of 
 Frank Simpson 
 

 
 
 
 
Digitized by the Internet Archive 
 in 2018 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/exhibitionofdrawOOburl_O 
 
Burlington ine Hrts Club, 
 
 i 884. 
 
 EXHIBITION OF DRAWINGS 
 
 OF 
 
 ARCHITECTURAL SUBJECTS 
 
 DECEASED BRITISH ARTISTS. 
 
 PRINTED FOR THE BURLINGTON FINE ARTS CLUB. 
 
 1884. 
 
Mete him Son, 20, Parliament Street,. S. IV., and 32, Clement's Lane, E.C. 
 
LIST OF CONTRIBUTORS. 
 
 * The Contributors whose names are thus marked are Members of the Club. 
 
 Her Majesty the Queen. 
 
 His Grace the Archbishop of Canterbury. 
 
 Aitciiison, George, A.R.A. 
 Allom, Mrs. 
 
 Barry, J. Wolfe 
 
 Blore, Rev. E. W. 
 
 Bollans, E. 
 
 Bostock, J. A., C.B. 
 
 * Boyce, G. P. 
 
 ♦Brassey, Sir Thomas, K.C.B., M.P. 
 Bulwer, J. R., Q.C., M.P. 
 
 * Church, A. H. 
 
 Cockerell, Mrs. F. P. 
 
 Cockerell, S. P. 
 
 * Cope, W. H. 
 
 Deane, Mrs. W. W. 
 
 Devonshire, Duke of, K.G. 
 
 ♦Dillon, Frank 
 Dobson, Miss 
 *Doyle, Henry, C.B. 
 
 * Drake, Sir William 
 Eastlake, Lady 
 Emerson, A. 
 
 Ferrey, Mrs. B. 
 
 Ferrey, B. E. 
 
 Field, Mrs. Edwin 
 Fine Art Society 
 
 * Fisher, Richard 
 Gooden, J. Chisholm 
 
 * Hamilton, Edward, M.D. 
 Hampson, Robert 
 
 ♦Hardwick, P. C. 
 
 Hebb, John 
 ♦Hertz, W. D. 
 
 ♦Hutchinson, J. H. 
 
 Holmes, R. R. 
 
 Jackson, J. C. 
 
 ♦Kennedy, T. S. 
 
 Keyser, Mrs. 
 
 Lange, Mrs. 
 
 Martineau, E. H. 
 
 Millard, Walter J. N. 
 
 Morris, John 
 
 * Nettlefold, Frederick 
 Nichol, S. J. 
 
 * Northbrook, Earl of, G.C.S.I. 
 ♦Paget, John 
 
 Papworth, Wyatt 
 Penrose, F. C. 
 
 ♦Pilleau, Henry 
 Pugin, P. P. 
 
 Pullan, Mrs. R. Popplewell 
 ♦Robinson, J. C. 
 
 *Roget, J. L. 
 
 Royal Institute of British 
 Architects 
 ♦Salting, George 
 Shoppee, C. J. 
 
 Smirke, Sydney 
 ♦Smith, George 
 Spiers, R. Phene 
 Storr, J. S. 
 
 Storr, Mrs. J. S. 
 
 Street, A. C. 
 
 ♦Vaughan, Henry 
 Vokins, William 
 Wild, J. W. 
 
 Willson, T. J. 
 
 Winkworth, Stephen 
 ♦Winn, Hon. Rowland 
 Wood, Miss 
 ♦Worthington, James 
 Wyatt, Lady 
 Wyatt, Matthew 
 Wyatt, T. H. 
 
INTRODUCTORY REMARKS. 
 
 HIS is the first of our Club Exhibitions in which an attempt 
 has been made to deal specially with Architecture as a 
 branch of Fine Art; and the project of forming it was 
 felt by the Committee to be in a great degree experimental. 
 Thus, the Resolution that it should be defined as one of 
 “ Drawings of Architectural Subjects by Deceased British Artists,” 
 left its scope to be finally determined by such interpretation of these 
 words as a sub-Committee should consider itself free to adopt. 
 For the task of organizing such an Exhibition as should be both 
 useful and attractive was one which laid open divers questions for 
 discussion. Some of these it may be well to indicate. It might be 
 contended, on the very threshold, that Architecture, like Sculpture, 
 does not admit of full illustration, without the help of solid form; as 
 by means of models, or by actual casts requiring space such as is 
 afforded at the Crystal Palace, or the South Kensington Museum. 
 Assuming, however, that a fair enough suggestion can be made by 
 graphic art on a fiat surface, such as could find accommodation in 
 our Gallery, the problem how the subject can best be dealt with 
 remains beset with difficulties. Apart from the necessity, by no 
 means unimportant or easy, of separating the technical element from 
 what properly belongs to the Fine Art which it is our aim to cultivate, 
 the wideness of the field of study is in itself a source of bewilderment. 
 Regarded from the most purely aesthetic point of view, some classifica¬ 
 tion is requisite to a philosophic treatment, even in an Exhibition 
 Gallery :—a division into styles; an analysis of the objects of 
 construction, whether ecclesiastical, civil, or military; a representation 
 
Vlll 
 
 of internal, apart from that of external, form; and, finally, a distinct 
 consideration of ornament, both as applied to the constructive element, 
 and as a branch of the Arts allied to and merging in those of 
 Sculpture and Painting. 
 
 Were we to take a historic view of the subject, a choice would 
 have to be made between a system having reference to the buildings 
 themselves, and one which concerned itself more with the artists who 
 designed them. In the former case, to be at all comprehensive, no 
 illustration would be possible, beyond the superficial, or merely ele¬ 
 mentary. If it be desired to confine ourselves to a single style, what 
 style should have the preference ? Some particular period might 
 indeed be selected. For example, an adequate illustration of the 
 successive revivals in recent times, first of Classic, and afterwards of 
 Gothic, architecture, might have been attended with some profit. 
 But a still better field of study is to be found among the buildings 
 themselves, as they actually stand and are undergoing the test of 
 daily use and observation, while others are constantly rising up afresh 
 in ever increasing profusion. 
 
 Again, there is the temptation, hard to resist, of allowing our 
 taste for Art to be led away into side channels by antiquarian learning 
 or local associations, often investing with a special interest some 
 building in itself devoid of architectural merit or attraction. 
 
 When, on the other hand, we endeavour to treat the subject in 
 that sort of historic fashion above mentioned, which gives to the 
 Architect the first consideration, it would seem reasonable to hope 
 that by means of a collection of original designs, some new light 
 might be thrown upon artistic conceptions not always equally 
 apparent in the buildings which have been their visible result. It 
 was by this hope that the sub-Committee were mainly directed in 
 their earlier inquiries. But impediments of various kinds were 
 found to stand in the way of its realization. Drawings of this kind by 
 
IX 
 
 our earlier architects were difficult to meet with, and when they were 
 known to exist, it was found that they were either deposited in 
 public institutions, such as the Soane Museum, or that at South 
 Kensington, having no power of lending them to a private society, 
 or they were so bound up in books as not to be available for 
 exhibition on the walls of a gallery. These obstacles rendered the 
 designs of the earlier architects almost unobtainable ; and it was not 
 thought expedient to fill the gallery with the perspective drawings 
 of the modern school, which it is the fashion to issue from the 
 architect’s office, dressed in gay and unreal effects by pupils and 
 assistants. 
 
 Sensible of these difficulties, and at the same time of the 
 necessity of restricting in some way the wideness of scope afforded 
 by the definition which had been adopted, the Committee deemed it 
 their most expedient course to abstain from imposing, in the first 
 instance, any severe limitation as to date, style, or purpose of 
 building, except that the exhibition of works of living Artists* was 
 (according to the recognized practice of the Club) forbidden ; and to 
 allow the character of the Exhibition to be in a great measure deter¬ 
 mined by the nature of the examples which might be found available 
 for selection. Merely intimating, therefore, that while on the one 
 hand purely professional designs, such as plans, elevations, sections, 
 and other working drawings, would in general be excluded ; so, on 
 the other hand, it was not desired to exhibit landscapes or subject- 
 pictures to which buildings were only accessory, or subordinate to a 
 pictorial treatment; they endeavoured to ascertain, by means of a 
 somewhat general inquiry, what works of an admissible quality would 
 be forthcoming if required. The drawings most sought for were 
 those in which, while to represent the architectural character of a 
 building had been the primary aim of the draftsman, the subject had 
 been regarded by him throughout from the Artist’s, as distinguished 
 
 * Since the Catalogue was printed, it has been discovered that one drawing (at least) by a living 
 artist has unintentionally been included in the collection. 
 
X 
 
 both from the builder’s and from the antiquary’s or topographer’s 
 point of view. 
 
 The result of this inquiry is to be seen in the Exhibition before 
 us. To the vagueness and latitude of construction of the terms 
 under which the collection began, its extent and variety has been 
 mainly due ; and while this variety has imparted to it a somewhat 
 miscellaneous character, it may have its advantage in affording 
 matter of interest to spectators of equally varied learning and pro¬ 
 clivities. The intermixture and combination of such sources of 
 interest have at the same time rendered it impossible to adopt any 
 purely philosophical system of arrangement. 
 
 With a few exceptions, to be specially referred to below, the 
 objects exhibited come strictly within the category of Artists Draw¬ 
 ings, their attraction being derived partly from the graphic art which 
 they display and partly from the subject delineated. In arranging 
 the Gallery, both these considerations had to be borne in mind, and 
 the grouping has been influenced jDartly by the one and partly by the 
 other. As far as the variety of sizes, strength, materials, and degrees 
 of finish of the Drawings would permit, those representing similar 
 styles of Architecture have been placed together ; but the proper 
 sequence has often had to give way to the requirements of space and 
 general expediency. 
 
 For a list of the buildings represented, the reader is referred to 
 the numerical Catalogue which follows, but to ascertain the names 
 of the Architects and the circumstances of erection, recourse must in 
 ofeneral be had to Architectural and Historical Works and other 
 authorities. With respect to the graphic Artists who have depicted 
 them, some notes and memoranda are given in an Appendix, in which 
 references are made to numerous volumes wherein Engravings of 
 their Drawings may be found, and where evidence is preserved of 
 the vast amount of industry and talent which, chiefly within the 
 
XI 
 
 present century, has been expended by Deceased British Artists in 
 the illustration of Architectural subjects. Many of these Artists are 
 little known beyond the circle of Antiquaries and Students of Archi¬ 
 tecture, and among these chiefly by their engraved works. Yet in 
 their original drawings there are often a delicacy and a brilliancy 
 of touch, together with other artistic qualities, which surpass the 
 work of the Engraver, and throw photography far into the shade. 
 Those of E. Blore, J. Coney, F. Mackenzie, A. Pugin, and others 
 illustrate and justify this observation. 
 
 As no distinction has been made in the admission of Drawings 
 between those Artists who have been professional Architects, and 
 those who have confined themselves to graphic delineation, one 
 marked result of this Collection is the prominence it gives to a few 
 of the former class, and the evidence which it affords how well 
 qualified some of them have been to take a high place in the ranks 
 of the latter. Drawings by the two Cockerells, by Barry, Wyatt, 
 Ferrey, Pugin, Papworth, Street, and others bear out this assertion; 
 though, generally speaking, as it is reasonable to expect, the works of 
 the professional Painters, with Turner at their head, must be allowed 
 to occupy the foremost position. 
 
 Widely comprehensive as the Collection is, in its array of 
 different Masters and styles of Drawing and Painting, the limitation 
 to one class of subject gives to all a sufficient unity of purpose to 
 enable it to afford opportunities of making some instructive com¬ 
 parisons between different Artists. For example, there will be found 
 near together Pencil Drawings, very similar in size and motive, by 
 Edridge, Prout, Holland and Burgess, in which it is interesting to 
 study the artistic relations to one another. Many such juxta-positions 
 might be pointed out; but these, and other matters of profitable 
 study, may well be left to the observation of intelligent spectators. 
 
 A few Architects’ designs, which form the chief exceptions above 
 referred to, have been hung in a separate apartment. Among 
 
Xll 
 
 these, however, are some of the most remarkable works in the 
 Collection. By the liberality of Her Majesty the Queen, and of 
 his Grace the Duke of Devonshire, an important series of drawings 
 by Inigo Jones* has been placed on view there ; and in the same 
 room will be found a set of original designs by the late Mr. Decimus 
 Burton for the still incomplete Arches at Hyde Park Corner. These, 
 kindly lent by the Architect’s niece, have a special interest at the 
 present time. 
 
 It had also been hoped that it would have been possible to 
 bring together a curious series of original Drawings, illustrative of 
 Sir Christopher Wren’s successive designs for St. Paul’s Cathedral; 
 the Dean and Canons having placed their collection at the 
 disposal of the Committee. But here, as at All Souls’ College, 
 Oxford, the Wren Drawings were found to be mounted in books, to 
 exhibit which would have required special arrangements, which were 
 not practicable. This interesting passage in the history of Archi¬ 
 tecture, has, however, some illustration in the copy (No. 314) by 
 Mr. Penrose of one of the All Souls’ designs, and in the two highly 
 finished interiors of St. Paul’s (Nos. 207, 208) ; and also in Sangallo’s 
 design for St. Peter’s (Nos. 307, 309), and Turner’s superb View of 
 Ely Cathedral (No. 175), a design and building each of which is 
 said to have afforded suggestions to the architect of St. Paul’s. 
 
 The Committee desire, in conclusion, to express the sincere 
 thanks of the Club, for assistance and good will, to Her Majesty 
 the Queen, to His Grace the Archbishop of Canterbury, to His 
 Grace the Duke of Devonshire, the Dean and Canons of St. 
 Paul’s, the Society of Antiquaries, the Royal Institute of British 
 Architects, and to many private Collectors and other persons, of 
 some of whose kind offers of contributions the Committee regret to 
 have been unable to avail themselves. 
 
 *For the description of these drawings, and for the note on Inigo Jones in the Appendix, the 
 Club is indebted to the pen of its Member, Mr. Eustace J. A. Balfour. 
 
CATALOGU E. 
 
 "I he measurements are in inches and eighths, the width preceding the height. 
 In each case the first name is that of the artist, and the last that of the lender. 
 
 1 —J. J. SCOLES. The Erechthseum, Athens. Showing its condition after the 
 
 Watercolour. “1824.” 34 by 21-2. 
 
 S. J. Nicholl. 
 
 first siege. 
 
 2 -—C. R. COCKERELL, R.A. The Temple of Theseus, Athens. 
 
 Water colour. 23 7 by 16-3. 
 
 Mrs. F. P. Cockerell. 
 
 3 —HARRY WILLSON. Outer wall of Forum of Nerva. (Forum Transitorium.) 
 
 Via delle Colonnacce, Rome. Formerly known as the Temple of Pallas. 
 Cf. No. 12. 
 
 Water colour. “ 1842.” 11-2 by 15. 
 
 Sir William Drake. 
 
 4 —WILLIAM J. MULLER. Caryatides, Erechthmum, Athens. From the interior 
 of the Portico. The Pilaster to the left occupies the place of the figure 
 removed by Lord Elgin, now in the British Museum. It is now replaced by 
 a terra-cotta copy. Cf. Nos. 1, 8, and 22. 
 
 Water colour. 11-2 by 16-5. 
 
 Henry Vaughan. 
 
 5 —C. R. COCKERELL, R.A., and F. P. COCKERELL. “Study of the 
 Mausoleum at Halicarnassus, from the texts of Pliny, Vitruvius, and 
 Martial—from the measurements of the fragments recently excavated by 
 the British Government, and now in the British Museum—and according 
 to the idea published in the Classical Journal, 1847, by C. Newton and 
 the author, C. R. Cockerell, R.A.” Designed by C. R. Cockerell, R.A., and 
 painted by F. P. Cockerell. Exhibited at the Royal Academy, 1859. 
 
 Water colour. 26 bv 32-4. 
 
 Mrs. F. P. Cockerell. 
 
2 
 
 6—C. R. COCKERELL, R.A. Temple of Apollo Epicurius at Bassae, near 
 Phigaleia in Arcadia. This drawing represents the temple as it was when 
 Mr. Cockerell made the excavations to discover the bas-reliefs now in the 
 British Museum. “The first he saw of them was by creeping into a hole 
 among the fallen blocks of the temple, where a fox had made its home, and 
 scraping among the rubbish which formed its nest, so to speak, he saw, by a 
 crack of light coming through from above, some beautiful work which 
 induced him to undertake the excavations.” An engraving from this 
 drawing is published in his work on the Temples of SEgina and Bassae. 
 London, i860. 
 
 Watercolour. 1810. 28-48714-4. 
 
 Mrs. F. P. Cockerell. 
 
 7 —C. R. COCKERELL, R.A. “The Theatre of Pompeii restored; as it may 
 have appeared in the interval of the earthquake A.D., 63, and the final 
 catastrophe which overwhelmed the city A.D., 79 ; from admeasurements 
 and delineations on the spot.” Exhibited at the Royal Academy in 1831. 
 
 Water colour. 32-2 by 17-4. 
 
 Mrs. F. P. Cockerell. 
 
 8—SIR CHARLES BARRY, R.A. The Erechthaeum, 
 Barry was in Greece in 1818. 
 
 Water colour. 20-4 by 14-2. 
 
 Athens; from the S.W. 
 
 J. W. Barry. 
 
 9 —\V. J. MULLER. Columns for supporting Choragic Tripods, above the Theatre 
 of Dionysus, Acropolis, Athens. 
 
 Water colour. 9-5 by 13-6. 
 
 Edward Hamilton, M.D. 
 
 10 —C. R. COCKERELL, R.A. The Acropolis, Athens, with the Ruins of the 
 Temple of Jupiter Olympius. 
 
 Watercolour. About 1810. 32-7879. 
 
 [This drawing was much injured by damp six or seven years ago, and the 
 sky, then of a plain blue, completely destroyed. It was repainted by a 
 restorer, and pasted on the drawing.] 
 
 Mrs. F. P. Cockerell. 
 
 11 —G. A. MOORE. The Temple of Segesta, Sicily. 
 
 Water colour. “ 1837.” 18-2 by 12-5. 
 
 Matthew Wyatt. 
 
J 
 
 12 —SIR C. L. EASTLAKE, P.R A. Outer wall of the Forum of Nerva, formerly 
 known as the Temple of Pallas, Rome. Entablature with frieze illustrating 
 domestic attributes of Minerva. Statue of the Goddess above. Cf. No. 3. 
 
 Water colour. 13-2 by 17. 
 
 Lady Eastlake. 
 
 13 —J. J. SCOLES. The Temple of the Winds, Athens. 
 
 [This drawing, as well as No. 14, may be compared with Stuart’s views of 
 same places to illustrate the destruction caused by the Greek sieges 
 of 1822.] 
 
 Water colour. “ 1824.” 8-2 by 10-6. 
 
 S. J. Nicholl. 
 
 14 —J. J. SCOLES. The Choragic Monument of Lysicrates. 
 Water colour. “ 1824.'’ 8-2 by 10-6. 
 
 Cf. Nos. 23 and 24. 
 S. J. Nicholl. 
 
 15 —J. J. KIRBY. The Pantheon, Rome. Exterior. With ideal surroundings. In 
 this drawing, and in No. 16, all modern additions are omitted. 
 
 Water colour. 28-4 by 19-6. 
 
 Her Majesty the Queen. 
 
 16 —J. J. KIRBY". The Pantheon, Rome, 
 dome are omitted. 
 
 Water colour. 27-4 by 19-2. 
 
 Section. The constructive parts of the 
 Her Majesty the Queen. 
 
 17 —ROBERT ADAM. Three compositions of Roman ruins. 
 
 Water colour. 3-7 by 3-4, circular 3-4 diameter, and ditto. 
 
 Miss Wood. 
 
 17 a—W. J. MULLER. The Parthenon, Athens. East end. 
 Watercolour. “1838.” 16-6 by 11-4. 
 
 Frank Dillon. 
 
 18 , 19 —J. B. PAPWORTH. Two Compositions of Ruins from Palestrina (the 
 ancient Prasneste). Exhibited by the “ Associated Artists in Water 
 Colours” in 1808. 
 
 Water colour. 25-4 by 17-2, and 25-2 by 17-2. 
 
 Wyatt Papworth. 
 
4 
 
 20 —F. P. COCKERELL. The Arch of Titus, Rome. 
 
 Water colour. 18-2 by 12-4. 
 
 Mrs. F. P. Cockerell. 
 
 21 —SIR CHARLES BARRY, R.A. The Ponte Rotto, Rome. 
 
 Pencil. About 11 by 8-4. 
 
 J. W. Barry. 
 
 22 — JAMES STUART. The Erechthaeum, Athens. Stuart calls the plate after 
 
 this drawing “ View of the West End of the Temple of Minerva Polias and 
 of the Pandrosium.” The Turkish Commander, Disdor Aga, is seen 
 watching the excavations being carried on. Stuart himself, in a Greek dress, 
 to the right drawing the ruins. 
 
 Water colour. About 1751. 15-2 by 10-6. 
 
 Royal Institute of British Architects. 
 
 23 — JAMES STUART. The Choragic Monument of Lysicrates. “ Taken from 
 
 the further end of the Garden belonging to the Hospitium of the Capuchins.” 
 At that time more than half the monument was concealed. The space 
 around is now cleared, but the monument is still the property of France. 
 Water colour. About 1751. 15-2 by 10 6. 
 
 Royal Institute of British Architects. 
 
 24 — JAMES STUART. The Octagon Tower of Andronicus Cyrrhcstes, known 
 
 as the Tower of the Winds. “Taken from the window of the house of 
 the Muderess Effendi. The Turk with the long hair is the Sheik Mustapha, 
 the head of those Dervishes who perform the circular dance in the Tower 
 of the Winds, at the top of which he has placed a large wooden model of 
 his turban. The female figures represent a Christian matron of distinction 
 accompanied by her three daughters and a maid servant.” 
 
 Watercolour. About 1751. 17-4 by 12-4. 
 
 Royal Institute of British Architects. 
 
 25 — JAMES STUART. “View of the Acropolis, Athens. Taken from the situation 
 
 of the Ancient Pirai'c Gate.” In the foreground a bod)'- of Turks engaged 
 in playing “ Jereet.” The old Turkish walls, the tower, and the fortress into 
 which the north wing at the Propyleum was built, are shown here. 
 Watercolour. About 1751. 27-6 by 14. 
 
 Royal Institute of British Architects. 
 
5 
 
 26 — JAMES STUART. “Amphitheatre of Pola in Istria, from the West.” 
 
 Watercolour. 1750. 18-4 by 12. 
 
 Royal Institute of British Architects. 
 
 27 — JAMES STUART. “ Temple of Rome and Augustus, Pola.” 
 
 Water colour. 15-2 by 10-6. 
 
 Royal Institute of British Architects. 
 
 28 — JAMES STUART. “ Doric Temple at Corinth.” Here we see twelve columns 
 
 and a considerable portion of the Architrave ; some forty years later 
 (in 1795) Hawkins found only seven columns standing. Three still remain. 
 Watercolour. 1751. 15-2 by 10-6. 
 
 [These seven drawings (Nos. 22 to 28) were engraved in Stuart and Revett’s 
 great work between the years 1762 and 1816.] 
 
 Royal Institute of British Architects. 
 
 29 —SIR CHARLES BARRY, R.A. The Great Hall, Karnak. 
 
 Water colour. 26-2 by 36-7. 
 
 J. W. Barry. 
 
 30 —SIR CHARLES BARRY, R.A. The two Obelisks in front of the temple of 
 Rameses II., Luxor. That to the right is now in the Place de la Concorde, 
 Paris. 
 
 Pencil. About 1818. 13-2 by r 8-1. 
 
 J. W. Barry. 
 
 31 —SAMUEL PROUT. Interior of the Basilica of Constantine, with the Bell 
 Tower of Sta. Francesca Romana, Rome. 
 
 [Engraved by J. B. Allen in Jennings’s “Landscape Annual,” 1831, as the 
 “ Temple of Peace.”] 
 
 Watercolour. 11-5 by 16-6. 
 
 Frederick Nettlefold. 
 
 32 —SIR M. DIGBY WYATT. Arch of Titus, Rome. 
 
 Water colour. 27-6 by 20. 
 
 Lady Wyatt. 
 
 33 —SIR CHARLES BARRY, R.A. 
 Biggeh. 
 
 Phile. 
 
 General view from the Island of 
 
 Pencil. 27 2 by 16. 
 
 J. W. Barry. 
 
6 
 
 A Note on Dutch Drawings. 
 
 CJ 
 
 Sketches in oil, sketches in water colour, sketches in chalk, in bistre, and 
 with the reed pen, and sketches with the etching needle—these all, in the 
 hands of the great Dutchmen, were not merely studies for themselves 
 but possessions for their public, just as expressive and interesting as work 
 more prolonged and elaborate. Therefore the amojint of finish which each 
 of such finished sketches received was not the important matter: with 
 the greatest artists the amount was often but small : they knew that the 
 important matter was the sufficiency of finish—its capacity for conveying 
 to one mind the impression received by another. 
 
 And it is characteristic of Dutch Art, and especially of Dutch Landscape 
 Art, that it had no period of painful and tentative labour, like that during 
 which the art of other schools had had to struggle slowly towards freedom 
 of expression. Profiting no doubt by the experience of the Past, and the 
 near Past especially of Bruges and of Leyden, it gained almost at once the 
 power of finish always expressive, always economical, yet often very swift 
 and summary. The work of its earliest Masters—Roghman say, and Van 
 Goyen—has neither pettiness of manipulation when it is most delicate, nor 
 uncertainty when it is most rapid. The signs of an art mature and mas¬ 
 culine—-economy of means, decision of hand—are promptly upon it. Rogh¬ 
 man, it appears, made few pictures, but many drawings. There are five and 
 twenty in the Museum of Rotterdam alone. His drawings, therefore, must 
 have been acceptable to the public of his day, and they show that a public 
 then existed capable of the intelligent interpretation of the work of an artist 
 
A Note on Dutch Drawings. 
 
 7 
 
 who left much to be interpreted. Van Goyen, if he did not make many 
 drawings, painted many pictures with at least as marked an economy of means 
 as he has used in the few drawings we know, and of which the present 
 Exhibition of this Club affords at least one admirable example. His 
 science of large design and the expressive completeness of his gradations 
 of tone enabled him—often in picture and drawing alike—to dispense with 
 the easier attraction of various colour, so that even a modern master of 
 colour, Theodore Rousseau, was wont to hold him up as a model to his 
 own pupils. 
 
 Van Goyen travelled and Roghman travelled, but their art, like that 
 of Rembrandt—-their younger and greater contemporary, who remained at 
 home—continued to be not an imported art, but an art of the soil; and 
 it was only at a later period that the experience of travel, and the contact 
 with an art very different from their own, was to bring to the Dutchmen a 
 new method with a false ideal. There was first the true Dutch time, rich 
 and fertile—a time in which Van Goyen painted, with a seeming monotony 
 always delicately varied, the long river banks, the low-lying towns, and the 
 great high skies of Holland ; in which Cuyp fixed interest on the common 
 aspects of the afternoon fields, steaming in moist sunshine; in which Adrian 
 van Ostade passed from the vulgarities of the alehouse to the skilfully rendered 
 charm of the cottage door and the bench in the sunlight; in which Jan 
 Steen perfected himself in as keen and comprehensive a knowledge of the 
 world of men as Art has ever displayed ; and in which Rembrandt 
 
8 
 
 51—SIR CHARLES BARRY, R.A. Colosseum, Rome, 
 the Buttress wall under Pius VII. 
 
 Pencil. About 13 by 9. 
 
 Before the building of 
 
 J. W. Barry. 
 
 52—JOSEPH NASH. Interior of Wollaton Hall, near Nottingham. 
 [Lithographed in “ The Mansions of England.” 3 rd Series.] 
 
 Watercolour. “1841.” 14-6 by 20. 
 
 J. C. Robinson. 
 
 53—SIR M. D. WYATT. The Church of the Confraternita of SS. Andrea and 
 Bernadino (Dei Nobili della Giustizia), Perugia. Facade decorated by 
 Agostino Ducci. 
 
 Water colour. 9-2 by 14. 
 
 Matthew Wyatt. 
 
 54—GEORGE DODGSON. From the Top of St. Paul’s. 
 
 Water colour. 17 by 13. 
 
 J. Chisholm Gooden. 
 
 55—JOSEPH NASH. Interior of a Hall in Hampton Court Palace, in the time of 
 Wolsey. 
 
 Water colour. 16-6 by 11-2. 
 
 56—W. H. BARTLETT. Exterior of Town Hall, Ghent. 
 
 Sepia. 6-5 by 9. 
 
 J. C. Robinson. 
 
 Cf. No. 136 . 
 
 Sir Wm. Drake. 
 
 57—THOMAS MALTON. Street now destroyed, leading to Old Palace Yard, 
 Westminster. Front of the Old Law Courts on the left. 
 
 Water colour. 18-5 by 12-7. 
 
 E. H. Martineau. 
 
 58—W. W. DEANE. Hall of the Senate, with Tintoretto’s Pieta above the Throne. 
 Doge’s Palace, Venice. 
 
 Water colour. 26-6 by 18. 
 
 Mrs. W. W. Deane. 
 
 59 —SIR M. D. WYATT. Interior of an Italian Church. 
 
 Watercolour. 9-6 by 15-4. 
 
 Matthew Wyatt. 
 
9 
 
 60 — . PYNE. Interior of Shakspere’s House, Stratford-on-Avon. 
 [From the collection of James Ward, R.A.] 
 
 Water colour. 13-5 by 7-4. 
 
 George Smith. 
 
 61 —R. W. BILLINGS. Court Yard of Newark Castle, on the Firth of Clyde. 
 
 [Engraved by G. B. Smith in the “ Baronial and Ecclesiastical Antiquities of 
 Scotland.” Vol. 4, plate 24.] 
 
 Sepia and Indigo. 8-7 by 7-4. 
 
 John Hebb. 
 
 62 —THOMAS ALLOM. “ A design for improving the property on the banks of 
 the Thames between London and Blackfriars Bridges.” View looking down 
 the river. 
 
 [This drawing and No. 63 were exhibited at the Royal Academy in 1846 
 and 1848.] 
 
 Water colour. 52 by 28-4. 
 
 Mrs. Allom. 
 
 63 —THOMAS ALLOM. See No. 62. View looking up the river. 
 
 Water colour. 47 by 20-4. 
 
 Mrs. Allom. 
 
 64 — THOMAS MALTON. “ Great Court, Somerset Place.” 
 
 [Engraved in Malton’s “ London and Westminster,” plate dated 5th Nov., 
 1796.] 
 
 Water colour. 12 by 8-3. 
 
 Sir Wm. Drake. 
 
 65 — THOMAS MALTON. North side of the Great Court, Somerset Place. 
 
 Cf. No. 66. 
 
 Water colour. 9-4 by 6-4. 
 
 James Worthington. 
 
 66— THOMAS MALTON. “ North side of the Great Court, Somerset Place.” 
 
 [Engraved in Malton’s “ London and Westminster,” plate dated 5th Nov., 
 1796.] Cf. No. 65. 
 
 Water colour. 12 by 8-3. 
 
 Sir Wm. Drake. 
 
 67 — THOMAS MALTON. Broker’s Exchange ; interior of the Bank of England. 
 
 Water colour. 19-6 by 13-5. 
 
 E. H. Martineau. 
 
IO 
 
 68— J. S. COTMAN. Interior of Crosby Hall, Bishopsgate Street ; when used as a 
 cloth wareroom. 
 
 Water colour. 1831. 22 by 15-2. 
 
 J. R. Buhver, Q.C., M.P. 
 
 69 —JOSEPH NASH. Library at Merton College, Oxford. 
 
 Watercolour. “1861.” 11 by 13. 
 
 Sir Wm. Drake. 
 
 70 — JOSEPH NASH. Entrance to Speke Hall, Lancashire. 
 
 [Lithographed in “ The Mansions of England.” 4th Series.] 
 
 Watercolour. 11-2 by 16-1. 
 
 P. C. Hardwick. 
 
 71 — F. R. COCKERELL. Interior of the Church of Santo Spirito, Florence. 
 
 Sepia. 9-3 by 7-4. 
 
 Mrs. F. P. Cockerell. 
 
 72 — CHARLES WILD. Quadrangle, St. John’s College, Oxford. 
 
 Watercolour. 1820. 8-5 by 5-7. 
 
 J. W. Wild. 
 
 73 — FREDERICK MACKENZIE. West Doorway of Rochester Cathedral. 
 
 [Engraved by R. Roffe in the “ Beauties of England and Wales,” vol. 8, 
 p. 639.] 
 
 Watercolour. 7-1 by 5-5. 
 
 Sir Wm. Drake. 
 
 74 — S. H. GRIMM. Cowdray House, near Midhurst, Sussex, W. view. Built 
 
 about 1530, by Fitzwilliams, Lord Southampton. Afterwards the seat of 
 Lord Viscount Montague. Burnt 1793. The ruin still exists. 
 
 Watercolour. 16-4 by 11-4. 
 
 75 —S. H. GRIMM. Cowdray House, N.E. front. See No. 74. 
 
 Watercolour. 16-4 by 11-4. 
 
 Richard Fisher. 
 
 Richard Fisher. 
 
 76 —THOMAS MALTON. Part of the Bank of England and Old Royal Exchange. 
 
 Watercolour. 13-6 by 17-7. 
 
 E. H. Martineau. 
 
i I 
 
 77 —J. M. W. TURNER, R.A. “Sketch of a building in London after a fire.” 
 
 [Probably the drawing exhibited in the Royal Academy in 1792 as “The 
 Pantheon, the Morning after the Fire.” The Pantheon was burnt on 
 
 14th January, 1792.] 
 
 Water colour. 9-4 by 11 -6. 
 
 P. C. Hardwick. 
 
 78 — GEORGE DODGSON. Greenwich Hospital. 
 
 Watercolour. 12-6 by 9. 
 
 J. A. Bostock, C.B. 
 
 79 — SAMUEL PROUT. Albert Diirer’s House, Nuremberg. 
 
 [Exhibited by the Fine Art Society, 1880. See Ruskin’s Notes, p. 59.] 
 Pencil. 10-4 by 8. 
 
 The Fine Art Society. 
 
 80 - —JAMES MALTON. West Front of Trinity College, Dublin. 
 
 [Engraved by the Artist in his work on Dublin, with different figures. Plate 
 dated “March, 1793.”] 
 
 Watercolour. 1796. 30 by 20-4. 
 
 Henry Doyle, C.B. 
 
 81 —EDWARD DAYES. Greenwich Hospital. 
 
 
 Water colour. “ 1788.” 22-2 by 16-4. 
 
 Henry Pilleau. 
 
 82 —SIR JEFFRY WYATVILLE, R.A. Windsor Castle. Gateway and Keep. 
 
 Water colour. 13-6 by 18-r. 
 
 Matthew Wyatt. 
 
 83 — PAUL SANDBY, R.A. Windsor Castle. “ View from the Black Rod, the 
 
 Round Tower, Royal Court, and Devil’s Tower, &c.” 
 
 Water colour. 17 by 11. 
 
 Her Majesty the Queen. 
 
 84 — PAUL SANDBY, R.A. Gateway, Windsor Castle. 
 
 Water colour. 19-2 by 14. 
 
 Her Majesty the Queen. 
 
 85 — GEORGE SHEPHERD. Church of St. Clement Danes, London. 1814. 
 
 Water colour. 5-3 by 8-5. 
 
 Sir Wm. Drake. 
 
12 
 
 86—GEORGE SHEPHERD. Church of St. Martin’s-in-the-Fields, London. 1815. 
 
 Water colour. 5-3 by 7-6. 
 
 Sir Wm. Drake. 
 
 87 —SIR JEFFRY WYATVILLE, R.A. Bird’s-eye “ Sketch View of Alterations 
 at Windsor.” 
 
 Pen drawing, tinted. 22 by 10. 
 
 Matthew Wyatt. 
 
 88 —A. WELBY PUGIN. “An Old House, Rouen.” 
 
 Water colour. 5-4 by 9-6. 
 
 P. P. Pugin. 
 
 89 —JOSEPH NASH. Wollerton Manor House, near East Barsham, Norfolk, 
 Erected about 1500. 
 
 [Drawn for “ A Series of Views illustrative of Pugin’s Examples of Gothic 
 Architecture,” 4to., 1830.] 
 
 Sepia. 8-7 by 7. 
 
 Wyatt Papworth. 
 
 90 —SIR JEFFRY WYATVILLE, R.A. 
 Windsor Castle.” 
 
 Brown and Grey. 
 
 “ The Old Limekiln Seat in the Slopes, 
 7-4 by ir. 
 
 Matthew Wyatt. 
 
 81 —F'REDERICK MACKENZIE. Interior of the Church of St. Stephen, 
 Wallbrook. 
 
 Water colour. 4-6 by 6-7. 
 
 92 —PAUL SANDBY, R.A. Postern Gate, Canterbury. 
 
 Water colour. 5-7 by 4-2. 
 
 Sir Wm. Drake. 
 Now destroyed. 
 
 His Grace the Archbishop of Canterbury. 
 
 93 —JOSEPH NASH. Tower of Wollerton Manor House, near East Barsham. 
 Norfolk. Erected about 1500. 
 
 [Drawn for “ A Series of Views illustrative of Pugin’s Examples of Gothic 
 Architecture,” 4to., 1830.] 
 
 Sepia. 6-7 by 9-2. 
 
 Wyatt Papworth. 
 
94 —J. A. BELL & F. MACKENZIE. Four views in the University of Cambridge. 
 
 Sepia. 
 
 (1) Caius College. Front in Trinity Street (by Bell). 
 
 3-6 by 5-4. 
 
 (2) Trinity, from St. John’s Old Bridge (by Bell). 
 
 5-4 by 3-5. 
 
 (3) Gateway, Trinity Stables (by Mackenzie). 
 
 5-5 by 4 - 
 
 (4) St. John’s College New Bridge (by Bell). 
 
 5-6 by 4. 
 
 [1, 2 and 4 are engraved by J. Le Keux in “Memorials of Cambridge.”] 
 
 Mrs. Lange. 
 
 95 —F. MACKENZIE & J. A. BELL. Four views in the University of Cambridge. 
 
 Sepia. 
 
 (1) University, or Great St. Mary’s Church (by Bell). 
 
 5-4 by 3-7. 
 
 (2) The University, or Pitt Press (by Mackenzie). 
 
 5-3 by 3 - 7 - 
 
 ( 3 ) Queen’s College, Second Court (by Mackenzie). 
 
 5-6 by 3-7. 
 
 (4) St. Peter’s College, Gisborne Court (by Mackenzie). 
 
 5-6 by 3-7. 
 
 [Engraved by J. Le Keux in “ Memorials of Cambridge.”] 
 
 Mrs. Lange. 
 
 96 —JOHN BURGESS. 
 
 Old Houses ; Street in Dinan, Brittany. 
 Pencil. 10-6 by 14-5. 
 
 R. P. Spiers. 
 
 97 —EDWARD BLORE. Monument to one of the Babington Family, in Church 
 of Kingston-on-Soar, near Kegworth. [Not engraved.] 
 
 Sepia. 8-6 by 8-2. 
 
 Rev. E. W. Blore. 
 
 98 —SAMUEL AUSTIN. Old Church, Malvern Wells. 
 
 Water colour. 11 by 8-4. 
 
 Sir William Drake. 
 
14 
 
 89 —SAMUEL PROUT. Domo d’Ossola. 
 
 [Engraved by Win. Wallis in Jennings’s “ Landscape Annual,” 1830.] 
 Watercolour. 23-4 by 17-4. 
 
 T. S. Kennedy. 
 
 100 —HENRY EDRIDGE, A.R.A. “ The Abbey Church of St. Ouen from Place 
 Rabec, Rouen.” 
 
 Pencil. “1819.” 12-1 by 17-5. 
 
 The Fine Art Society. 
 
 101 —HENRY EDRIDGE, A.R.A. Evreux Cathedral. Exterior. 
 
 Pencil. “1819.” 11-4 by 17-7. 
 
 Geo. Smith. 
 
 102 — JOSEPH NASH. Hall of Eltham Palace, Kent. Exterior. Erected about 1480. 
 
 [Drawn for “ A Series of Views illustrative of Pugin’s Examples of Gothic 
 Architecture,” 4to., 1S30.] 
 
 Sepia. 8-7 by 6-6. 
 
 Wyatt Papworth. 
 
 103 — JOSEPH NASH. Episcopal Palace, Croydon, as it appeared after the fall of 
 
 the East End Wall, 6th June, 1S30. 
 
 [Drawn for “A Series of Views illustrative of Pugin’s Examples of Gothic 
 Architecture,” 4to, 1830.] 
 
 Sepia. 9-7 by 8. 
 
 Wyatt Papworth. 
 
 104 — HENRY EDRIDGE, A.R.A. Entrance to Taunton, Somersetshire. 
 
 Sepia and Grey. 9-4 by 12-3. 
 
 Jas. Worthington. 
 
 105 — CHARLES WILD. Trinity College, Cambridge. Library and part of North 
 
 side of Neville’s Court. The former by Wren, the latter built about 1613-15. 
 Water colour. 10 by 6-4. 
 
 J. W. Wild. 
 
 106 — BENJAMIN FERREY. Vincennes. 
 
 Water colour. 7 by 5. 
 
 107 — FREDERICK NASH. Interior of Westminster Abbey. 
 
 Water colour. 35 by 44. 
 
 Mrs. Ferrey. 
 
 Earl of Northbrook, G.C.S.I. 
 
i5 
 
 108—THOMAS ALLOM. Truro Church, Cornwall. 
 
 [Engraved by E. Challis in Fisher’s “ Cornwall Illustrated,” 1831 .] 
 Sepia. 6 by 3-6. 
 
 W. D. Hertz. 
 
 109—JOHN CARTER. West Front, Ely Cathedral. 
 
 Water colour. 6-5 by 8. 
 
 R. R. Holmes. 
 
 110—EDWARD BLORE. Interior of Peterborough Cathedral. 
 [Coloured by another hand.] 
 
 Watercolour. 18-4 by 13-6, 
 
 Rev. E. W. Blore. 
 
 Ill— A. WELBY PUGIN. St. Martin’s Church, Herne, Kent. 
 
 Water colour. 6-6 by 9-3. 
 
 T. S. Kennedy. 
 
 112— CHARLES WILD. Iffley Church, Oxfordshire; Norman doorway and part of 
 
 interior. 
 
 Water colour. 1814. 5-4 by 7-1. 
 
 J. W. Wild. 
 
 113— J. SCARLETT DAVIS. Interior of the Church of St. Eustache, Paris. 
 
 Watercolour. “1836.” 10-7 by 6-2. 
 
 William Vokins. 
 
 114— J. SCARLETT DAVIS, Interior of the Church of St. Roch, Paris. (?) 
 
 Water colour. “ 1836.” 11-1 by 6 4. 
 
 William Vokins. 
 
 115— SAMUEL PROUT. The Marien Kapelle, from the Market Place, Wurzburg. 
 
 Watercolour. 27-4 by 21. 
 
 James Worthington. 
 
 110—-SAMUEL PROUT. East end of the Cathedral, from the Market Place, 
 Wurzburg. 
 
 Pencil. 11 2 by 17. 
 
 T. S. Kennedy. 
 
 117—SAMUEL PROUT. The Cathedral of St. Maurice, Angers. 
 
 Pencil. 10-4 by 16. 
 
 T. S. Kennedy. 
 
118—J. W. ARCHER. Monument to Alfrid, King of Bernicia (the Northern 
 Division of Northumberland), at Bewcastle, Cumberland ; West side. 
 
 Water colour. 10-3 by 14-5. 
 
 R. P. Spiers. 
 
 119—JOHN CARTER. “The Porch, or principal entrance at the West front of 
 
 Lichfield Cathedral.” 
 
 Brown and blue. “1782.” 9-4 by 14-7. 
 
 J. C. Jackson. 
 
 120-BENJAMIN FERREY. Church of St. Nicholas, Caen. 
 
 Water colour. 7-1 by 5. 
 
 Mrs. Ferrey. 
 
 121—BENJAMIN FERREY. Le Mans Cathedral. 
 
 Water colour. 7 by 4-7. 
 
 Mrs. Ferrey. 
 
 122—J. S. COTMAN. A Norman Tower on a flat shore. 
 
 Water colour. 15 by 10-3. 
 
 Mrs. Edwin Field. 
 
 123—A. WELBY PUGIN. Amiens from the South-East. 
 
 Water colours. 9 by 5-4. 
 
 P. P. Pugin. 
 
 124—F. MACKENZIE and J. A. BELL. Four views in the University of Cam¬ 
 bridge. 
 
 Sepia. 
 
 ( 1 ) Trinity College Entrance Gateway (by Mackenzie). 
 
 3-6 by 5-3. 
 
 ( 2 ) King’s College, Interior of Hall (by Mackenzie). 
 
 3-6 by 5-4. 
 
 ( 3 ) St. John’s College New Buildings (by Mackenzie). 
 
 4 by 5-5. 
 
 ( 4 ) Queen’s College Entrance Gateway,“as taken in 1837 ” (by J. A. Bell). 
 
 4 by 5-4. 
 
 [Engraved by John Le Keux in “Memorials of Cambridge.”] 
 
 Mrs. Lange. 
 

 125—HUGH O’NEILL. West Doorways, Rouen Cathedral. 
 
 Pencil. 11-3 by 15-2. 
 
 R. Phene Spiers. 
 
 126—EDWARD BLORE. Interior of Roslin Chapel, near Edinburgh. 
 
 Sepia. 6-4 by 9-4. 
 
 Rev. E. W. Blore. 
 
 127—WILLIAM ALEXANDER. 
 
 Water colour. 
 
 Porch, St. Peter’s in the East, Oxford. 
 
 5-6 by 7-6. 
 
 R. Phene Spiers. 
 
 128, 129—GEORGE AITCHISON. Two views in the Tower of the Church of 
 St. Bartholomew the less, London, 1824 . 
 
 Inigo Jones was christened in this Church, 19 th July, 1573 . 
 
 Water colour. Each 10 by 16. 
 
 George Aitchison, A.R.A. 
 
 130—PAUL SANDBY, R.A. West Gate, Canterbury. 
 
 Water colour. 5-7 by 4-2. 
 
 His Grace the Archbishop of Canterbury. 
 
 131—W. L. LEITCH. Doorway in Glasgow Cathedral. 
 
 Water colour. 7-6 by 8-3. 
 
 J. L. Roget. 
 
 132— D. H. McKEWAN. Interior, Hardwick Hall. 
 
 Water colour. 21-6 by 14-4. 
 
 133— GEORGE DODGSON. Courtyard, Hadden Hall. 
 
 Watercolour. “1858.” 19-413713. 
 
 J. A. Bostock, C.B. 
 
 J. Chisholm Gooden. 
 
 134—JO PIN BURGESS. Calvary; Pleyben, Finisterre. 
 
 Water colour. 21-4 by 14-6. 
 
 Built 1670 . 
 
 E. Bollans. 
 
 135—LAKE PRICE. Interior of the Choir of the Frari, Venice 
 
 [Lithographed by Joseph Nash in Lake Price’s “ Interiors and Exteriors in 
 Venice,” fo., 1843 , pi. 20 .] 
 
 Water colour. “ 1840.” 17-2 by 13-3. 
 
 Sir William Drake. 
 
i8 
 
 136—W. H. BARTLETT. Exterior of Town Hall, Ghent. Cf. No. 56 . 
 
 Water colour. 6-5 by 9. 
 
 W. D. Hertz. 
 
 137—SAMUEL PROUT. Tour de l'Horloge, Evreux. 
 
 Pencil. 10 by 15-4. 
 
 T. S. Kennedy. 
 
 138—TPIOS. H. CROMEK. A Norman Doorway. 
 
 Water colour. 9-6 by 12. 
 
 T. S. Kennedy. 
 
 139—SAMUEL PROUT. Houses in Cologne. 
 
 Pencil. 7 by 10-1. 
 
 Sir William Drake. 
 
 140—BENJAMIN FERREY. Gateway, Athelhampton, 
 
 Water colour. 16 by 21-7. 
 
 Dorsetshire. 
 
 Mrs. Ferrey. 
 
 141—JOSEPH NASH. Drawing Room in Speke House, Lancashire. 
 [Lithographed in the “ Mansions of England.” 4 th Series.] 
 
 Watercolour. 19 by 13. 
 
 Henry Vaughan. 
 
 142— SAMUEL PROUT. Church of Sta. Maria dei Miracoli, Venice. 
 
 Pencil. 10 by 14-2. 
 
 Edward Hamilton, M.D. 
 
 143— HUGH O’NEILL. Chapel in Beaumaris Castle. 
 
 Pencil. 17 by 12. 
 
 R. P. Spiers. 
 
 144— J. H. D’EGVILLE. Tintern Abbey. 
 
 Water colour. “ 1844.” 13-2 by 16-3. 
 
 Edward Hamilton, M.D. 
 
 145— JOHN BURGESS. Stratford-on-Avon Church, with old pew and stone pulpit, 
 
 removed during recent restorations. 
 
 Water colour. 12-2 by 17-2. 
 
 E. Bollans. 
 
19 
 
 146—JAMES HOLLAND. Desecrated Church of St. Laurent, Rouen 
 
 Pencil. “1850.” u-6byi7. 
 
 
 Edward Hamilton, M.D. 
 
 147—JOHN BURGESS. 
 
 Chartres Cathedral ; North Porch and Texier’s Spire. 
 Water colour. 14 by 23 - 4 . 
 
 E. Bollans. 
 
 148—S. A. HART, R.A. 
 West. 
 
 Interior of the Abbey Church of St. Albans ; looking 
 
 Water colour. 13 by 16-2. 
 
 R. Phene Spiers. 
 
 149— UNKNOWN. Interior of the Abbey Church of St. Albans ; looking East. 
 
 Water colour. 16-6 by 21-4. 
 
 George Smith. 
 
 150— SAMUEL PROUT. Part of the Fagade of the Knights’ Hall, Castle of 
 
 Heidelberg. 
 
 Water colour. 9-3 by 12 - 6 . 
 
 Frederick Nettlefold. 
 
 151— J. C. BUCKLER. Fountain’s Abbey, Yorkshire. 
 
 Water colour. “ 1840.” 14-4 by 20-3. 
 
 jas. Worthington. 
 
 152— SAMUEL PROUT. Church in Normandy. 
 
 Water colour. 9-3 by 14-1. 
 
 Henry Vaughan. 
 
 153— UNKNOWN. Church of St. Pierre, Caen, Normandy. The Moat was filled 
 
 up in i 860 . 
 
 Pen and ink, outline. 21-3 by 17. 
 
 Robert Hampson. 
 
 154— T. TALBOT BURY. Pulpit in Strasbourg Cathedral. 
 
 155—THOS. HEARNE. 
 
 Water colour, r6-1 by 27-6. 
 
 Matthew Wyatt. 
 
 Dunstable Church, Bedfordshire ; exterior. 
 
 Water colour. 5-3 by 8-4. 
 
 Jas. Worthington. 
 
20 
 
 156—HENRY EDRIDGE, A.R.A. Christ Church, Oxford. 
 
 Pencil. 11-2 by 15-1. 
 
 The Fine Art Society. 
 
 157—JOHN CONEY. Westminster Abbey. 
 
 Water colour. 24-2 by 29-2. 
 
 Jas. Worthington. 
 
 158—THOS. HE ARNE, Thaxted Church, Essex ; exterior. 
 
 Water colour. 7-6 by 9-7. 
 
 Jas. Worthington. 
 
 159—WILLIAM ALEXANDER. Entrance to Bishop’s Palace, Wells. 
 
 Grey. 9 4 by 7. 
 
 George Smith. 
 
 160—J. M. W. TURNER, R.A. Leiston Abbey, near Aldbourgh, Suffolk. 
 
 Water colour. 10-4 by 12, 
 
 J. C. Jackson. 
 
 161—J. M. W. TURNER, R.A. Battle Abbey, Sussex. 
 
 Watercolour. 10-1 by 6-1. 
 
 Frederick Nettlefold. 
 
 162—A. WELBY PUGIN. A Church on the Rhine. 
 
 Water colour. 7-5 by 10-4. 
 
 P. P. Pugin. 
 
 163—A. WELBY PUGIN. Bishop’s Palace, Beauvais. Now Palais de Justice. 
 
 Watercolour. 9-1 by 12-7. 
 
 P. P. Pugin. 
 
 164--A. WELBY PUGIN. A Gothic Building in a Town. 
 
 Water colour. 7-6 by 9-1. 
 
 P P. Pugin. 
 
 165—CHARLES WILD. Church of St. Jacques, Antwerp ; interior. 
 
 [The Altar of the Holy Sacrament.] 
 
 Water colour, 23 by 29. 
 
 J. W. Wild. 
 
166—J. M W. TURNER, R.A. Interior of Westminster Abbey. Inscribed 
 “ William Turner, Natus 1775 .” 
 
 Watercolour. 15-4 by 21-2. 
 
 John Morris. 
 
 167—J. M. W. TURNER, R.A. A Country Church on a height. 
 
 Water colour. 9 2 by 6-7. 
 
 George Smith. 
 
 168—W. W. DEANE. North Porch of Chartres Cathedral, 1871 . 
 
 Water colour. 38 by 27. 
 
 Mrs. W. W. Deane. 
 
 169—J. M. W. TURNER, R.A. Melrose Abbey. 
 
 Water colour. 16-3 by 13-3. 
 
 James Worthington. 
 
 170—J. M. W. TURNER R.A. Gothic arch in the Cloister wall of Evesham Abbey, 
 
 >ned “ W. Turner.” 
 
 Water colour. 10-6 by 8-2. 
 
 Worcestershire. Signed “ W. Turner.’ 
 
 James Worthington. 
 
 171—J. M. W. TURNER, R.A. St. Mary’s Church, Stafford. 
 
 Water colour. 6 by 4-1. 
 
 P. C. Hardwick. 
 
 172—CHARLES WILD. North Porch, Chartres Cathedral. 
 
 Water colour. 14-3 by 10-6. 
 
 J. W. Wild. 
 
 173—CHARLES WILD. Rouen Cathedral; South Transept. Exterior. 
 
 [The subject enlarged was engraved in a coloured Aquatint Facsimile in 
 a Series of 12 Views of Foreign Cathedrals.] 
 
 Water colour. 6 by 9-5. 
 
 J. W. Wild. 
 
 174—W. W. DEANE. “ L'Orto del Paradiso.” Church of Santa Prassede, Rome. 
 
 Water colour. 19-4 by 28. 
 
 Mrs. W. W. Deane. 
 
22 
 
 175—J. M. W. TURNER, R.A. Interior of Ely Cathedral. 
 
 Watercolour. 19-4 by 25. 
 
 Stephen Winkworth. 
 
 176—DAVID COX. Leominster Church. Exterior. 
 Gilbert Scott, 1866 . 
 
 Sepia and Grey. 12-6 by 9-4. 
 
 Afterwards restored by Sir 
 
 J. S. Storr. 
 
 177—W. W. DEANE. 
 
 Chapel behind the Puertade Justicia. Alhambra, Granada. 
 Water colour. 19-4 by 23-4. 
 
 Mrs. W. W. Deane. 
 
 178—THOS. GIRTIN. Jedburgh Abbey. 
 
 Watercolour. 12 by 14-5. 
 
 Jas. Worthington. 
 
 179—J. M. W. TURNER, R.A. Four views of English Ruins. 
 
 ( 1 ) St. Mary’s, Colchester. 
 
 ( 2 ) Rumborough Priory, Suffolk. 
 
 ( 3 ) Hedingham Castle, Halsted, Essex. Pure Anglo-Norman. Between 
 
 1088 and 1107 , A.D. Once the seat of the Ancient family of the 
 De Veres, Earls of Oxford. King Henry the VII. was entertained here 
 in great state. 
 
 ( 4 ) Portchester Castle, Hants. 
 
 Water colour. Each 4-6 by 3. 
 
 Hon. Rowland Winn. 
 
 180—SAMUEL PROUT. Bamberg. 
 
 Pencil. 16 by 10. 
 
 T. S. Kennedy. 
 
 181—DAVID ROBERTS, R.A. Burgos Cathedral. West Front. 
 
 [Engraved by E. Challis in Jennings’s “ Landscape Annual,” 1837 .] 
 
 Watercolour. “1836.” 10-2 by 15-4. 
 
 Henry Vaughan. 
 
 182—G. E. STREET, R.A. Monument, East of San Pietro Martiri, Verona. 
 
 Water colour. “ 1872.” 9-4 by 11. 
 
 A. C. Street. 
 
183— G. E. STREET, R.A. Das Goldene Dach. Innsbruck. 
 
 Watercolour. “1868.” 8-2 by 11-2. 
 
 184— G. E. STREET, R.A. Crypt of the Duomo, Aquileja. 
 
 Water colour. “ 1872.” 8-2 by 10-2. 
 
 A. C. Street. 
 
 A. C. Street. 
 
 185—G. E. STREET, R.A. Capital : Lower Arcade, Piazzetta front of Doge’s 
 Palace, Venice. 
 
 Water colour. “ 1868.” 8-5 by 10-6. 
 
 A. C. Street. 
 
 186—GEORGE DODGSON. Gothic porch of a Cathedral. 
 
 Charcoal. 17-4 by 10-7. 
 
 W. H. Cope. 
 
 187— SAMUEL PROUT. The Entombment ; in the Church of St. Jacques, 
 
 Dieppe. 
 
 Pencil. 17-6 by 13-6. 
 
 J. H. Hutchinson. 
 
 188— SIR M. D. WYATT. Church of San Benedetto, Subiaco; interior. 
 
 Water colour. 29 by 21. 
 
 Lady Wyatt. 
 
 189— DAVID ROBERTS, R.A. Transept of the Church of St. Miguel, Xeres. 
 
 [Engraved in Jennings’s “ Landscape Annual,” 1836 .] 
 
 Water colour. “ 1834.” 10-2 by 14-2. 
 
 Henry Vaughan. 
 
 190— DAVID ROBERTS, R.A. Church of the Holy Sepulchre, Jerusalem. 
 
 Watercolour. “April 11, 1839.” 19 by 12-6. 
 
 Sir Thomas Brassey, K.C.B., M.P. 
 
 191—C. R. COCKERELL, R.A. Interior of the Church of San Paolo fuori le 
 Mura, Rome. Before the Fire of July, 1823 . 
 
 Sepia and Indigo, 12 by 8. 
 
 Mrs. F. P. Cockerell. 
 
 192—SAMUEL PROUT. Rubens’s House, Antwerp. The Italian screen and 
 archway, leading into the garden, designed by Rubens. 
 
 [Exhibited by the Fine Art Society in 1880 . See Ruskin’s Notes, p. 59 .] 
 Pencil. n-ibyi 6 . 
 
 The Fine Art Society. 
 
24 
 
 193—F. P. COCKERELL. “ Laborare et Orare.” Cloisters of a Monastery. 
 [Composition suggested by St. Antonio, Padua.] 
 
 Water colour. 22 by 16-4. 
 
 Mrs. F. P. Cockerell. 
 
 194—DAVID ROBERTS, R.A. Church of the Nativity at Bethlehem. 
 
 Water colour. “ April 6th, 1839.” 20 by 14. 
 
 Sir Thomas Brassey, K.C.B., M.P. 
 
 195—THOMAS ALLOM. Fountain of Sultan Ahmet III., near the Bab-i-Hum- 
 mayoun, or Great Gate of the Seraglio, Constantinople. This name, literally 
 the “High Gate,” is said to have originated, through its French equivalent, 
 the designation “The Sublime Porte” for the seat of Turkish diplomacy. 
 
 [E ngraved by E. Challis in Walsh’s “ Constantinople, &c.” Vol. 2 , p. 6 .] 
 Water colour. 11 -6 by 8. 
 
 Mrs. J. S. Storr. 
 
 198—C. ROGERS COTTON. Whitby Abbey ; with the Tower standing. 
 
 Sepia. 13-7 by 9-4. 
 
 J. C. Jackson. 
 
 197—W. W. DEANE. Chapel of the Holy Cross, St. Mark s, Venice. 
 
 Water colour. 9-6 by 16. 
 
 Mrs. W. W. Deane. 
 
 198—SIR M. D. WYATT. Baptistery, St. Mark’s, Venice. 
 Water colour. 8 by 11-2. 
 
 T. H. Wyatt. 
 
 199—THOMAS ALLOM. Interior of Greek Church of St. Theodore. Pergamus, 
 Asia Minor. 
 
 [Engraved by T. A. Prior in Walsh’s “ Constantinople, &c.” Vol. 2 , p. 35 .] 
 Watercolour. 11-6 by 16-3. 
 
 Mrs. J. S. Storr. 
 
 200—J. PARK. Cathedral and Tower of Pisa. 
 
 Indian Ink. 19-4 by 13. 
 
 G. P. Boyce. 
 
25 
 
 201—SAMUEL PROUT. Palazzo Pisani a San Polo. Grand Canal, Venice. 
 [Engraved by W. R. Smith in Jennings’s “ Landscape Annual,” 1831 .] 
 Water colour. 16-3 by 10-4. 
 
 Frederick Nettlefold. 
 
 202—JOHN BURGESS. Westminster Abbey. Interior. 
 
 Water colour. 10 by 17-2. 
 
 E. Bollans. 
 
 203 -DAVID ROBERTS, R.A. Part of a Gothic ruin. 
 
 Sepia. 9-2 by 12-4. 
 
 Early English. 
 
 G. P. Boyce. 
 
 204—SAMUEL PROUT. Petrarch’s Tomb at Arqua. 
 
 [Exhibited by the Fine Art Society, 1880 . See Ruskin’s Notes, p. 59 . 
 Engaved by Wallis in Rogers’s “ Italy,” 1830 , p. 88 .] 
 
 Pencil. 10 by 14-3. 
 
 The Fine Art Society. 
 
 205—SAMUEL PROUT. Petrarch’s House at Arqua. 
 
 [Exhibited by the Fine Art Society, 1880 . See Ruskin’s Notes, p. 59 . 
 Engraved by Charles Heath in Jennings’s “Landscape Annual,” 1830 .] 
 
 Pencil. 10 by 14-3. 
 
 The Fine Art Society. 
 
 206—THOMAS ALLOM. Ruins of Hierapolis, Asia Minor. 
 
 [Engraved by S. Fisher in Welsh’s “ Constantinople, &c.” 
 Water colour. 12-1 by 17-6. 
 
 From the Theatre. 
 Vol. 2 , p. 17 .] 
 
 Mrs. J. S. Storr. 
 
 207—F. P. COCKERELL and J. E. GOODCHILD. Interior of St. Paul’s 
 Cathedral, London, according to an unexecuted design by Sir Christopher 
 Wren. 
 
 Sepia. 36-4 by 34 (top round.) 
 
 Royal Institute of British Architects. 
 
 208—F. P. COCKERELL and J. E. GOODCHILD. Interior of St. Paul’s 
 Cathedral, London, according to an unexecuted design by Sir Christopher 
 Wren. 
 
 Sepia. 37-4 by 28. 
 
 Royal Institute of British Architects. 
 
2 6 
 
 Nos. 209 to 231 ARE ON THE FIRST SCREEN. 
 209—SYDNEY SMIRKE, R.A. “ Convent of the Certosa, Pavia.” (?) 
 
 Pencil. About 9 by 5-4. 
 
 Sydney Smirke. 
 
 210—SYDNEY SMIRKE, R.A. Palazzo Doria, Genoa. 
 
 Indian ink. 9-2 by 6-4. 
 
 Sydney Smirke. 
 
 211— SYDNEY SMIRKE, R.A. Porta Pia, Ancona (Vanvitelli). 
 
 Indian ink. About 6-6 by 7. 
 
 Sydney Smirke. 
 
 212— SYDNEY SMIRKE, R.A. Villa Falconieri, Frascati (Bramante). 
 
 Pencil. About 7-4 by 4. 
 
 
 Sydney Smirke. 
 
 213—J. SCARLETT DAVIS. An old French building. 
 
 Pencil, grey, and slight tint. 7-5 by 10-2. 
 
 John Paget. 
 
 214—FREDK. MACKENZIE. York Minster; Interior. 
 
 Water colour. 6-5 by 9-5. 
 
 James Worthington. 
 
 215— FREDK. MACKENZIE. Canterbury Cathedral ; Interior, South Aisle. 
 
 Water colour. 6-5 by 9 5. 
 
 James Worthington. 
 
 216— J. SCARLETT DAVIS. Tomb of Heloise and Abelard. Cemetery of Pere 
 
 la Chaise, Paris, 
 
 Pencil and Grey. 11-3 by T5. 
 
 John Paget. 
 
 217—SYDNEY SMIRKE, R.A. Cortile of Palazzo Massimi. (The last work of 
 Baldassare Peruzzi), Rome. 
 
 Pencil, Sepia, and slight colour. 7-3 by 9-2. 
 
 218—CHARLES WILD. “ Hotel de Ville, Cologne.” 
 
 Pencil, “1825.” 9 by 11-6. 
 
 Sydney Smirke. 
 
 J. W. Wild. 
 
2 7 
 
 219—CHARLES WILD. Interior of a Church in Belgium. 
 
 Pencil (outline for a picture). 7-6 by 13-4. 
 
 J. W. Wild. 
 
 220— J. SCARLETT DAVIS. Tower of Cathedral, Mechlin. 
 
 Pencil. 5-2 by 8-5. 
 
 221— J. SCARLETT DAVIS. “ North side of Saint Denis.” 
 
 Pencil and Grey. 6-2 by 10-3. 
 
 John Paget. 
 
 John Paget. 
 
 222—BENJAMIN FERREY. Nine Sketches in Germany and Italy; from a 
 Scrap-Book. 
 
 ( 1 ) Gothic Hexagonal Lantern. “ Sanctus Bell.” “ 1858 .” 
 
 ( 2 ) Lantern. “ Stadthaus Platz,” Cologne. 
 
 ( 3 ) Spire, Amiens. “ 1858 .” 
 
 ( 4 ) St. Stephen’s Church, Vienna. Details of Tower. 
 
 ( 5 ) North Porch, St. Stephen’s, Vienna. 
 
 ( 6 ) Bell Tower, Church of the Apostles, Cologne. 
 
 ( 7 ) Worms Cathedral. 
 
 ( 8 ) Campanile of the Hotel de Ville, Verona. 
 
 ( 9 ) Part of Giotto’s Campanile, Sta. Maria del Fiore, Florence. 
 
 Pencil. 5-5 by 8-2 and smaller. 
 
 B. F. Ferrey. 
 
 223—G. E. STREET, R.A. Coutances Cathedral. 
 North. 
 
 Pencil. “ 1855.” lo-l by 14-6. 
 
 Interior, Transept looking 
 
 A. C. Street. 
 
 224—G. E. STREET, R.A. St. Remy, Rheiins. Interior of Choir. 
 
 Pencil. “1855.” 9-2 by 13-7. 
 
 A. C. Street. 
 
 225—J SCARLETT DAVIS. A French Building. 
 
 Pencil, Sepia and Blue. 4-1 by 6-6. 
 
 Transition Renaissance. 
 
 John Paget. 
 
 226—J. SCARLETT DAVIS. Church of St. Jacques, Paris. Now destroyed, with 
 the exception of the Tower. West Door. 
 
 Pencil, Sepia and Blue. 3-6 by 7-1. 
 
 John Paget. 
 
28 
 
 227—G. E. STREET, R.A. Courtyard of Jacques Cceur’s House, Bourges. 
 
 Pencil. “1856.” 13-7 by 10-3. 
 
 A. C. Street. 
 
 228—G. E. STREET, R.A. Church of St. Etienne, Caen. Exterior. 
 
 Pencil. “1855.” 12 by 9-6. 
 
 A. C. Street. 
 
 229— CHARLES WILD. Five studies of Architectural Details, &c. 
 
 [Leaves of a Sketch Book.] ( 1 , 2 ) From Chartres Cathedral. 
 ( 3 ) From Strasbourg Cathedral. ( 4 , 5 ) From Rheims Cathedral. 
 Pencil. 9 by 8 (and smaller.) 
 
 J. W. Wild. 
 
 230— G. E. STREET, R.A. Church of Sta. Maria, Como. Exterior of Apse. 
 
 Pen and ink. “ 1867.” 9-1 by 11-4. 
 
 A. C. Street. 
 
 231— G. E. STREET, R.A. Bourges Cathedral. Nave, looking north. 
 
 Pencil. “1856.” 9-2 by 14-4. 
 
 A. C. Street. 
 
 Nos. 232 to 243 ARE ON THE SECOND SCREEN. 
 
 232—EDWARD BLORE. Cromer Church, Norfolk. Exterior. The mullions 
 and tracery of the windows, which, when the sketch was made, had been 
 removed, and formed a kind of ornamental parapet to the churchyard wall, 
 are here restored from careful measurements by the artist. [Not engraved.] 
 Pencil, u-2 by 8-2. 
 
 Mrs. Keyser. 
 
 233— EDWARD BLORE. Doncaster Church, Yorkshire. Exterior. Before its 
 
 destruction by Fire in 1853 . [Not engraved.] 
 
 Pencil. io-7 by 8-7. 
 
 Mrs. Keyser. 
 
 234— EDWARD BLORE. Howden, Yorkshire. The Chapter House. 
 
 [Not engraved.] 
 
 Pencil. 6-5 by 9-7. 
 
 Mrs. Keyser. 
 
29 
 
 235— EDWARD BLORE. Bridlington Priory Church, Yorkshire. Interior. 
 
 [Not engraved.] 
 
 Pencil. 6-6 by 11 -4. 
 
 Mrs. Keyser. 
 
 236— EDWARD BLORE. Caistor Church, Northamptonshire. Exterior. 
 
 [Not engraved.] 
 
 Pencil. 8-4 by 10-7. 
 
 Mrs. Keyser. 
 
 237— EDWARD BLORE. Ripon Minster, Yorkshire. West Front. 
 
 [Not engraved.] 
 
 Pencil. 8-6 by 11-4. 
 
 Mrs. Keyser. 
 
 238— JOHN CONEY. Amiens Cathedral. West Front, &c. 
 
 [From the Bale collection.] 
 
 Pencil. About 1822. 11 by 15. 
 
 W. J. N. Millard. 
 
 238a —WILLIAM BURGES, A.R.A. A Sketch Book of Architectural Details, 
 drawn on Vellum, 
 
 Pen and ink. 6 4 by 9-2. 
 
 A. Emerson. 
 
 239—FREDERICK MACKENZIE. In St. Mary’s Church, Beverley. 
 
 Sepia. 3-7 by 6. 
 
 R. Phene Spiers. 
 
 240—FREDERICK MACKENZIE. Interior of the Radcliffe Library, Oxford. 
 
 [Engraved by John Le Keux (same size) in Dr. James Ingram’s “ Memorials 
 of Oxford,” 3 vols., 4 to., 1837 . Also, in aquatint by J. Bluck (10 by 
 8 inches) in Ackermann’s <c History of the University of Oxford,” 
 2 vols., 1814 .] 
 
 Sepia. 5-4 by 3-6. 
 
 R. Phend Spiers. 
 
 241—WENCESLAUS HOLLAR. Views in London. 
 
 ( 1 ) Westminster, from the River. 
 
 Indian ink. “ 1625.” 16-4 by 4-5. 
 
 ( 2 ) Westminster Abbey and Hall, from the River. 
 
 Indian ink. 5-4 by 4-4. 
 
 ( 3 ) Westminster Abbey and Hall, and St. James’s Palace, from Pall Mall. 
 
 Indian ink. II-6 by 4. 
 
 Her Majesty the Queen. 
 
242— R. P. BONINGTON. 
 
 243— R. P. BONINGTON. 
 
 “ The Loggetta del Bigallo, Florence.” 
 
 Water colour. 4 by 6-4. 
 
 Henry Vaughan. 
 
 Gisors Cathedral. 
 
 Pencil. 3-6 by 4-6. 
 
 Henry Vaughan. 
 
 243 a —A. WELBY PUGIN. Interior of Church of St. Vincent, Rouen. 
 
 Water colour. 6 by 9-4. 
 
 P. P. Pugin. 
 
 Nos. 244 to 268 ARE ON THE THIRD SCREEN. 
 
 244, 245—EDWARD BLORE. Two Medieval Monuments. 
 
 [Not engraved.] 
 
 244 . To John Broughton. Broughton, Oxfordshire, 1340 . 
 Indian ink. 6-1 by 8. 
 
 245 . Effigies of Sir John Cockaine and his brother, Judge Cockaine. 
 Ashbourne, Derbyshire. 1410 . 
 
 Indian ink. 4-6 by 8. 
 
 Mrs. Keyser. 
 
 246—JOHN CONEY. 
 
 Lincoln Cathedral. Interior, looking South-East. 
 Pencil. “ 1818.” 14-1 by 18-7. 
 
 George Smith. 
 
 247, 248, 249 — EDWARD BLORE. Three drawings of Mediaeval monuments. 
 [Not engraved.] 
 
 247 . To Sir Roger Kerdiston. Repeham, Norfolk, 133 7 . 
 
 Indian ink. 4-7 by 8-2. 
 
 248 . To One of the Bohuns. Hereford Cathedral, 1350 . 
 
 Indian ink. 4-7 by 8. 
 
 249 . To the Alards or Finches. Winchelsea, Sussex, 1325 . 
 
 Indian ink. 8 by 5-5. 
 
 Mrs. Keyser. 
 
 250—CHARLES WILD. Church of St. Remy, Dieppe. 
 
 Water colour. “ 1821.” 8 by 10. 
 
 Interior. 
 
 J. W. Wild. 
 
 251—JOHN CONEY. Hotel de Ville, Bruges. [Engraved by the Artist in his 
 “ Beauties of Continental Architecture.” 4 to., 1843 .] 
 
 Pencil. “1824.” 14-6 by 10-2. 
 
 George Smith. 
 
3 * 
 
 252— SIR CHARLES BARRY, R.A. The Holy Sepulchre, Jerusalem. 
 
 Lamp black. 6-5 by 8-1. 
 
 J. W. Barry. 
 
 253— SIR CHARLES BARRY, R.A. Vestibule of St. Peter’s, Rome. 
 
 Sepia. 9 by 12-5. 
 
 J. W. Barry. 
 
 254— JOHN CONEY. Exeter Cathedral. View from South Aisle, looking 
 
 North-east. 
 
 Pencil. “ 1820.” 11-2 by 17-3. 
 
 George Smith. 
 
 254 a —JOHN BURDEN. Cirencester Church; South Entrance. 
 
 [A Drawing of the same subject, by the same artist, is engraved in the 
 “ Beauties of England and Wales” vol. 5 , p. 607 .] 
 
 Water colour. 1815. II-I by 13-1. 
 
 A. H. Church. 
 
 255— FREDERICK MACKENZIE. Lincoln Cathedral. 
 
 [Outline for an engraving, etched by Augustus Pugin, finished in 
 mezzotint by William Say, and published 1829 .] 
 
 Pencil. About 21 by 16. 
 
 Wyatt Papworth. 
 
 256— RICHARD CATTERMOLE. West central Doorway, Lincoln Cathedral. 
 
 Pencil, Pen and Sepia. 6 by 8. 
 
 T. J. Willson. 
 
 257—AUGUSTUS PUGIN—South Doorway of Presbytery; Lincoln Cathedral. 
 
 Pen and Indian ink. 1818. 6 by 8. 
 
 T. J. Willson. 
 
 258—AUGUSTUS PUGIN—Lincoln Cathedral. North view, showing the Rood 
 Tower, the greater and lesser Transepts, and Deanery Tower demolished in 
 1848 , in front. 
 
 Sepia. 4-4 by 6. 
 
 T. J. Willson. 
 
 259—AUGUSTUS PUGIN. Interior of Presbytery of Lincoln Cathedral, with 
 Tomb of Bishop Burghersh, and (to the right) part of the base of the 
 Reliquary. On the opposite side are the “ Cantelupe Tombs.” The canopies 
 of Bishop Burghersh’s and the adjoining tomb (East) fell down about 1760 
 owing to persons climbing upon them. 
 
 [The restoration here shown was made from the fragments by the direction 
 of the late E. J. Willson, architect.] 
 
 Pencil. 1819. 4-3 by 6-3. 
 
 T. J. Willson. 
 
260— W. H. BARTLETT. Lincoln Cathedral. Interior of nave and transept, 
 
 looking North-East. 
 
 Pencil and sepia. 1827. 6 by 8-1. 
 
 T. J. Willson. 
 
 261— W. II. BARTLETT. Lincoln Cathedral. Interior of nave from North 
 
 Aisle ; looking East. 
 
 Pencil and Sepia. 1827. 6-1 by 8-4. 
 
 T. J. Willson. 
 
 262-264—AUGUSTUS PUGIN. Three views of Lincoln Cathedral (restored 
 from suggestions of the late E. J. Willson, architect). 
 
 ( 262 ) The Eastern End. 
 
 4-4 by 6-5. 
 
 ( 263 ) General view from Broadgate. Below the Cathedral are the ruins of 
 
 the Bishop’s Palace, and to the right of it the Priest-Vicar’s College. 
 6-5 by 5. 
 
 ( 264 ) The West front; the South transept and Galilee porch beyond. The 
 
 West spires, of timber, were destroyed in 1807 . 
 
 Sepia. “ 1819.” 4-4 by 6-3. 
 
 T. J. Willson. 
 
 265—JOHN CARTER. Peterborough Cathedral. 
 
 Indian ink, tinted. 3-6 by 4-4. 
 
 J, C. Jackson. 
 
 266— JOHN CARTER. South-West View of Canterbury Cathedral. Inscribed 
 
 “J. Carter. Taken 1785 . Drawn 1786 .” Before the Anselm Tower was 
 destroyed. 
 
 Indian ink, tinted. 4 by 4-3. 
 
 J. C. Jackson. 
 
 267— W. H. BARTLETT. Lincoln Cathedral. Exterior, looking South-West 
 
 from Cloister. 
 
 Pencil and Sepia. 1827. 8-4 by 6-6. 
 
 T. J. Willson. 
 
 268—W. H. BARTLETT. Lincoln Cathedral. Exterior, looking North-West. 
 
 Pencil and Sepia. 1827. 6-2 by 8-3. 
 
 T. J. Willson. 
 
Nos. 269 to 271 ARE ON THE STAIRCASE. 
 
 269—J. 
 
 M. W. TURNER, R.A. A Church, by River. 
 
 [One of Turner’s earliest drawings. Executed at about the time when, as a 
 youth, he worked in the office of Mr. Hardwick, architect.] 
 
 Water colour. 15 by 10-6. 
 
 P. C. Hardwick. 
 
 270—J. 
 
 M. W. TURNER, R.A. View of a Church. 
 
 [One of Turner’s early attempts at colouring when a boy. The building is 
 probably ideal] 
 
 Water colour. Oval. 16-4 by 11-6. 
 
 P. C. Hardwick. 
 
 271—J. 
 
 M. W. TURNER, R.A. Gateway of Lambeth Palace. 
 
 [A drawing, possibly this, of “ The Archbishop’s Palace at Lambeth” was 
 the first work which Turner exhibited at the Royal Academy. This 
 in 1790 , when he was 15 years old. See date of birth on drawing 
 No. 166 .] 
 
 Water colour. 15-2 by 9-4. 
 
 P. C. Hardwick. 
 
 THE FOLLOWING DRAWINGS ARE IN THE WRITING ROOM. 
 
 272—THOMAS MALTON. Exterior of St. Paul’s Cathedral, London. 
 West Front. 
 
 [Engraved in aquatint in Malton’s “London and Westminster.” Plate 
 dated 1 st March, 1801 .] 
 
 Water colour. 38 by 26. 
 
 Royal Institute of British Architects. 
 
 273 to 295—INIGO JONES. Twenty-three Sheets of Architectural Designs 
 drawn by and under the direction of Inigo Jones. See Appendix.' 
 
 273 . The Lodge at Sherbourne. Finished drawing by Flitcroft. Authorship 
 
 of Design uncertain. Style of Inigo Jones. 
 
 274 . Design for a Palace by Inigo Jones. Drawing by Flitcroft. Engraved 
 
 in Kent’s Designs of Inigo Jones. Vol. II., plate 40 . 
 
34 
 
 275. A Garden Scene, with Colonade. Designed and drawn by Inigo Jones. 
 
 276 . The principal plan and elevation of a house, by Inigo Jones. Drawing 
 
 by Flitcroft. Engraved in Kent’s Designs of Inigo Jones. Vol. II., 
 plate 7 . 
 
 277 . Another portion of 274 . 
 
 278 . Architectural Vista for a Scene. Drawing and design by Inigo Jones. 
 
 279 . Two Sketches for Chimney Pieces, by Inigo Jones. 
 
 280 . Four Sketches for Carving in High-Relief, by Inigo Jones. 
 
 281 . Architectural Vista for a Scene, especially interesting owing to the 
 
 Gothic Pavilion in the centre. Drawing and design by Inigo Jones. 
 
 282 . Chimney Piece, probably designed by Inigo Jones. 
 
 283 . Sketches for Capitals, mostly of the Composite Order, by Inigo Jones. 
 
 284 . Avery highly finished and elaborate Architectural Vista for a Scene, by 
 
 Inigo Jones. 
 
 285 . Elevation and plan of a house, by Inigo Jones. Drawn by Flitcroft. 
 
 Engraved in Kent’s Designs of Inigo Jones. Vol. II., plate 15 . 
 
 286 . Design for a building in the shape of a Greek Cross, by Inigo Jones. 
 
 Drawing by Flitcroft. Engraved in Kent’s Designs of Inigo Jones. 
 Vol. II., plate 27 . 
 
 287 . A View in an Italian Town. Probably by Inigo Jones. 
 
 288 . A View of Pisa Cathedral, by Inigo Jones. 
 
 289 . Two Designs of Chimney Pieces, by Inigo Jones. 
 
 290 . One of the Designs made by Inigo Jones for the West Front of Old 
 
 St. Paul’s. The Design that was actually executed is shown in 
 Kent’s Designs of Inigo Jones. Vol. II., plates 55 and 56 . 
 
 291 . Sketch for a Triumphal Arch, in honour of James I., dated 1622 
 
 and 1623 , by Inigo Jones. 
 
 292 . Two Sketches in Rome showing Trajan’s Column and the Pantheon. 
 
 Probably by Inigo Jones. 
 
 293 . Design for an Altar Piece. 
 
 294 . Sketch Design for a Screen at Winchester Cathedral, by Inigo Jones. 
 
 295 . The same, showing how Kent worked up Inigo Jones’s Sketches for 
 
 illustrations for his book. 
 
 The Duke of Devonshire. 
 
 296—DECIMUS BURTON. Sketch design for Royal Arch, Constitution Hill. 
 
 Pencil. 
 
 Miss Wood. 
 
35 
 
 297—DECIMUS BURTON. Elevations and Ground Plan of the Entrance Gate 
 to the Green Park, Nov. 1825 . Inscribed, “This design was returned from 
 the Commissioners of Woods with their letter, dated January 14 th, 1826 , 
 containing the communication of its being approved by His Majesty, 
 to be executed instead of the original design I submitted.—D. B.” 
 
 Indian ink. I5_by 20. 
 
 Miss Wood. 
 
 298—DECIMUS BURTON. “Proposed Design for the Entrance Gate to the 
 Green Park, &c., or as the Royal Entrance to the Palace ; ” showing scheme 
 for a Royal road distinct from Constitution Hill. Inscribed, “Aug. 15 th, 
 Received back from the Right Hon. Sir Chas. Long as approved by His 
 Majesty, to be put in execution, with the exception that the windows shall 
 not be diminished at the top.—Appd. G. R.” 
 
 Sepia and Indigo. 
 
 Miss Wood. 
 
 299—DECIMUS BURTON. Sketch design for Entrance Gate to the Green Park, 
 without the Porter’s Lodges of the earlier design. 
 
 Pencil. 
 
 Miss Wood. 
 
 300—DECIMUS BURTON. 
 Hyde Park. 
 
 Two alternative designs for the Entrance Gates to 
 Sepia. 
 
 Miss Wood. 
 
 301—PHOTOGRAPH. Hyde Park Corner prior to 1827 . From an old oil painting. 
 
 Miss Wood. 
 
 302—PHOTOGRAPH. From an oil painting, by James Holland, of Hyde Park 
 Corner in 1827 , with the Entrance Arch to the Green Park ; with the 
 sculptural decorations as originally intended. Inscribed with a protest by 
 the architect (Decimus Burton) against the substitution of the Wellington 
 statue for a Quadriga with Britannia Triumphans. Mr. Decimus Burton is 
 said to have executed a will, afterwards revoked, bequeathing ^ 2,000 for 
 effecting the change he desired. 
 
 Miss Wood. 
 
 302 a— THOMAS SANDBY, R.A. Whitehall,with the South Gateway; attributed 
 to Holbein. Destroyed in 1760 . 
 
 Indian ink. “3743.” 2I-2 by 13-6. 
 
 Her Majesty the Queen. 
 
3 ^ 
 
 303 —JAMES STUART. Ornamental design. 
 
 [Engraved in “The Antiquities of Athens.” 
 
 Indian ink. 11-5 by 10-4. 
 
 A Vase supported by Griffins. 
 
 Vol. E] 
 
 Wyatt Papworth. 
 
 304 —SIR JAMES THORNHILL. Design for decoration of a wall and ceiling. 
 
 Water colour. 7-2 by 12-1. 
 
 C. J. Shoppee. 
 
 305 -SIR JAMES THORNHILL. 
 
 Indian ink. 
 
 Design for decoration of a staircase wall. 
 
 11-4 by 10-2. 
 
 C. J. Shoppee. 
 
 306 —'THOS. HENRY WYATT and SIR M. DIGBY WYATT. “Sketch 
 design; New Government Offices in extension of the Banqueting House, 
 Whitehall.” [Drawn by Sir M. D. Wyatt.] 
 
 Water colour. 13-6 by 8-5. 
 
 Matthew Wyatt. 
 
 * 307 —After ANTONIO DI SANGALLO. Unexecuted design for St.Peter’s,Rome. 
 
 See Bonanni “ Numismata Summorum Pontificum,” Rome 1696. Vol. III. 
 This elevation of the facade as well as the half-elevation, half-section, No. 
 309, corresponds with the wooden model, now preserved in St. Peter’s, 
 executed by Antonio Labacco under Sangallo’s direction. Bonanni states 
 that a design was also engraved on copper, for the approval of Paul III., 
 but by his time the plate was worn out, and that therefore he has had others 
 engraved for his work. These latter plates correspond very closely with the 
 designs here exhibited. There is also a medal of Paul IIP, struck in 1549 
 for the Jubileum of 1550; the reverse shows with considerable detail 
 Sangallo’s facade. It may be mentioned that Sangallo died in 1546, and 
 the Pope himself in November, 1549. Cf. No. 309. 
 
 Indian Ink. 28 by 20. 
 
 Her Majesty the Queen. 
 
 308 —INIGO JONES. Design for Whitehall Palace, Westminster side. 
 
 [This and No. 310 were probably the perspective views originally furnished 
 to the King.] 
 
 Indian ink. 37 by 23. 
 
 Her Majesty the Queen. 
 
 * Nos. 307 and 309 do not come within the prescribed scope of the Exhibition, but are placed here in consideration 
 
 of their special interest. 
 
37 
 
 * 309 —After ANTONIO DI SANGALLO. Unexecuted design for St. Peter’s, 
 
 Rome, half elevation, half section. Cf. No. 307. 
 
 Indian ink. 33-4 by 19. 
 
 Her Majesty the Queen. 
 
 310 —INIGO JONES. 
 
 Design for Whitehall Palace, the water side. Cf. No. 308. 
 Indian ink. 36 by 23. 
 
 Her Majesty the Queen. 
 
 311 —SCHOOL OF ADAM. Design for a Chimney Piece. 
 
 Indian ink, tinted. 8-4 by 7-4. 
 
 C. J. Shoppee. 
 
 312 —THE BROTHERS ADAM. Elevation of “The British Coffee House” in 
 Cockspur Street. (Erected about 1770.) 
 
 “ The Coffee-house was kept in 1759 by the sister of Bishop Douglas, so 
 well known for his works against Lauder and Bower, and was then, 
 and indeed long after frequented by Scotchmen.” [From the office of 
 the Brothers Adam.] 
 
 Indian ink. 9-2 by 16-1. 
 
 Wyatt Pap worth. 
 
 313 —SCHOOL OF ADAM. Two Designs for Chimney Pieces. 
 
 (1) Indian ink. Io by 8-4. 
 
 (2) Indian ink, tinted. 6-4 by 5-4. 
 
 C. J. Shoppee. 
 
 314 —After SIR CHRISTOPHER WREN. Design for St. Paul’s Cathedral, 
 retaining part of the Gothic building. Section. 
 
 [Copy, by Mr. Penrose, from a drawing by Wren at All Souls’ College, 
 Oxford.] 
 
 F. C. Penrose. 
 
 315 —Photograph of Inigo Jones’s Banqueting House in Whitehall. 
 Society for Photographing Relics of Old London.) 
 
 (Taken for the 
 J. L. Roget. 
 
 Nos. 307 and 309 do not come within the prescribed scope of the Exhibition, but are placed here in consideration 
 
 of their special interest. 
 
3S 
 
 316—W. HOLLAR, after VANDYCK. Portrait of Inigo Jones. 
 
 Etching. 5-2 by 7-6. 
 
 C. J. Shoppcc. 
 
 317—SIR ANTHONY VANDYCK. Portrait of Inigo Jones. 
 
 Red Chalk. 7-4 by 10-1. 
 
 C. J. Shoppee. 
 
 318—W. HOWITT, after VANDYCK. 
 
 Wood carving. 
 
 Portrait of Inigo Jones. 
 9-3 by 16. 
 
 Matthew Wyatt. 
 
 319—THOMAS SHERRATT, after VANDYCK. 
 Portrait of Inigo Jones at Barber’s Hall. 
 
 Line Engraving. 8-2 by io. 
 
 Engraving of Vandyck’s 
 
 C. J. Shoppee. 
 
 320—WILLIAM BURGES, A.R.A. Prize Design for a Memorial Church at 
 Constantinople. 
 
 [Lithographed in R. P. Pullan’s “Architectural Designs of William Burges,” 
 1883 , No. 2 .] 
 
 Water colour. 8-6 by 25-4. 
 
 Mrs. R. P. Pullan. 
 
 321—WILLIAM BURGES, A.R.A. Design for the Bishop’s Throne, Cork 
 Cathedral. [Signed, “ A. H. Haig, 1877 .” Lithographed in R. P. Pullan’s 
 “Architectural Designs of William Burges,” 1883 , No. 22 .] 
 
 Water colour. 19-6 by 34 4. 
 
 Mrs. R. P. Pullan. 
 
 322—JOHN DOBSON. The Railway Station, Newcastle. Designed by the 
 Artist. 
 
 Water colour. 31 by 18-4. 
 
 Miss Dobson. 
 
APPENDIX. 
 
 Containing Biographical Memoranda, arranged in alphabetical order, of Artists represented 
 in this Exhibition; with some Notes of their Engraved Works; and Numerical References 
 to the Drawings Exhibited. 
 
 N.B .—The “Catalogues’' referred to in the following Memoranda are those of past Exhibitions 
 at the Club, in some of which Biographical Memoranda were made which it is net 
 necessary now to repeat. 
 
 ADAM, The Brothers , Architects. 
 
 Designed the Adelphi, &c. 
 
 150 plates by Bartolozzi, Piranesi, and others, of plans, elevations, &c., of the 
 principal buildings erected by them in the reign of George III., were published under 
 the title “The Works in Architecture of the late Robert and James Adams.” 3 vols., 
 fo., 1822. Nos. 311 — 313 . 
 
 Robert, the elder; b. 1728, d. 1792. 
 
 Designed Lansdowne House, the Whitehall facade of the Admiralty, &c. He 
 painted classic landscape compositions in water colour, and published, in conjunction 
 with Charles Louis Clerisseau, “ Ruins of the Palace of the Emperor Diocletian 
 at Spalatro, in Dalmatia,” folio, 1764, containing 61 plates by Bartolozzi and others. 
 A portion of a Journal written by Robert Adam during a tour in Italy in 1760 and 
 1761 is printed in the “ Library of the Fine Arts,” vol. II., pages 165 and 235. 
 
 No. 17 . 
 
 AITCHISON, George, F.R.I.B.A., Architect and Civil Engineer ; b. 1792, d. 1861. 
 
 Was apprenticed to his father, a builder, in 1808 ; and, in 1813, was articled to 
 Henry Hake Seward, an architect. From 1823 to 1826 he was principal clerk 
 to Mr. Thomas Hardwick, architect, and he afterwards was surveyor and architect to 
 the St. Katherine’s Dock Company; to the Road stations of the London and 
 Birmingham Railway, and to various undertakings in London. He was a skilful 
 man of business, besides attaining to excellence in various branches of his profession, 
 and he was noted for his draftsmanship. Nos. 128 , 129 . 
 
40 
 
 ALEXANDER, William, F.S.A., Water Colour Painter ; b. 1768, d. 1816. See 
 Cat. 1871. 
 
 21 plates (by T. Medland) after his drawings of “ Egyptian Monuments in the 
 British Museum, from the Collection formed by the National Institute under the 
 direction of Bonaparte,” were published in 1805-7. 
 
 Chiefly known by his sketches in China with Lord Macartney. He also 
 illustrated English topography in the “ Beauties of England and Wales,” and 
 “ Britannia Depicta.” Was a man “ of cultivated tastes, an artist, antiquary and 
 connoisseur ” (Redgrave). Nos. 127 , 159 . 
 
 ALLOM, Thomas, F.R.I.B.A., Architect and Topographic Painter ; b. 1804, d. 1872. 
 See Cat. 1880. 
 
 To the works there mentioned as containing prints after his drawings should be 
 added “Constantinople and the Scenery of the Seven Churches of Asia Minor” 
 (letterpress by Rev. R. Walsh), and “France Illustrated” (120 plates), 4 vols., 8vo., 
 1S40. Nos. 62 , 63 , 108 , 195 , 199 , 206 . 
 
 ARCHER, John Wykeham, F.S.A., Topographic Water Colour Painter and Engraver', 
 b. 1808, d. 1864. See Cat. 1880. 
 
 He was employed by the Duke of Northumberland to make drawings of 
 Druidical and other remains on his estates. He published 37 etchings of “ Vestiges 
 of Old London,” 4to., 1851. No. 118 . 
 
 AUSTIN, Samuel, Water Colour Painter ; d. 1834. See Cat. 1871. 
 
 Drawings by him were engraved in W. H. Pyne’s “ Lancashire Illustrated,” 1831. 
 
 No. 98 . 
 
 BARRY, Sir Charles, R.A., F.R.S., F.R.I.B.A., Architect', b. 1795, d. i860. 
 
 Designed the Houses of Parliament, Bridgewater House, the Travellers’ Club, &c. 
 He travelled abroad from June, 1817, to August, 1820, in France, Italy, Greece, Turkey, 
 Egypt, Palestine, and Syria, and made many sketches. It was at one time intended 
 to publish those made in Egypt, which were then unique (Life by Rev. Alfred Barry, 
 now Bishop of Sydney, pp. 15, 66, 67). The views in that country now exhibited were 
 made during a tour with Mr. Godfrey. Nos. 8, 21 , 29 - 31 , 44 , 50 , 51 , 252 , 253 . 
 
 BARTLETT, William Henry, Topographic Landscape Painter', b. 1801, d. 1854. 
 
 See Cat. 1880, and list there given of works illustrated by him, to which 
 should be added “ Ireland, Scenery and Antiquities.” 
 
 Nos. 56 , 136 , 260 , 261 , 267 , 268 . 
 
4i 
 
 BATTY, Robert, Lieut.-Colonel Grenadier Guards, F.R.S., Topographic Drafts¬ 
 man ; d. 20th Nov. 1848, aged 59. 
 
 He published from his drawings made in 1819 “French Scenery,” 4to., 1822; 
 from drawings in 1820, “German Scenery,” 4to., 1821 (another edition, 1823); 
 “Welsh Scenery,” 8vo., 1823 ; “Views on the Rhine, in Belgium and Holland,” 8vo., 
 1826; “Hanoverian and Saxon Scenery,” 4to., 1828-9; “Select Views of some of 
 the principal Cities of Europe,” 4to., 1830-3; and also some works relating to his 
 military career. No. 46 . 
 
 BELL, J. A., Topographic Draftsman. Nos. 94 , 95 , 124 . 
 
 BILLINGS, Robert William, M.R.I.B.A., Architect and Topographic Draftsman. 
 
 Published “Architectural Illustrations and Account of the Temple Church, 
 London,” 4to., 1838 ; several works relating to Carlisle, Worcester, and Durham 
 Cathedrals, 1839-1843 ; Illustrations of Kettering Church, Northamptonshire, 1843 ; 
 and Brancepeth Church, Durham, 1841, 1845; “Architectural Antiquities of the 
 County of Durham,” 4to., 1846; and “Baronial and Ecclesiastical Antiquities of 
 Scotland,” 4 vols., fo., 1848-52. No. 61 . 
 
 BLORE, Edward, D.C.L., F.R.S., F.S.A., F.R.I.B.A., &c., Architect and Draftsman; 
 b. 13th September, 1789, d. 4th September, 1879. 
 
 Son of Thomas Blore, the historian of Rutland, for whose work Edward Blore 
 made an early drawing. He illustrated Surtees’s “History of the Antiquities of 
 Durham.” Becoming intimate with Sir Walter Scott, he designed an extension of 
 the new house at Abbotsford, which was his earliest work. After this he was 
 associated with Turner, Nasmyth, and Callcott in illustrating Scott’s “ Provincial 
 Antiquities” and “Picturesque Scenery of Scotland.” He was one of the earliest 
 revivers of Gothic architecture, and was employed in the restoration and improvement 
 of some important buildings, among them Peterborough Cathedral, Lambeth Palace, 
 Windsor Castle, Buckingham Palace, and Westminster Abbey. Blore was a refined 
 and delicate draftsman. From his drawings were engraved “ The monumental 
 remains of noble and eminent persons, comprising the Sepulchral Antiquities of Great 
 Britain,” 30 plates, royal 8vo., 1826; and many of the plates in J. Britton’s 
 “Cathedral Antiquities,” 5 vols., 4to., 1836. 
 
 Nos. 97 , 110, 126 , 232 - 237 , 244 , 245 , 247 - 249 . 
 
 BONINGTON, Richard Parkes, Landscape and Figure Painter ; b. 1801, d. 1828. 
 See Cat. 1880. Nos. 242 , 243 . 
 
42 
 
 BUCKLER, John Chesel, Architect and Topographic Draftsman ; b. 1770, d. 1851. 
 
 Chiefly known as a Draftsman. Plates from his drawings are in “ Views of 
 Cathedral Churches in England and Wales,” 4to., 1822; “Views of Eaton Hall, 
 Cheshire,” fo., 1826; “Fifty Views of Endowed Grammar Schools,” 4to., 1827; 
 “ Account of the Royal Palace of Eltham,” 8vo., 1828 ; “ History of the Architecture 
 of the Abbey Church of St. Albans,” 8vo., 1847; an< ^ “The Cathedral of Iona,” 4to., 
 1866. Some of these works are in conjunction with J. Buckler. No. 151 . 
 
 BURDEN, John, Water Colour Painter ; b. , d. 
 
 Was a drawing master, a native of Gloucestershire, and published some views of 
 local scenery and buildings. Among those are two engravings* “The Vale of Severn 
 from Standish Park,” and “The City of Gloucester from Robin’s Hood’s Hill,” both 
 signed “John Burden, del., Will. Poole, sculp.,” and published by W. Miller, of 
 Albermarle Street, 1st November, 1804. No. 254a. 
 
 BURGES, William, A.R.A., F.R.I.B.A Architect-, d. 20th April, 1881, in his 54th year. 
 
 He matriculated at the University of London, and studied engineering at King’s 
 College ; but desiring to become an architect, he was articled to E. Blore. Later 
 on he worked under Digby Wyatt. He helped Clutton in his “ Domestic Architec¬ 
 ture of France.” He was in Italy in 1853-54. On his return he designed the 
 decorative part of Leighton’s picture of the Cimabue Procession, exhibited at the Royal 
 Academy in 1855. About this time, in conjunction with Poynter and other artists, 
 he worked upon designs of mediaeval furniture. In the competition for Lille Cathedral 
 his drawing obtained the first prize. In conjunction with Clutton he restored the 
 Chapter House at Salisbury, being occupied especially with the sculpture. Later in 
 life at Cork and elsewhere, his most characteristic work was the application of 
 sculpture to architecture. Other works of his may be found at Worcester College, 
 Oxford ; Waltham Abbey, with its Reredos ; and the Art School of Bombay. But 
 his most important works were the Cathedral at Cork, entirely carried out by him, 
 and the Restoration of Cardiff Castle for the Marquis of Bute. There, and at his 
 house at Kensington, he had full play for his talent as a decorator. He wrote many 
 papers and articles on subjects of Art and Archaeology, in the “ Gentleman’s 
 Magazine,” “ Ecclesiologist,” “ Builder,” “ Building News,” “ Archaeological Journal,” 
 &c.; and published plates of Architectural Drawings 1867 and 1870. 
 
 Nos. 238a, 320, 321. 
 
 BURGESS, John, Landscape Painter ; b. 1814, d. 1874. See Cat. 1880. 
 
 Nos. 96 , 134 , 145 , 147 , 202 . 
 
43 
 
 BURTON, Decimus, F.R.I.B.A., Architect ; b. 1800, d. 188 r. 
 
 Pupil of his father, James Burton. His name is indissolubly associated with the 
 revival of the classic style of architecture which had its rise, culmination, and 
 complete downfall during his long life. Best known as the designer of several 
 Metropolitan buildings, viz :—The Colosseum in the Regent’s Park (now destroyed), 
 which, with its dome, wider than that of St. Paul’s, was erected by him at the age of 
 23 ; The Arches at Hyde Park Corner, only two years later; the Athenaeum Club; 
 and Holford House and the Marquis of Hertford’s Villa, both in the Regent’s Park. 
 
 Nos. 296 , 300 . 
 
 BURY, T. Talbot, F.R.I.B.A., Architect and Designer ; b. 1815, d. 1877. 
 
 Pupil of Augustus Pugin, and assistant of A. Welby Pugin, in some of his 
 architectural works, both erected and published. He wrote on “The Remains of 
 Ecclesiastical Woodwork,” and the “ History and Description of the Styles of 
 Architecture of Various Countries,” in Weale’s “Rudimentary ^Architecture,” sm. 8vo., 
 1849. No. 154 . 
 
 CALLCOTT, Sir Augustus Wall, R.A., Landscape and Figure Painter ; b. 1779, 
 d. 1844. See Cat. 1871. No. 45 . 
 
 CARTER, John, Architectural Draftsman and Etcher ; b. 1748, d. 1817. 
 
 He wrote on Gothic Architecture, and was a prolific sketcher. For twenty years 
 he was employed as draftsman to the Society of Antiquaries, where original drawings 
 by him are preserved of sectional and other views of English Cathedrals, which were 
 engraved in the Society’s “ Cathedrals ” together with some of Wells, and St. David’s, 
 which remain unpublished.*' He also made drawings for Gough’s “ Sepulchral 
 Monuments,” and “ Croyland Abbey,” and published “ Specimens of Ancient Sculpture 
 and Painting, &c., to the reign of Henry VIII.,” 2 vols., 8vo., 1780 (another edition 
 1838); “Views of Ancient Buildings in England,” 6 vols., i6mo., 1786-1793 ; and a 
 series of “ Specimens of Gothic Architecture, &c., in England,” in 4 pocket volumes 
 of slight etchings, 1824; &c. Nos. 109 , 119 , 265 . 
 
 * The Club received permission from the Council of the Society of Antiquaries to exhibit a selection of 
 these elaborate drawings, but the Committee regret that they have been unable, through want of space, to avail 
 themselves of this liberal offer. 
 
CATTERMOLE, Richard, Topographic Draftsman, &c. ; fh 1814-1818. 
 
 Made some drawings for W. H. Pyne’s “History of the Royal Residences of 
 Windsor Castle, &c.” (coloured engravings), 3 vols., 4to., and for Britton’s “ Architec¬ 
 tural Antiquities.” He afterwards became a clergyman. No. 256 . 
 
 COCKERELL, Charles Robert, R.A., P.R.I.B.A., &c., Architect ; b. 1788, d. 1863. 
 
 Was Professor of Architecture at the Royal Academy. Designed the Cambridge 
 University Library, the Taylor and Randolph Buildings at Oxford, &c., &c., and 
 completed St. George’s Hall, Liverpool. Between 1810 and 1S17 he travelled much 
 in Greece, Asia Minor, Italy, and Sicily ; and, by his learned acquaintance with 
 remains of classic architecture, earned a European reputation. He published in 1830 
 a supplement to Stuart and Revett’s “ Athens,” and in the same year “ The Temple 
 of Jupiter Olympus at Agrigentum,” fo.; also “ Iconography of the West Front of 
 Wells Cathedral,” 1851, and “The Temples of Jupiter Panhellenius at SEgina, and of 
 Apollo Epicurius at Basso, near Phigaleia in Arcadia,” i860 ; and divers papers on 
 architectural subjects. He was highly distinguished as a draftsman and colourist. 
 
 Nos. 2, 5 - 7 , 10, 47 , 191 . 
 
 COCKERELL, Frederick Pepys, F.R.I.B.A., Architect ; b. 1832, d. 1878. 
 
 Pupil of Philip Hardwick, R.A. Studied also in Paris. His principal executed 
 works were the partial rebuilding of Thomas Sandby’s Freemasons’ Hall and Tavern 
 in Great Queen Street, in 1866; and the erection of several gentlemen’s mansions. 
 These are Italian ; but he built the Pligh School at Highgate in the Gothic style, 
 wherein he was equally at home, as may be seen in Marske Church, Yorkshire. Like 
 his father, he was an able graphic artist and an excellent painter in water colours. In 
 1871 he was Hon. Sec. of the Royal Institute of British Architects. 
 
 Nos. 5 , 20, 34 , 35 , 38 - 40 , 71 , 193 , 207 , 208 . 
 
 CONEY, JOHN. Architectural Draftsman and Engraver-, b. 1786, d. 1S33. See 
 Cat. 1871. 
 
 He was apprenticed to, but did not practice as, an architect. Drew and etched 
 “Views of Warwick Castle,” 1S15 ; 141 large plates for the edition of Dugdale’s 
 “ Monasticon,” 6 vols., fo., 1817-1830 (which plates were published separately in 
 1842 as “Ecclesiastical Edifices of the Olden Time”); some views in Clarke’s 
 “ Architectura Ecclesiastica, Londini, fo., 1819;’ “Cathedrals, Hotels-de-ville, &c., 
 in France Holland, Germany, and Italy,” 32 plates, 1832 ; some small etchings of 
 Foreign Architectural Sketches, 4to. ; and “ Beauties of Continental Architecture,” 
 plates and vignettes, fo., 1843 (Nattali). Nos. 157 , 238 , 246 , 251 , 254 . 
 
45 
 
 COTMAN, John Sell, Landscape and Marine Painter \ b. 1782, d. 1842. See Cat. 1871. 
 
 Published “ Etchings (24) of Ancient Buildings in various parts of England,” 
 fo., 1811 ; “Specimens of Norman Gothic Architecture in the County of Norfolk” 
 (50 plates), fo., 1817; “A Series of Etchings illustrative of the Architectural 
 Antiquities of Norfolk,” fo., 1818 ; “Antiquities of St. Mary’s Chapel, at Stourbridge, 
 near Cambridge,” fo., 1819; “ Engravings of Sepulchral Brasses in Norfolk,” 1819 
 (another edition 1839) ; and he illustrated Dawson Turner’s “ Architectural Antiquities 
 of Normandy” (100 plates), 2 vols., fo., 1822-30, from original sketches made in 
 1817-19. He also published some soft ground etchings under the name “Liber 
 Studiorum,” fo. (Bohn), 1838. Nos. 68, 122 . 
 
 COTTON, C. ROGERS. No. 196 . 
 
 COX, David, Landscape Painter \ b. 1783, d. 1859. See Cat. 1871. No. 176 . 
 
 CROMEK, Thomas H., Water Colour Painter and Etcher b. , d. 1873. See 
 Cat. 1880. 
 
 He printed privately 13 “ Etchings on Various Subjects,” 1815. No. 138 . 
 
 DAVIS, John Scarlett, Architectural Painter, &c.; fl. 1825-32. 
 
 Sketched abroad and painted in conjunction with James Holland. His favourite 
 subjects are architectural interiors, treated in a picturesque manner with groups of 
 figures. He is said to have had an odd habit when painting foreign churches, of 
 substituting representations of other, and known, pictures for those actually on the 
 walls. An example probably occurs in No. 113. Published in 1832 some lithographs 
 of Bolton Abbey, said to have been “ drawn by him from nature on the stone.” The 
 account given of him in “ Redgrave’s Dictionary ” contains some errors; see the 
 “Athenaeum,” 16th Sept, 1882. Nos. 113 , 114 , 213 , 216 , 220, 221, 225 , 226 . 
 
 DAYES, Edward, Water Colour Pahiter-, b. 1763, d. 1804. See Cat. 1871. No. 81 . 
 
 DEANE, William Wood, Water Colour Painter ; b. 1825, d. 1873. Sec Cat. 1880. 
 Was apprenticed to, but did not practice as, an architect. 
 
 Nos. 58 , 168 , 174 , 177 , 197 . 
 
46 
 
 D’EGVILLE, James Hervieu, Wafer Colour Painter ; b. 1805, d. 1880. 
 
 Son of Mr. James Hervieu D’Egville, the well-known matt re de danse. Was 
 educated as an architect, and studied under Augustus Pugin, but soon abandoned 
 that profession, and devoted himself to painting. He travelled in Italy with 
 the younger Charles Mathews, and there is an amusing account of the two 
 young architects in the Autobiography of the well-known actor. On his return, 
 he studied water colour painting with John Varley. Joined the New Water 
 Colour Society (now the Royal Institute), to which, for many years, he contributed 
 admirable drawings, of which those of Venice are the best known. No. 144 . 
 
 DOBSON, John, F.R.I.B.A., Architect ; b. 1787, d. 1865. 
 
 Was articled to a builder at Newcastle, and had much practice as an architect in 
 the Northern Counties. The Central Railway Station at Newcastle, greatly admired 
 for the lightness of its roof, was one of his chief works. He studied with John Varley, 
 who wished him to devote his talent to water colour painting. In 1815 he sent to the 
 Royal Academy the first coloured architectural design exhibited there. Before 
 that time the drawings sent by architects were in Indian ink, without artistic effect. 
 He is said to have been the originator of the more attractive treatment of designs 
 which now prevails. No. 322 . 
 
 DODGSON, George Haydock, Water Colour Painter ; b. 1811, d. 1880. 
 
 Member of the Old Water Colour Society, and an artist of refined taste. Origi¬ 
 nally educated as an engineer. He suffered much from a nervous tic, accompanied by 
 a tremor of hand, which was not without its influence on his manner of painting. 
 This life-long malady is said to have arisen from a prolonged strain on the faculties 
 which he underwent as a young man, when employed for days and nights together 
 in making calculations for the railway works of George Stephenson in the North of 
 England. In drawing architecture, which was always a pleasure to him, he was thus 
 prevented from representing minuteness of detail otherwise than in a suggestive 
 manner. Some of his early drawings are engraved in “ Belcher’s Scenery of the 
 Pickering and Whitby Railway.” Night scenes in a wide-roofed church, with broad 
 effects of light and shade, were among his favourite subjects. 
 
 Nos. 47 , 54 , 78 , 133 , 186 . 
 
 EASTLAIvE, Sir Charles Locke, P.R.A., Historical Painter ; b. 1793, d. 1865. 
 
 He resided long in Rome. In architectural drawing he had some early 
 instruction from Samuel Prout. No. 12. 
 
47 
 
 EDRIDGE, Henry, A.R.A., Miniature and Landscape Painter; b. 1769, d. 1821. 
 See Cat. 1871. 
 
 Originally an engraver (pupil of William Pether), and then a painter of portraits. 
 He practised landscape in the latter part of his career under the guidance, it is said, 
 of the works of Hearne. His own architectural drawings had evidently a strong 
 influence on the manner of Samuel Prout. Some fine examples, belonging to Miss 
 James, of his work in this department were at the Bethnal Green Museum in 1874; 
 and there are, at the British Museum, pencil sketches of his in Normandy, dated 1810, 
 1817 and 1819. Nos. 100 , 101 , 104 , 156 . 
 
 FERREY, Benjamin, F.S.A., F.R.I.B.A., Architect-, b. 1810, d. 1880. 
 
 Received his professional education under Augustus Pugin, and in early life 
 asssisted the latter in his various architectural publications. Subsequently he had an 
 extensive practice in ecclesiastical, secular, and domestic buildings, including the 
 restoration of Wells Cathedral; Priory Church, Christchurch ; and Romsey Abbey 
 Church ; St. Stephen’s, Rochester Row, Westminster (Baroness Burdett-Coutts); Town 
 Hall, Dorchester ; Bulstrode (Duke of Somerset) ; Wynnstay (Sir W. Wynn, Bart.), &c. 
 Was a Queen’s Gold Medallist; Hon. Diocesan Architect of Bath and Wells ; and a 
 Consulting Architect to the Incorporated Church Building Society. He sketched 
 with ability and industry in France, Germany, and Italy, both in pencil and water 
 colour, and made good finished drawings of his architectural designs. Illustrated 
 E. W. Brayley’s “Antiquities of the Priory of Christchurch, Hants,” qto., 1834; and 
 wrote “ Recollections of A. Welby N. Pugin and his father, Augustus Pugin, with 
 Notices of their Works,” 8vo., 1861. Nos. 106 , 120, 121, 140 , 222. 
 
 GIRTIN, Thomas, Landscape Painter ; b. 1773, d. 1802. See Cats. 1871 and (Girtin 
 Exhibition), 1875. No. 178 . 
 
 GRIMM, Samuel Hieronymus, Landscape Painter ; b. 1734, d. 1794. See Cat. 1871. 
 
 Nos. 74 , 75 . 
 
 HART, Solomon Alexander, R.A., Historical Painter ; b. 1806, d. 1881. 
 
 A native of Plymouth. It was proposed to bind him apprentice to Warren the 
 engraver, but finding the terms too hard, he taught himself to draw the antique at the 
 British Museum, and became an Academy Student. At first he practised miniature 
 painting. He travelled in Italy in his earlier life, and was a man of information and 
 literary tastes ; so that in later years, having survived his power as an artist, he was 
 enabled to do good service as librarian to the Royal Academy. Some “Reminiscences,” 
 from his own dictation, were privately printed in 1882 by his friend Mr. Alexander 
 Brodie. No. 148 . 
 
4 8 
 
 HEARNE, Thomas, F.S.A., Topographic Water Colour Painter-, b. 1744, d. 1817. See 
 Cat. 1871. 
 
 Practised as an engraver in early life, having been apprenticed to Woollett. 
 Was in the Leeward Islands between 1771-1775, as draftsman to the Governor. His 
 English drawings, many of them engraved by Wm. Byrne in the “ Antiquities of Great 
 Britain,” 1777 to 1781, mark an epoch in the history of topographic drawing and 
 engraving. Nos. 155 , 158 . 
 
 HOLLAND, James, Water Colour Painter ; b. 1800, d. 1870; See Cat. 1880. 
 
 His views in Venice and elsewhere are more frequently studies of colour and 
 picturesque effect than careful representations of architectural form. He was how¬ 
 ever a skilful and suggestive sketcher with pencil and brush, and many of his 
 topographic pictures have been engraved: for example, in W. H. Harrison’s 
 “Tourist in Portugal” (Landscape Annual), 1839. No. 146 . 
 
 HOLLAR, Wenceslaus, Engraver ; b. 1607, d. 1677. See “Hollar” Cat. 1875. 
 
 Though not strictly a “ British Artist ” his name is placed here in virtue of the 
 invaluable illustrations which he has preserved for us of British architectural 
 topography in the 17th century. Nos. 241 , 316 . 
 
 INIGO JONES, Architect ; b. 1573, d. 1652. 
 
 Considering what a high place has been assigned to Inigo Jones as an architect, 
 it is strange how little is known about his early life and work. Very few authorities 
 agree about the dates of his journeys to Italy and Denmark, and the authorship 
 of not a single one of the buildings supposed to belong to his early manner has 
 remained unchallenged. We can, however, say for certain that after his return from 
 his second journey to Italy, he was appointed surveyor to the King (James I.) in the 
 year 1615. Whatever works he carried out before this date in Great Britain must 
 have belonged to the Renaissance rather than the Paladian style. Heriot’s Hospital, in 
 Edinburgh, for instance, has been, on fair evidence, attributed to him. It certainly 
 is a building showing great genius in the designer, whoever he was ; but it belongs to 
 the Scotch renaissance, and has even definitely Gothic features about it. But it must 
 be clear that Inigo Jones’s early efforts must have been in the style then used by 
 everyone around him ; for, had it not been so, the reputation he acquired as being 
 the first to introduce the Paladian manner, would have come to him earlier. 
 Unfortunately none of his drawings of this early period seem to be in existence. 
 Those that are being exhibited at the Burlington Club are all of date after his 
 
49 
 
 appointment to the office of Royal Surveyor. The most important of these are 
 Nos. 308 and 310, lent by the kindness of Her Majesty the Queen, and are from 
 the Windsor Collection. They are the original perspective views of the Westminster 
 and River Fronts of the great Palace, of which only the Banqueting Plall was carried 
 out. The remainder, Nos. 273 to 295, are lent by the kindness of the Duke of 
 Devonshire. This Collection, which is very large, was originally formed by Lord 
 Burlington, with the assistance of Kent, the architect. It contains a large number of 
 highly finished drawings by a man of the name of Flitcroft; these drawings were 
 made under Kent’s superintendence, in order to be engraved in his “ Designs of 
 Inigo Jones.” Of these we have several examples. It further contains many 
 designs, by the master’s own hand, for buildings; of these also we have examples. 
 Perhaps the most interesting set, however, is that of sketches for scenes. Inigo Jones 
 was Master of the Court revels, and, in this capacity, had to construct the scenery 
 at the Court plays. It is in some of these, perhaps, that we see the exhibition of 
 his most brilliant imagination.—E. J. A. B. Nos. 273 - 295 , 308 , 310 . 
 
 KIRBY, John Joshua, F.R.S., F.S.A., Topographic and Architectural Draftsman ; 
 b. 1716, d. 1774. 
 
 Out of many drawings, made by him, he published “Twelve prints of Monasteries, 
 Castles, Ancient Churches, and Monuments in the County of Suffolk,” 1748. He 
 lectured on perspective at the St. Martin’s Lane Academy, and taught architectural 
 drawing to George III. when Prince of Wales. He wrote a defence of Dr. Brook 
 Taylor’s system of perspective, and published a version of that writer’s work under 
 the title “ Dr. Brook Taylor’s Method of Perspective made Easy, both in theory and 
 practice, &c., by Joshua Kirby, painter,” 4to., Ipswich, 1754. F'or the frontispiece 
 of this book Hogarth designed his well-known caricature. There are several later 
 editions. “ The Perspective of Architecture,” was published by him in 1761, at the 
 King’s expense. And he made views engraved by Woollett, of Kew Palace, whereof 
 he was clerk of the works. His father, John Kirby, was a Suffolk schoolmaster and 
 topographer; and the educational writer, Mrs. Trimmer, was his daughter. Pie 
 started in life as a coach and house painter, but was induced by Gainsborough to try 
 landscape. Nos. 15 , 16 . 
 
 LEITCH, William Leighton, Landscape Painter ; d. 25th April, 1883, in his 79th 
 year. 
 
 A Member of the Royal Institute of Painters in Water Colours. Practised in 
 early life as a scene painter at the Glasgow Theatre, and also trod the boards there 
 as an actor. Large separate plates have been executed from his compositions. Some 
 
50 
 
 drawings by him are engraved in John Parker Lawson’s “Scotland Delineated," 
 2 vols., fo. 1847-54; and Clemant Pelle’s “II Mediterraneo Illustrato,” 4to. 
 (Florence), 1841. A few spirited pencil sketches of buildings in Sicily (Palermo 
 Cathedral, &c.) were among the large collection of his drawings recently sold at 
 Christie’s, by his executors. No. 131 . 
 
 MACKENZIE, Frederick, Architectural Painter and Draftsman ; d. 25th April, 1854, 
 aged 67. See Cat. 1871. 
 
 A distinguished draftsman of architecture. Pupil of John A. Repton, architect. 
 Published “Etchings of Landscapes,” 1812; “Specimens of Gothic Architecture,” 
 1816 (in conjunction with A. W. N. Pugin). Made drawings for Ackermann’s 
 “Westminster Abbey ” (coloured aquatints), “ History of the University of Oxford,” 
 2 vols., 4to., 1814, and “History of the University of Cambridge” (coloured 
 aquatints), 2 vols., 4to., 1815; some (of Salisbury Cathedral) for Britton’s “Cathedral 
 Antiquities,” 5 vols., 4to., 1836; Jos. Skelton’s “ Illustrations of Antiquities of Oxford¬ 
 shire, fo., 1823, 4to., 1827; I. Ingram’s “Memorials of Oxford,” qto., 1837; Le Iveux’s 
 “ Memorials of Cambridge ” (letterpress by Thos. Wright and H. L. Jones), 2 vols., 
 Svo., 1841-42, 8vo., 1845, 4to., 1858, &c., and many other works. 
 
 Nos. 73 , 91 , 94 , 95 , 124 , 214 , 215 , 239 , 240 , 255 . 
 
 McKEWAN, David Hall, Water Colour Painter-, b. 1817, d. 1873. See Cat. 1880. 
 His drawings of architecture were chiefly of interiors of old English mansions. 
 
 No. 132 . 
 
 MALTON, James, Architect and Architectural Draftsman ; b. , cl. 28th July, 1803. 
 
 Published “ A Picturesque and Descriptive View of the City of Dublin, 1791,” obi. 
 fo., 1794-95; “Essay on British Cottage Architecture,” 4to., 1798 ; “ The Young Painter’s 
 Maulstick, being a Practical Treatise on Perspective,” 4to., 1800; and “A Collection of 
 Designs for Rural Retreats, as Villas, principally in the Gothic and Castle styles of 
 Architecture,” 410., 1802. No. 80 . 
 
 MALTON, Thomas, Architectural Draftsman-, b. 1748, d. 1804. See Cat. 1871. 
 
 Published “A Picturesque Tour through the Cities of London and Westminster,” 
 2 vols. 8vo., 1792; and “Picturesque Views in the City of Oxford,” qto., 1802. His 
 manner of drawing was well suited to the method of reproduction, in aquatint over 
 etched outlines, which was mostly employed in the engravings from his works. He 
 taught Turner perspective, but it was his father T. A. Malton, who wrote the treatise 
 on that science. Nos. 57 , 64 - 67 , 76 , 272 . 
 
5 1 
 
 MOORE, George Belton, Architectural Draftsman and Teacher ; d. Nov., 1875, in his 
 70th year. 
 
 Teacher of drawing in the Royal Military Academy, Woolwich, and in 
 University College, London. Published “Perspective, its Principles and Practice,” 
 
 2 vols., 8vo., 1850; and “The Principles of Colour applied to Decorative Art,” i2mo., 
 1851. No. 11 . 
 
 MULLER, William James, Landscape Painter ; b. 1812, d. 1845. See Cat. 1880. 
 Published “ Picturesque Sketches of the Reign of Francis I.,” folio, 1841. 
 
 Nos. 4 , 9 , 17 a. 
 
 NASH, Frederick, Water Colour Painter; b. 1781, d. 1856. See Cat. 1871. 
 
 Son of a builder, and pupil of Malton, he was “ occasionally employed as a 
 draftsman by Sir Robert Smirke, R.A.” Drawings by him, mainly of architectural 
 subjects, are engraved in the following works :—■“ A Series of Views, Interior and 
 Exterior, of the Collegiate Chapel of St. George, at Windsor, folio,” 1805 ; “Twelve 
 Views of the Antiquities of London,” qto., 1805 — 1810 ; R. Ackermann’s “ History of 
 the Abbey Church of St. Peter’s, Westminster” (coloured plates), 2 vols., 4I.0.. 1812 ; 
 “ History of the University of Oxford,” 1814; and “ Picturesque Views of the City 
 of Paris and its Environs,” 2 vols., qto., 1819—1823. He made many drawings for 
 Britton’s “ Architectural Antiquities.” No. 107 . 
 
 NASH, Joseph, Water Colour Painter ; b. 1808, d. 1878. 
 
 See Cat. 1880, and list there of works containing prints after his drawings, 
 published between 1838 and 1846. These were chiefly, if not exclusively, of 
 architectural subjects. He was a pupil of Augustus Pugin, and sketched from 
 nature and drew on stone “A Series of (23) Views Illustrative of Pugin’s Examples 
 of Gothic Architecture ” (letterpress by W. H. Leeds), 4to., 1830, His best known 
 work is the “ Mansions of England.” Nos. 52 , 55 , 69 , 70 , 89 , 93 , 102, 103 , 141 . 
 
 O’NEILL, Hugh, Architectural Draftsman ; b. 1784, d. 1824. 
 
 Some of his sketches of the ruins of Christ Church, Oxford, were published in 
 1809. Among the sketches he made were more than 500 of architectural antiquities 
 of Bristol, etchings of 50 of which were published by J. Skelton, F.S.A., in 1826 
 (Redgrave). There are some effective drawings by him in bistre and grey at the 
 British Museum. Nos. 125 , 143 . 
 
52 
 
 PAPWORTH, John Buonarotti, V.P.R.I.B.A., Architect ; b. , d. 1847. 
 
 Was chiefly a designer of furniture, ornamental gardens, &c. Was the first 
 Director of the Government School of Design, and Secretary of the Associated 
 Artists in Water Colours. Published “ Sixty-six Select Views of London ” (coloured), 
 4to., 1816 ; “Rural Residences” (coloured), Imp. 8vo., 1818—4to., 1832 ; and “ Hints 
 on Ornamental Gardening” (coloured plates), Imp. 8vo., 1S23. Nos. 18 , 19 , 37 , 41 . 
 
 PARK, J. No. 200 . 
 
 PRICE, Lake, Water Colour Painter. [Living Artist.] 
 
 Published “ Interiors and Exteriors in Venice,” 8vo., 1843. Illustrated in litho¬ 
 graphy, Richard Ford’s “ Tauromachia, or the Bull Fights of Spain,” folio, 1852. 
 
 No. 135 . 
 
 PROUT, Samuel, Water Colour Painter ; b. 1784, d. 1852. See Cat. 1871. 
 
 The following numerous works were published by Prout:—“ Elementary 
 D rawing-book of Landscapes,” obi. 8vo.; “ Bits for Beginners ” (24 plates) ; “ Relics 
 of Antiquity,” fo., 1811; “Rudiments of Landscape” (64 lithographs), obi. 4to., 
 1813; “Studies,” 1816 (Ackermann) New Drawing-book in the manner of chalk, 
 containing 12 Views in the West of England,” obh 4to., 1819; “ Views (12) in the 
 North of England,” obi. 4to., 1821 ; “ Illustrations of the Rhine” (24 lithographs), obh 
 4to., 1824 (30 lithographs), fo., 1853; “Facsimiles of Sketches made in Flanders, 
 and Germany,” fo., 1833; “Sketches at Home and Abroad” (48 lithographs), 
 royal 4to., 1844; “Hints on Light and Shadow, Composition, &c., illustrated by 
 examples,” 4to., 1838, 1848; “Microcosm: the Artist’s Sketch-book of Groups of 
 Figures, Shipping, and other picturesque objects” (24 lithographs), royal 4to., 1841, 
 1851. He drew illustrations to T. Roscoe’s “The Tourist in Switzerland and Italy” 
 (Landscape Annual), 8vo., 1830-1833; “The Continental Annual,” Svo., 1832; 
 T. Roscoe’s “ Continental Tourist,” 3 vols., 1849-50, &c. A series of miniature 
 engravings by John Pye, after his drawings, are contained in the “' Royal Repository,” 
 an annual Pocket-book published by Suttaby & Co. A collection of artist’s proofs 
 from these plates, the gift of the engraver’s daughter, are in the British Museum. 
 Some of the artistic qualities of Prout’s architecural drawing are analyzed in a 
 pamphlet by Mr. Ruskin, entitled “ Notes on Samuel Prout and William Hunt, 
 illustrated by a Loan Collection of Drawings exhibited at the Fine Art Society’s 
 Galleries, 1879-80.” 
 
 Nos. 31 , 79 , 99 , 115 - 117 , 137 , 139 , 142 , 150 , 152 , 180 , 187 , 192 , 201, 204 , 205 . 
 
53 
 
 PUGIN, Augustus, Architectural Draftsman and Architect ; b. 1762, d. 1832. 
 
 He was by birth a Frenchman, but having killed a man in a duel, he fled from his 
 native country, and having obtained employment as a scene-painter at the Swansea 
 theatre, where John Nash, the architect, happened to be a patron, and sometimes an 
 amateur actor, he was led to enter Nash’s office, where he remained for 20 years. He 
 was an admirable draftsman, and largely employed in books of architectural topography. 
 The following are only some of the works he illustrated :—Ackermann’s “ Microcosm 
 of London” (coloured aquatints, with figures by Rowlandson), 1808—1811; 
 Ackermann’s “Westminster Abbey” (coloured aquatints), 2 vols., qto., 1812; his 
 “ History of the University of Oxford,” 2 vols., 4to., 1814 ; and his “ History of the 
 University of Cambridge ” (coloured aquatints), 2 vols., qto., 1815; “A Series 
 of Views in Islington and Pentonville ” (32 plates, description by Brayley), 
 royal 4to., 1819; “Specimens of Gothic Architecture” (61 plates, some after 
 Mackenzie), 4to., 1820,—third edition (by E. J. Willson), 2 vols., 4to., 1825 ; 
 “ Specimens of the Architectural Antiquities of Normandy ” (engraved by J. and H. 
 Le Keux), 1837-—edition by J. Britton, 1833—in French 1855; and “Paris and 
 its Environs, in 200 Picturesque Views,” 2 vols., 4to., 1831. Charles J. Mathews, 
 the actor, who was articled to him as a pupil, says that in painting, he produced 
 his effects with three colours only, namely—indigo, light red, and yellow ochre. 
 There is a fine coloured drawing by him, in the Museum at South Kensington, of 
 St. Mary’s Church, Oxford. Nos. 257 - 259 , 262 , 264 . 
 
 PUGIN, Augustus Welby Northinore, Architect ; b 1812, d. 1852. 
 
 Designed the Roman Catholic Cathedrals in St. George’s Fields, and at Killarney, 
 and other churches, and was much employed in the decoration of the Houses of 
 Parliament. He published the following works (mostly illustrated)“ Examples of 
 Gothic Architecture, Selected from various Ancient Edifices in England,” 3 vols., 4to., 
 1831-38,—second edition (by E. J. Willson), 1850; “Gothic Furniture in the Style 
 of the 15th Century,” 4to., 1835 ; “ Designs for Gold and Silver Smiths,” 4to., 
 London, 1836 ; £ ‘ Designs for Iron and Brass Work in the Style of the 15th and 16th 
 Centuries, selected from those existing at Rouen, Caen, &c.. &c., Etched by 
 A. W. P.,” qto., 1836 ; “ Contrasts, or a Parallel between the Noble Edifices of the 
 14th and 15th Centuries and Similar Buildings of the Present Day,” 4to., 1836, 1841 ; 
 “ A Series of Ornamental Timber Gables, from existing examples in England and 
 France, of the 16th Century,” 4to., 1831,—second edition (letterpress by 
 
 E. J. Willson), 1839 ; “ Roman Catholic Church of St. George’s, Southwark,” 2 plates, 
 4to., 1841; “The True Principles of Pointed or Christian Architecture,” 130 plates, 
 
54 
 
 4to., 1841, 1853 ; “ An Apology for the Revival of Christian Architecture in England,’' 
 4to., 1843, 1853; “The Present State of Ecclesiastical Architecture in England,” 
 36 plates, 8vo., 1843; “A Glossary of Ecclesiastical Ornament and Costume, 
 Compiled and Illustrated from Ancient Authorities and Examples,” 4to., 1844,— 
 Second Edition, revised by Rev. Bernard Smith, 1846; “Floriated Ornament,” 
 31 designs in gold and colours, 4to., 1849 ; “Treatise on Chancel Screens and Rood 
 Lofts,” 4to., 1851; besides divers controversial writings. He was a rapid and clever 
 sketcher in water colours. Nos. 88, 111 , 123 , 162-1 64 , 243 a. 
 
 PYNE. No. 60 . 
 
 ROBERTS, David, R.A., Landscape Painter] b. 1796, d. 1864. See Cat. 1871. 
 
 His engraved works are numerous. They are chiefly contained in the following* 
 series:—-“Picturesque Sketches in Spain, taken in 1832 and 1833,” folio, 1835-36; 
 “ The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia” (lithog. by Louis Haghe; 
 descriptions by Rev. Geo. Croly), 3 vols., folio, 1842-49; “ Egypt and Nubia” (ditto, 
 with descriptions by Wm. Brockedon), 3 vols., folio, 1846-49; 5 vols., imp. 8vo., 1858; 
 “Italy: Classical, Historical, and Picturesque,” 1859; J. P. Lawson’s “Scotland 
 Delineated,” folio, 1847; T. Roscoe’s “Tourist in Spain ”(“ Landscape Annual”) 
 4 vols., 8vo., 1835-38. A picture of the Temple of Baalbec, exhibited at the Royal 
 Academy in 1841, was engraved by John Pye in W. R. Finden’s “ Royal Gallery of 
 British Art,” 2 vols., imp. fo., 1838-51. A Life of Roberts, by James Ballantyne, 
 was published, 4to., 1866, with some of the painter’s etchings of ruins. 
 
 Nos. 36 , 181 , 189 , 190 , 194 , 203 . 
 
 SANDBY, Paul, R.A., Water Colour Painter] b. 1725, d. 1809. See Cat. 1871. 
 
 Among his drawings are many views of Windsor and its architecture. Etchings 
 by him were published in 1750 and 1763 ; also, in 1777, “ Thirty-five Views in Wales,” 
 4to.; “Sixteen Views in Naples and other parts of Italy,” folio; “Six Views in 
 London ” (some by Thomas Sandby), folio. Then came “ The Virtuosi’s Museum, 
 containing select Views in England, Scotland, and Ireland” (108 copper plates), 
 obi. 4to., 1778 ; and “A Collection of 150 ditto,” 2 vols., obl.4to., 1781, and folio, 1783. 
 
 Nos. 83 , 84 , 92 , 130 . 
 
 SANDBY, Thomas, R.A., Architect] b. 1721, d. 1798. 
 
 Was the first Professor of Architecture to the Royal Academy. Built Free¬ 
 masons’ Hall for Wm. Tyler, in 1786. [It was partially rebuilt by F. P. Cockerell.] 
 Was a good draftsman. No. 302 a. 
 
 
55 
 
 SCOLES, Joseph John, F.R.I.B.A., Architect; b. 1798, d. 1863. 
 
 Articled to Mr. Ireland. Travelled in the East in 1822. Designed the Catholic 
 Church in Farm Street, Grosvcnor Square, and other Churches (Redgrave). 
 
 Nos. 1, 13 , 14 . 
 
 SHEPHERD, George Sidney, Topographic Water Colour Painter ; fl. 1821-1860. 
 
 Made numerous drawings of buildings, some of which are engraved in Charles 
 Clarke’s “ Architectura Ecclesiastica Londini; a series of views of the Churches in 
 London, Southwark, and Westminster ” (122 plates, some by J. Coney, and others), 
 fo. 1819, and 4to., 1820. Nos. 85 , 8G. 
 
 SMIRKE, Sydney, R.A., F.R.I.B.A., Architect; b. 1798, d. 1877. 
 
 Professor of Architecture to the Royal Academy. Was part designer of the 
 University and Conservative Clubs, built Paper Buildings, constructed the Reading 
 Room at the British Museum, and restored the Temple and some other Churches. 
 He visited Italy and Sicily between 1822 and 1824, and when on his travels was a 
 most industrious sketcher rvith the pencil Many papers by him on architectural 
 objects are in the Archmologia, and the journals of the Royal Institute of British 
 Architects. Nos. 42 , 43 , 48 , 49 , 209 - 212 , 217 . 
 
 STREET, George Edmund, R.A., P.R.I.B.A., &c., Architect; b. 1824, d. 1881. 
 
 Studied under Mr. Owen Carter at Winchester, and then under Mr. (afterwards 
 Sir) G. G. Scott. His executed works are numerous, all it is believed in the Gothic 
 style, of which he was a warm advocate ; and he was diocesan architect to several 
 Cathedrals. Pie is now best known as the designer of the new Law Courts. Besides 
 papers in the journals of the Royal Institute of British Architects, and of other 
 learned societies, he wrote “ Brick and Marble in the Middle Ages : Notes of a 
 Tour in the North of Italy” (woodcuts), 8vo., 1855; and “Some Account of Gothic 
 Architecture in Spain,” 8vo., 1865,—second edition 1869. 
 
 Nos. 182 - 185 , 223 , 224 , 227 , 228 , 230 , 231 . 
 
 STUART, James, Architect; b. 1713, d. 1788. 
 
 Born in London. Supported his mother by painting fans for Goupy, in the 
 Strand, where he probably learned his peculiar use of body-colour noticeable in the 
 Athenian drawings. Set out for Italy in 1742, working his way there. In Rome 
 while working as an artist, he fell in with Revett, and with Gavin Hamilton, the painter 
 and excavator of antiquities, who appears to have promoted their scheme for the 
 
56 
 
 Grecian journey. In the preface to the 1st volume of his work, Stuart says that 
 they issued a programme in the form of a series of proposals. “We (i.e., Stuart and 
 his friend Revett), did not set out from Rome till the month of March, 1750, and we 
 arrived at Venice too late in the year for the Curran ships, on board of one of which we 
 had designed to embark for Zant.” The interval was, therefore, spent in a visit to Pola, 
 where a number of drawings and measurements were made; two of them are exhibited) 
 Nos. 26, 27; they were not published till 1816 in the 4th volume of the work. At 
 length, leaving Venice in January, 1751, they changed ship at “Zant,” and proceeded 
 to Corinth “where we measured the ancient temple and made some views” (see 
 No. 28 in present exhibition). They then proceeded in a Greek coasting vessel from 
 the port of Cenchrea to Porto Leone (the Piraeus). Speaking of their work in Greece, 
 Stuart says “ In particular we determined to avoid Idaste and System, those most 
 dangerous enemies to accuracy and fidelity.” After two years at Athens, they 
 proceeded to Salonica, visited several of the PEgean Islands and from Smyrna 
 returned to England in 1755. After publishing, in 1762, in conjunction with 
 Revett, the first volume of their “ Antiquities of Athens,” he acquired great fame, 
 practised as an architect, and delayed further publication, to the annoyance of 
 Revett, whose rights he therefore bought up. Pie designed Lord Anson’s house in 
 St. James’ Square, now No. 13, the first Grecian building in England. At Shuckburgh, 
 Lord Anson’s seat in Staffordshire, built an Octogon Tower of the Winds, &c. Also 
 the Chapel and Infirmary at Greenwich Hospital. Designed also several medals. 
 
 Nos. 22 - 28 , 303 . 
 
 THORNHILL, Sir James, Historical Painter ; b. 1676, d. 1734. 
 
 His employment in the decoration of walls and ceilings, with allegorical figures, 
 connects him with architecture, while his exertions in promoting education in art, and 
 the fact of his having been father-in-law of Hogarth, give him a place in the 
 history of the English school of painting. He decorated the interior of the dome of 
 St. Paul’s. Nos. 304 , 305 . 
 
 TURNER, Joseph Mallord William, R.A., Landscape Painter ; b. 1775, d. 1851. 
 
 See Cat. 1871. 
 
 Except what he derived from the study of nature, Turner’s chief education in 
 art was architectural. He was a pupil of Thomas Malton’s, and worked in Mr. 
 Hardwick’s office, and not only were buildings the subjects upon which he first tried 
 his hand as a draftsman, but some of his finest works are careful delineations of archi¬ 
 tecture. In our collection we have examples of both extremes of this ascending 
 
 Nos. 77 , 160 , 161 , 166 , 167 , 169 - 171 , 175 , 179 , 269 - 271 . 
 
 course. 
 
57 
 
 WILD, Charles, Architectural Draftsman and Water Coloiir Painter ; b. 1781, d. 1835. 
 
 See Cat. 1871. 
 
 Member of the Water Colour Society. Besides making many carefully finished 
 drawings, he sketched the details of architecture with great readiness and precision. 
 Published the following graphic works—“Twelve beautiful specimens of the 
 Ecclesiastical Architecture of the Middle Ages, selected from the Cathedrals of 
 England,” fo.; “ Twelve perspective views of the exterior and interior parts of the 
 Metropolitan Church of Canterbury,” 4to., 1807; “Twelve perspective views of the 
 exterior and interior parts of the Cathedral of York,” fo., 1809 ; “An Illustration of 
 the Architecture of the Cathedral Church of Chester,” royal 4to., 1813; “An 
 Illustration of the Architecture of the Cathedral Church of Lichfield,” royal 4to., 1813; 
 “An Illustration of the Architecture and Sculpture of the Cathedral Church of Lincoln,” 
 fo., 1819; “An Illustration of the Architecture and Sculpture of the Cathedral 
 Church of Worcester,” fo., 1823 ; “Twelve etched outlines selected from Architectural 
 Sketches made in Belgium, Germany, and France,” 4to., 1833 (a second series, fo., 
 1836). Two series of 24 etchings by John Le Keux and others executed under 
 Wild’s direction from his sketches, were published in 1837, under the title “Selected 
 Examples of Architectural Grandeur in Belgium, Germany, and France.” 
 
 Nos. 72 , 105 , 112 , 165 , 172 , 173 , 218 , 219 , 229 , 250 . 
 WILLSON, Harry, Water Colour Painter. 
 
 Painted architecture in a manner founded on that of Samuel Prout, but not 
 without some distinctive quality. Published “Fugitive Sketches in Rome and 
 Venice,” fo., 1838 ; “The Use of a Box of Colours,” 4to., 1842, royal 8vo., 1851. 
 
 No. 3 
 
 WYATT, Sir Matthew Digby, F.R.I.B.A., Architect ; b. 1820, d. 1877. 
 
 Son of Matthew Wyatt, Metropolitan Police Magistrate, and pupil of his 
 own brother, Thomas Henry Wyatt, whose office he entered at the age of 16. 
 Between 1844 and 1848, he travelled in France, Germany, and Italy, and his sketches 
 then made were published. He took an active part in the formation of the first 
 International Exhibition, in 1851, and afterwards of the architectural courts at the 
 Crystal Palace, for which latter purpose he travelled abroad with Owen Jones. He 
 was employed as architect in erecting some public, and many private, buildings ; 
 among the latter, the Mansion of Lady Marian Alford, at Knightsbridge. Besides 
 writing reports, papers for learned societies, and many articles and pamphlets on Art, 
 he published “ Specimens of the Geometrical Mosaics of the Middle Ages,” small 
 folio, 1849; “ Industrial Arts of the 19th Century at the Great Exhibition, 1851,” 
 
58 
 
 2 vols., folio, 1851-53 ; and “Metal Work and its Artistic Design,’’ folio (50 coloured 
 plates), 1852. Descriptions of the Crystal Palace Courts were published by him, in 
 conjunction with the late John Burley Waring, in 1854. He was also Slade Professor 
 at Cambridge ; and he built the Paddington Station of the Great Western Railway, 
 in conjunction with Brunei. Nos. 32 , 53 , 59 , 188 , 198 , 306 . 
 
 WYATVILLE, Sir Jeffry, R.A., Architect ; b. 1766, d. 1840. 
 
 Was employed by King George IV. to make extensive alterations at Windsor 
 Castle. The son of Joseph Wyatt, one of a family of architects, he assumed the name 
 “ Wyatville ” by Royal License, on the occasion of the King’s laying the first stone of 
 the gateway to the Quadrangle in 1824, and was knighted on the completion of the 
 private apartments in 1828. His “ Illustrations of Windsor Castle,” 2 vols., folio, 1841, 
 were published (edited by Henry Ashton, architect), after his death. There is a 
 Memoir of him in 4to., 1834, by John Britton, for whose works he made some 
 drawings. No. 82 , 87 , 90 . 
 
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